At least one each solo song of Rajkumari from film Badalti Duniya and Khanjarwali and Nagad Narayan and two solos from film School Master (Music: Neenu Majumdar) chould not be located on YT.
Tu Mujhe Bana De Rani, Main Bani Teri Diwani – Badalti Duniya – Mohan Sinha – /
Dard Bankar Fugaan Na Ho Jaae, Jhindagi ImtahaaN Na Ho Jaae – Dawat – Tanvir Naqvi – Vasant Desai
Mere Sune Mandir Mein Ye Kisane Deep Jalaye – Nagad Narayan – Kavi Shamim – Shreedhar Parsekar
Main To Nachoongi HaaN, Main To Gaaungi – Nagad Narayan – Kavi Beqal – Shreedhar Parsekar
Main HuN Kali Matwali Liyaqatwali – Panghat – Ramesh Gupta – S N Tripathi
Solo Songs of Kaushalya
In the caseof Kaushakya, one song each from the films Angoori (Music: Ghulam Mustafa Durrani) and Mouj (Music: Vasant Desai) and two each from films Aankh Ki Sharm (Music: Vasant Desai) and Kurbani (Music: Khemchand Prakash) do not seem to be available in digital formats across intenet.
Mere Naina Tujhe Dhoondhe Hai Sanwariya – Bhakta Raj – D N Madhok – C Ramchandra
Kagaz Ke Purje Dil Ka Hal Suna De – Chirag – D N Madhok – Khemchand Prakash
Jholi Meri Bhar Do Baba – Chirag – Wali Sahab – Khemchand Prakash
So Ja SoJa O Pyare Kanhaiya, Tori Maiya Leti Hai BaliyaN – Chirag – Pt. Indra – Khemchand Prakash
Kagaz Ki Hai Naav – Zaban – D N Madok – C Ramchandra
Tera GhoNsala Bhikhara Re Pankhi – Zaban – D N Madok – C Ramchandra
Solo Songs of Nalini Jaywant
One solo song of Nalini Jaywant from the film Adab Arz could not be traced in digital form
Kaheta Hai Ye Dil Baar Baar – Adab Arz – Kailash Ji ‘Matwala’ – Gyan Dutt
Kheto Pe Chale Bhaiya Kisan Re – Adab Arz – Rammurti – Gyan Dutt
Ghulam Mohammed (1903 – 17 March 1968)’s musical scores during the years 1943 to 1949 had established his identity as percussionist who had also gift of composing melodies as well. He had already been successful with the scores of Pugree (1948) and Shair (1949). However, it seems that his concurrent role as assistant to Naushad perhaps had cast some kind of shadow over his own identity as independent music director. This relationship continued till film Aan) 1952. Some historians consider him too naïve a businessman since he continued to assist Naushad even he had getting success by 1948.
This theory seems to hold some merit, because Ghulam Mohammed did get three films in 1950, two in 1951 and three again in 1952. These numbers need to be viewed in the back drop of the fact that several other (so-called) already stablished) music directors were also scoring successful music for the then big production banners in the same period. 1950 had Naushad scoring music for ‘Dastan’ and ‘Babul’, C Ramchandra for ‘Sargam’ and Anil Biswas for ‘Arzoo’. In 1951, along with “Deedar’ of Naushad, S D Buraman’s ‘Bahaar’ and Baazi’, C Ramchandra’s ‘Albela, Anil Biswas’s ‘Taraana’ and Shanker Jaikishan’s “Aawara’ occupied the space. There was hardly any respite in 1952 as well, with Naushad’s ‘Aan’ and ‘Baiju Bawra’, S D Burman’s Jaal and Shanker Jaikishan’s ‘Daag.’
In all the fairness to Ghulam Mohammed, it should also be noted that some other equally talented music directors also had not been able to break the glass ceiling, even if their music was also noted with high respect o their talent. For example, Bulo C Rani – Jogan (1950), Roshan – Hum Log (1951) and Anhonee (1952), Hemant Kumar – Anand Math (1951) and Madan Mohan – Ashiana (1952) to name a few representative cases.
