Ravi

Sahir’s Songs of Romance : 19 Films Association with Ravi

Sahir Ludhianvi was one of those rare poets whodi di not mold his poetry to the dictates of the Hindi film music medium. In fact the medium had to come to the terms of his poetry. As such, whether it was his songs of rebellion, or sheer comedy, a qawwali or a mujra or a song of romance, he would rather use an Urdu word as easily as any other would have used a Hindustani word. It was also not necessary that the word he would use would be an easy one, at least for a common listener to understand. But if that was word that only could convey his feeling, he would use that word, with all disregards for the pressures or traditions

Sahir Ludhianvi’s 19 films association with Ravi spanned almost a decade and half, and as such did span over a very wide range of situations and film subjects. It is perhaps this aspect has this relationship a very special chapter not only in the oeuvre of either Sahir or Ravi but also in the annals of Hindi film music.

Ravi (Shankar Shrama) – 3 March 1926 | 7 March 2012 – was as unassuming as simple were his compositions. He developed a very lasting relationship with almost everyone he had occasion to be associated professionally. For example, he went onto compose music for Devendra Goel’s banner right from his maiden film Vachan (1955) to Aadmi Sadak Ka (1997); with almost all production houses of South who were into making of Hindi films, with several hits like Grihasthi, Nazarana, Gharana, Khandan etc. One such major, long, and very fruitful relationship was with B R Films where Sahir Ludhianvi was also strong link of the bond. Ravi has had as many as 21 films with the lyricist Rajendra Krishna, 15 films with Shakil Badayuni besides 19 films with Sahir Ludhianvi.

Because of the simplicity of his compositions, there was school of critics who would not place Ravi at par with some of the other major top-ranking music directors of that time. But the fact remains that Mohammad Rafi got his first ever Filmfare award for Ravi’s Chaudahavi Ka Chand Ho, Mahendra Kapoor for Chalo Ek Bar Phir Se Ajanabi BanJaaye Ham Dono, to be followed with Neele Gaagan Ke Tale Dharati Ka Pyar Pale. Even female stalwart playback singers, Lata Mangeshkar also has one Filmfare for Ravi’s Tum Hi Mere Mandir, Tum Ji Meri Puja and Asha Bhosle fro GariboN Ki Suno. Even an experiment like Salama Agha also had one for Ravi’s Dil Ke ArmaaN AansooN Mein Dhal Gaye. That is more than enough of proof of popular appeal of Ravi’s compositions.

For our present episode, we have remained away from Sahir Ludianvi – Ravi combination’s very popular songs. As such, all the songs of BR Films very successful films, Gumrah (1963), Waqt (1965) and Haaraz (1967) have been filtered out here. We have also left our the popular songs of BR Films’ Aadmi Aur Insaan (1969) and Dhundh (1973).. Also filtered out, on the same criterion, are the songs from Kajal (1965) and Neel Kamal )1069).

It also needs to be noted that Amaanat (1977) – Dur Rah Kar Karo Na Baat Qarib Aa Jao and Chingari )1989), for some or other external factors, were released much later then the actual period of their production

On this note, let us take up Sahir Ludhianvi’s Romantic songs from his 19 films association with Ravi –

Itni Hasin Itni JawaN Eaat Kya Karein, Jage Hai Kuchh Ajib Se Jazbat Kya Karein – Aaj Aur Kal (1963) – Mohammad Rafi

pedoN ke bajoomein lachakati hai chandani
bechain ho rahe hai khayalaat kya karein

sanso mein ghul rahi hai kisi sans ki mahak
…. ….. …… ……. ……………
daman ko chhu raha hai koi hath kya karein
……… … ………. . ………..

shayad tumhare aane se ye bhed khul sake
hairan hai ki aaj nai bat kya kare

Rangin Fiza hai, …. ….. …. Aaja Ke Mera Pyar Tujhe Dhundh Raha Hai …. Ye Kiski Sadaa Hai, Ye Kaun Mujhe Apni Taraf KhiNch Raha Hai …. – Bahu Beti (1965) – Mahendra Kapoor, Asha Bhosle

teri bhi hai ye meri hai, aawaz nahiN hai
…… …. …. …… ….. aye jan-e-tamanna
ye koi raz nahi hai
tu mujhse juda hoke bhi
kab mujhse juda hai
dil dil se mila hai

tum mujhko bulate ho to tala nahiN jata
tum mujhko bulate ho to tala nahiN jata
apne ko kisi tarah sambhala nahiN jata
julfo ka mujhse hosh na aachal ka pata hai
ye kaisa nasha hai

dunia ko bhula kar meri bahoN mein chali aa
…. ……. …… ….. …… ………
jajbat ki befikar panaho mein chali aa
kahte haiN jise ishq wo jine ki ada hai
achha na bura hai

Milti Hai Zindagi Mein Mohabbat Kabhi-Kabhi, Hoti Hai DilbaroN Ki Inaayat Kabhi-Kabhi – Aakhein (1968) – Lata Mangeshkar

sharma ke munh na pher, nazar ke sawaal par
………… ………. ….. …………
laati hai aise mod pe, kismat kabhi-kabhi
…. …. … …… ……… …

khulte nahi hai roz dariche bahar ke
… ……. …. ……….. ……..
aati hai jaaneman ye qayamat kabhi-kabhi

tanha na kat sakeinge javani ke raste
….      …..         …..   . . …….. .
pesh aayegi kisi ki zarurat kabhi-kabhi