Be that as it may, our principal focus of the present series to commemorate the death anniversary month of Ghulam Mohammed is to refresh our memories of his compositions and get an overview of Ghulam Mohammed’s repertoire of 37 films as independent music directors with special attention to the wide range of playback singer he has used for his compositions.
As such, we have sidestepped some of his popular compositions for the present series and intentionally chosen songs that may be called as less heard ones so as to get a better appreciation of Ghulam Mohammed’s talent.
Previously, in 2021, we have covered Ghulam Mohamamed’s songs with different singers for the years 1943 to 1949.
With this backdrop to be kept at the back of our minds, we now take up Ghulam Mohammed’s songs for different playback singers during the years 1950 to 1952.
Rajkumari, Mukesh – Maine Sapna Jo Dekha Hai Raat… Bhala Jo Koi Puchhe… To Main Kya KahuN – Hanste Aansoo (1950) – Lyrics: Majrooh Sultanpuri
Here is an archetypical vintage era styled composition. However, the song succeeds in conveying the feelings of a girl who has fallen in love, for the first time. Majrooh Sultanpuri also has preferred to use very simple lyrics to truly express the feelings.
One noteworthy feature of Ghulam Mohammed’s compositions was differently presented stanzas of his compositions, unlike many of his contemporaries who would not waste one more tune in one composition.
Shamshad Begum, Hameeda Banu, Raja Gul – O Jane Wale Theher Ja …., Dil De Ja Ya Le Ja Raja Ulfat Ka Ye Bazaar Hai – Hansate Aaansoo (1950) – Lyrics: Shevan Rizvi
Ghulam Mohammed has boldly experimented with non-traditional orchestration for this street dance triad song, while maintaining the identity of the song genre with the use of catchy piece of harmonium in the brief prelude.
Shamshad Begum – Hum Dil Hi Apna Haar Gaye – Maang (1950) – Lyrics: Husaini
Comparison of the present composition with the previous one, Maine Sapna Jo Dekha Hai Raat, evidently demonstrates the vastness of range of tunes that Ghulam Mohammed can command to present almost similar feeling.
Uma Devi, Lata Mangeshkar – Na Jaane Aaj Kyon Gabra Rahi Ho – Maang (1950) – Lyrics: Prakash
Ghulam Mohammed recreates magic of blending voices of vintage era icon (Uma Devi) and the rising star of Golden Era) Lata Mangeshkar)
(Rajkumari), Geeta Dutt, Hamida Banu – Aaya Achanak Aisa Jhonka Hind Ka Jagamag Deep Bujha – Maang (1950) – Lyrics: Sagheer Usmani
Here is song that eulogises passing away Mahatma Gandhi. Even he Ghulam Mohammed has very deftly experimented with change in tunes for different stanzas.
It may be noted that Rajkumari is singing along with Geeta Dutt in first part of the song.
Mohammed Rafi, Amirbai Karnataki – Main HuN Bada NaseeboNwala….Hua Tera Mera Pyar Fatafat – Pardes (1950) – Lyrics: Shakeel Badayuni
Ghulam Mohammed comes all trump in a light-hearted comedy song. The icing on the cake is use of Amirbai Karnataki for such a song!
How imaginatively Ghulam Mohammed has used Mohammad Rafi’s voice for the opening line!
Lata Mangeshkar – KyuN Ae Dil-e- Diwana Hai Hosh Se Beganaa – Bikhre Moti (1951) – Lyrics: Akhtar ul Iman
The influence of vintage era style on Ghulam Mohammed’s compositions, even during 1951, is evident in the way he has used Lata Mangeshkar’s voice in this song.
Talat Mahmood – Chandanee Raato Mein Jis Dam Yaad Aa Jaate Ho Tum Roshani Bankar Meri Ankhoein Mein Chha Jaate Ho Tum – Naazneen (1951) – Lyrics: Shakeel Badayuni
I so much regret that this is one Talat Mahmood song that I must have hardly got to hear earlier.
Asides: Shri Arunkumar Deshmukh informs that this was the film in which Amjad Khan has acted as a child artist.
Shamshad Begum, G. M. Durrani, Mohammed Rafi – Do Din Ki Zindagi Hai … Ik Baar Muskara Do, Parde Mein Tum Hansi Ke …. Dil Ki Lagi Ko Chhupaa Lo – Ajeeb Ladki (1952) – Shakeel Badayuni
This song indeed should tell us what effort Rafi must have put into create his own identity in his initial days as we find difficult to the way Rafi handles lower octave mukhada and high pitch opening of the first stanza or chips in with a cameo line in the second stanza.
In the stage dances, the dancers take up dress code of two cultures of two regions. Ghulam Mohammed has composed the tune matching to that culture. Especially noteworthy is the multi-instrument orchestra put to use by Ghulam Mohammed.
Mohammad Rafi – Churakar Dil Ko Yun Aankhein Churana Kisse Sikha Hai .. Chale Jaana Tum Door Bade Shaukh Se Huzoor…Mera Dil Mujhe Wapas Kar Do. – Amber (1952) – Lyrics: Shakeel Badayuni
Unlike majority of Ghulam Mohammed compositions, here we have complex to sing tune, and that too for a song where the hero is trying to please the heroine!
Lata Mangeshkar – Tutegi Nahi Pyar Ki Dor Duniya Chahe Lag Le Jhor – Amber (1952) – Lyrics: Shakeel Badayuni
Ghulam Mohammed has not only switched to Lata Mangeshkar as lead singer but has also stayed away in using Lata Mangeshkar in the shadow of vintage era singing style.
Shamshad Begum, Mohammed Rafi – Rote Hai Naina Gam Ke Maare, Dekh Rahi HuN Din Mein Taare – Amber (1950 – Lyrics: Shakeel Badayuni
I have selected this ‘masala’ dance song to validate the hypothesis – that Ghulam Mohammed has given Lata Mangeshkar the position of lead singer – put forward in the earlier song as soon as he has been entrusted the music for the film with the ‘hottest’ pair of the day – Nargis and Raj Kapoor.
Noteworthy is the change in the mood o the song that he has accomplished the way he has used Mohammad Rafi.
Mubarak Begum – Jal Jal Ke MaruN Kuchh Kah Na SakuN – Sheesha (1952) – Lyrics: Shakeel Badayuni
Ghulam Mohammed deploys vast orchestra during mukhada but then the stanza comes rendered with minimal instrumental support! This should easily rate as one of the best Mubarak Begum songs; however, the fact remains that, at least, I have heard it for the first time. So unfortunate that Mubarak Begum did not get many such high-quality singing opportunities!
What a pity that the failure of film at the box office also leads to the very short life of the songs, barring, of course, some exceptions!
Lata Mangeshkar – Jawani Ke Raaste Pe Aaj Mera Dil Hai – Sheesha (1952- Lyrics: Shakeel Badayuni
Ghulam Mohammed sets the tone of happiness of the song by a very catchy prelude and then follows it up with composing the song in the effervescent singing mode.
Thanks to the technology and resourcefulness and the commitment of all the YT uploaders, we can recreate the mesmerising magic of Ghulam Mohammed’s compositions, even today, whether it did cast spell then or not!
We take a break here till the next episode so that we can absorb the nuances and range of present batch of Ghulam Mohammed’s compositions.
Memorable Songs of 1944 has 4 songs of Rajkumari – 1 from Char Aankein, 1 from Maa Baap and 2 from Panna. However HFGK and YT put together has rich crop of Rajkumari’s s silo songs for the year. She was sole playback singer for Panna.
Mera Balam Bada Hartai Re, Main To Preet Laga Pachhatai – Badi Baat – Swami Ramannad Saraswati – Firoz Nizami
Ae Kismat Bata Kya Bigada Hai Tera – Dr. Kumar – Gafil Haranalvi – Sarwaswti Devi
Main Duniya Ki Rani Firati HuN, Main Mauj Manati – Ghar Ki Shobha – Roopbani – Alla Rakha
Badli Hawa Miti Bahar, Rang-e-chaman Bigad Gaya– Ismat – Shams Lakhanvi – H P Sharma
HFGK has not identified the singer of the song.
Panchhi Tu Jaa Re Mere Piya Ko Sandesava Kahiyao – Ismat – Shams Lakhanvi – H P Sharma
HFGK has not identified the singer of the song.
Woh Kaun Hai Jo Duniya Mein Nashad Hai – Ismat – Shams Lakhanvi – Pt. Govardhan Prasad
HFGK has not identified the singer of the song.
Main HuN Piya Ki Joganiya, Mera Jog Nirala Re – Kadambari – Miss Kamal B A – H P Das
Mohantara Talpade was a well-recognised playback voice in mid’40s. It seems 1945 was not a very productive year for her.
Ghat Ghat Ki Tum Janate…Bhool Na Jana Hey Girdhari – Dhanna Bhagat– Khemchand Prakash – Pt. Indra
Main Janam Janam Ki Dukhiyari — Dhanna Bhagat– Khemchand Prakash – Khavar JamaN
Solo Songs of Rajkumari
Rajkumari has a fairly respectable solo songs this year, but more than two thirds of the songs listed in HFGK, I have not been able to fin the digital link.
O Peenwale Pee Le, Pee Le, Peene Ke Din Aaye – Din Raat – Dada Chandekar – Santosh Nadim
Meri Aankho Ke Aansu AankhoN Hi Mein So Jao – Ghar – Alla Rakha – Roopbani
We now move over to the ‘Long Tail’ of the skewed distribution of Hemant Kumar’s female songs. Hemant Kumar has used the ‘other’ known Hindi female playback singers more as an exception only. Raj Kumari had one dance number in Anand Math (1952). Shamshad Begum has two solos and two FF duets, Sudha Malhotra has one solo, one FF duet and one (an iconic) MF duet – that we will take up discussion separately- and Suman Kalyanpur has two FF duets, and Usha Mangeshkar has one solo and two FF duets. We also have a very rare Mubarak Begum, Sulochana Kadam FF duet and a song by a classic trained singer Lakshmi Shankar, as well
Rajkumari
Dil Ka Paimana Hai, Ulfat Ka Hath Hai – Anand Math (1952) – Lyrics: Hasrat Jaipuri
Sheila Ramani is so gracious as lead dancer in this court dance song.
Hemant Kumar has used a classic trained singer for Mujra Song. From the initial dialogue in the clip, it seems that the song is seen by the daughter (Geeta Bali) as her mother has to perform for such mehfils
The song is in two parts. The second part has Geeta Bali singing the song on the screen. The feeling of pathos is very clearly felt in the way song is rendered in this part. The context of this change would be clear only when one has seen the film.
Usha Mangeshkar
Kaisi Lagi…..Jiya Jaye To Jiya Jaye – Ek Hi Rasta (1956) – with Asha Bhosle – Lyrics: Majrooh Sultanpuri
The song is a duet dance song, so typically planned to celebrate special occasions.
Pyasi Hai Mamata Meri Aaja Dheere Dheere Aa – Maa Beta (1962) – Lyrics: Prem Dhawan
Hemant Kumar has so melodiously weaved lathos of mother being away from her offspring in this lullaby.
Shamshad Begum
Hemant Kumar has used Shamshad Begum for four songs, of which a duet, with Ravi, from ‘Daku Ki Ladki” (1954) do not seem to be traceable on the internet
Meri Itni Araj Hai Huzur Se, Pyar Karna Magar Door Door Se – Hamara Watan (1956) – Lyrics: S H Bihari
Hum Kisi Se Na Kahenge Chup Chup Se Rahenge– Yahudi Ki Ladki (1957) – with Geeta Dutt – Lyrics: S H Bihari
The song is set to what has now become familiar Arabic dance tunes (thanks to n-number of films based on stories from that milieu) to the listeners of Hindi film songs. Both the singers have been accorded freedom to sing in their natural range.
Pyar Jata Ke Lalchaye Mora Balama –- Hum Bhi Insaan Hai (1959) – Lyrics: Shailendra
This seems to a mujra-styled dance song. Shamshad Begum is her at vintage best, even in 1959.
Hemant Kumar has so easily been able to present a signature mujra song – with prominent tabla thaaps (beats), beginning of the stanza without the support of any instruments and of course the use of most ubiquitous instrument of a mujra music – the sarangi.
Suman Kalyanpur
Suman Kalyanpur is present in only two FF duets. Both the duets are perfectly composed FF duets, but have differently blended the inherent vocal qualities of different singers in the respective songs.
Kabhi Aaj Kabhi Kal, Kabhi Paraso – Chand (1959) – with Lata Mangeshkar – Lyrics: Shailendra
The song appears to be public dance stage show. As such, both the performers are expected to move and sing in perfect synchronisation. Hemant Kumar has achieved this synchronization in the vocal part of the songs by perfectly blending almost similar sounding voices of Lata Mangeshkar and Suman Kalyanpur.
Phulwa Band Maheke Dekho Dali Dali – Ham Bhi Insaan Hai (1959) – with Geeta Dutt – Lyrics: Shailendra
Shailendra has captured the two points of views of friends in the song, who seem to be visiting the flower garden – both see different hues in the same settings in which both are present together. Hemant Kumar has enlivened this effect by using two naturally different voices – those of Geeta Dutt and Suman Kalyanpur.
Aside Trivia:
The song seems to have been inspired from Meghla Bhanga Rod Utheche (The Sun Rises in the Clouded Sky) – Tar Aar Par Nei. – Pratima Badopadyay – composed by Nachiketa Ghish, lyrics: Pulak Banerjee
Mubarak Begum, Sulochana Kadam
Bharat Ke Lok Geet (Fashion, 1959) is collection of folk songs from different regions.
Other than these, he has also chosen to experiment with Bengali female playback singers, like Ratna Gupta, Pratima Banerjee, Aarti Mukherjee, his wife Bela Mukherjee and his daughter Ranu Mukhrtjee, Bula Gupta etc.
We will take up Hemant Kumar’s songs of ‘Other’ (Bengali Female Singers in the next episode.
Mohantara Talpade was a well-recognised playback voice in mid’40s. Year 1946 has a very respectable number of her solo songs. She has been chosen as the playback singer by a wide range of music directors in this year, which does impart an inherent variety to her songs.
Mere Man Mein Jaga Pyar, Mera Naach Utha Sansar – Amar Raj – Feroz Nizami – Pandit Phani
Rooth Gaye Mose Manmohan Ab Sawan Ko Kya KaruN – Dharti- Bulo C Rani – Pandit Indra
Vyakul Hai Panghat Pe Radha Bechari Sanz Bhai.. – Pujari – Hansraj Behl – Wali Sahab
Jai Ambe… Jai Chandike Kultarini – Rajputani – BulO C Rani – Pandit Indra
Solo Songs of Raajkumari
Rajkumari has a fairly respectable solo song – both quantitatively and qualitatively. There must be quite some more solo songs which either do not get formally credited to her(because of the the inadequate authenticated information) or the songs that do not have soft – YT-links.
Tum Le Lo ….Batue Bhai – Chamakati Bijli – Vasant Kumar Nayadu – Sarswati Kumar ‘Deepak’
HFGK is silent about the singer and the lyricist
Nainan Mein Koi Chhaye KyoN, Baras Rahe Dono – Insaaf – H P Das – D N Madhok
Mere Dil Mein Koi Na aae, Hae Re – Insaaf – H P Das – D N Madhok
Duniya, GariboN Ki Duniya, Badi Hai Suhani – Insaaf – H P Das – D N Madhok
Main Sajan Ke Man Mein, MaiN Ek Chand Man Mein Chhipai Baithi Hun – Maharani Minal Devi – Saraswati Devi –
Some comments on the YT claim that song is actually by Amirbai Karnataki . Correspondingly Mere Maina Madhubaina, Tu Kahana Sajana Se Sapno Mein Aye Na ought to have been credited to Rajkumar instead of Amirbai Karanatki as is seen now @ HFGK.
Sajan Aao, Man Ki Nagariya Basao – Rupa – Pt. Govind Ram – Rammurti
PhooloN Ko Chhed Kar Cheed Kar Vaade Sada Chali Gai – Shah-e-Misar- Shanti Kumar – Rupbani
HFGK is silent about the singer.
Tan Pinjare Mein Man Ka Panchhi, Chatak-Chata Kar Bole – Toofan Queen – Chitragupta, M A – Shyam Hindi
We will take up Micro View of Solo Songs of Hamida Bano and Zeenat Begumfor the year 1946 n our next episode.
We now take up the solo songs of female singers whose main body of work falls into the vintage era.
Among the vintage era female singers Rajkumari stands out because of a very distinct melody in her that era’s signature metallic-heavy-bass-oriented-female voices.
Obviously, none of the song I had heard earlier. So I have no means to categorise these songs into the ‘popular’ tag. However, I find many songs very appealing only after a couple of hearings during this project.
Aye Chand Tu Ab Bata De Mera Chand Kahan Hai – Bhakta Ke Bhagwan – Chhanalal Thakur – Kavi Mansavi Prantijwala
Sajani Chhoti Si Hai Baat Dekho Bhul Na Jana – Bhakta Ke Bhagwan – Chhanalal Thakur – Kavi Mansavi Prantijwala
Sharam Se Naina. More Naina Zuk Zuk Jaaein – Dehati – Premnath – Rammurti Chaturvedi
Dekho Ji Aayee Suhani Raat ….Ghataen Chhai Hai Ghanghor – Doosri Shaadi – Govind Ram – Ishwar Chandra Kapoor
More Rote Nain Ro Ro Marenge Tum To Chale Ho – Gaon – Khemchand Prakash – D N Madhok
Shokh Nazaron Ke Machalane Ka Zamana Aa Gaya – Hatimtai – A Kumar
Kal Jamuna Tat Par Aaoge Murzai Kali Hamare Man Ki – Neel Kamal – B Vasudev- Kedar Sharma
Bhool Jate Hai Bhool Jaya Karen Azamate Hai Azamaya Karein – Neel Kamal – B Vasudev- Kedar Sharma
Saiyan Ne Ungli Marodi Re, Rama Qasam Sharma Gayi Main – Parwana – Khursheed Anwar – D N Madhok
Zalim Tera Khayal Satae To Kya Karun – Sajani – L Amar / Afzal Lahauri – Razi Banarasi
The songs for which I could not locate the digital link:
Bhakt Ke Bhagwan Tera Hi Naam Smaran Tera Hi Gun Gaan – Bhakta Ke Bhagwan – Chhanalal Thakur – Kavi Mansavi Prantijwala
When I sort-listed female-female duets for 1948 from HFGK, the number worked out to be reasonably large. However, I could not find digital soft version on the net for almost half of them. Therefore, the songs that I could find YT link can be taken as fairly well-known to those who have good knowledge and interest of vintage era songs. From the perspective of my limited knowledge and interest of the songs of that era, I also found listening to these songs quite interesting.
Shamshad Begum + Geeta Roy – Oh Gori Tera Banka Chhaiya Jeet Ke Aaya Jang – Actress – Shyam Sundar – Raja Mahendi Ali Khan
Shamshad Begum + Geeta Roy – Ankhon Ankhon Mein Dil Se Dil Ki Baat Kah Gaye – Actress – Shyam Sundar –
Amirbai Karanataki + Rajkumari – Basant Chhaya Charon Aur, Ho Chhaya Charon Aur – Amar Prem – Datta Thakor – Mohan Mishra, M A
In continuing our journey of Micro View of Male Female Duets of Other than Mukesh and Mohammad Rafi, we will take up second set of the duet songs today.
Popular Duet Song
Kishore Kumar + Lata Mangeshkar – Ye Kaun Aaya Re Hai Kar Ke Solah Sigar – Ziddi – Khemchand Prakash – Prem Dhawan
The song has got fame as the first duet of Kishore Kumar and Latamangeshkar.
Other Duet Songs
G M Durrani + Lata Mangeshkar – Khamosh Fasana HaimDuniya Se Chhupake Chhupake – Heer Ranjha – Aziz Khan – Vali Sahab
G M Durrani, Rajkumari, Johrabai Ambalewali – Ek Dil Tera Ek Dil Mera – Pt. Hanuman Prasad
HFGK records this as two songs, one a duet by G M Durrani and Rajkumari and the other a parody song by Johrabai, G M Durrani and Chorus.
Shankar Dasgupta + Miss Parvez – Ay Dil Abhi Tu Sabar Kar Teri Bhi Baari Aayegi – Ham Bhi Insaan Hai – H P Das, Manna Dey – G S Nepali
Allaudin + Shamshad Begum – Sawan Ke Din Aaye Balama Sawan Ke Din Aaye Hai – Kaajal – Ghulam Mohammad, D N Madhok / Shakeel Badayuni (?)
Ram Kamlani + Joharabai – Mere Dil Ka Phate Nahi Kahi Atom Bomb – Lal Dupatta – Gyan Dutt – D N Madhok
Karan Diwan + Shamshad Begum – Mujhe Jaane Tum Se Pyar Kyon Hai – Mitti Ke Khilone – Bulo C Rani / Hans Raj Behl (?) – B R Sharama
Ram Kamlani + Surinder Kaur – Chori Chori Mori Atariya Aa Ja Re – Nao – Gyan Dutt – D N Madhok
Krishna Goyal + Meena Kapoor – Balam Mohe Man Se Na Apne Bhoolana – Raees – Manohar Arora _ Kaisar Sabai
Suresh+ Suraiya – Rootho Na Tum Bahar Mein, Mausam-e-Khushgawar Mein – Rang Mahal – K Datta+ V Balsara (?) – ShivKumar
Ram Kamlani + Shamshad Begum – Hamari Baat Ka Kyon Tum Ko Aitbar Nahi – Rangeen Zaman – Pt. Govind Ram – Pt. Fani
We will take up micro view of Female Female Duets of 1948 in our next episode.
We now take up the solo songs of female singers whose main body of work falls into the vintage era.
Raajkumari is one of those singers who has left quite profound impact during the transition period from vintage to golden era. In terms of numbers, her presence in 1948 appears not to be very comparable to the female singers we have covered so far, however that does not take away the charm of her voice.
Woh Puchchate Rahe Ham Haal-e-Dil Suna Na Sake – Aap Beeti – Haribhai – G S Nepali
Mope Daro Na Tirchchi Nazariya, More Anagana Aao Pardesiya – Hua Savera – Gyan Dutt – Bhagwati Prasad Bajpeyi
Char Dino Ka Mela Sajan Jara Balam Jara Mela Dekh Lo – Hua Savera – Gyan Dutt – Bhagwati Prasad Bajpeyi
Deewana Bana Dala Ho Deewana Bana Dala – Rangeen Zamana – Pt. Govind Ram – Pt. Fani
Main to Ho Gayi Deewani Teri Yaad Mein – Satyanarayan – Hansraj Behl – Sevak
Man Mein Laagi Aag Sajanwa Man Mein Laagi Aag – Toote Taare – Shaukat Dehlvi (Nashad) – Anjum Peelibhiti
Dukh Ke Dard Ke Maaron Ka Kaun Sune Fasana – Toote Taare – Shaukat Dehlvi (Nashad) – Anjum Peelibhiti
Chhota Sa Ye Mandir Hai Kahin Bhool Na Jana – Toote Tare – Shaukat Dehlvi (Nashad) – Anjum Peelibhiti
Na Kisi Ka Aankh Ka Noor Hun – Toote Tare – Shaukat Dehlvi (Nashad) – Muztar Khairabadi
The songs for which I could not locate soft link –
Jug-Jug Jiye Ho Lalla Hamara – Aap Beeti – with chorus – Haribhai – Hasrat Lakhanavi
Chhaayee Vrindavan Mein Bhor Utha Ke Ghoonghat Shyam Nisha Ka – Amar Prem – Dattaa Thakar – Mohan Mishra M. A.
Premi Ki Yahi Nishani Raton Ko Neend Na Aaye – Rangeen Zamana – Pt. Govind Ram – Pt. Fani
Main Zoolungi Jhoola Sakhiyo Bolo Kau Jhoolaye Ho – Satyanarayan – Hans Raj Behl – Sevak
In the next episode , we will take up Micro View of Solo Songs of Surinder Kaur.
Ghulam Mohammed (1903 – 17 March 1968)’s musical scores during the years 1943 to 1949 had established his identity as percussionist who had also gift of composing melodies as well. He had already been successful with the scores of Pugree (1948) and Shair (1949). However, it seems that his concurrent role as assistant to Naushad perhaps had cast some kind of shadow over his own identity as independent music director. This relationship continued till film Aan) 1952. Some historians consider him too naïve a businessman since he continued to assist Naushad even he had getting success by 1948.
The world is too small? or Is it? 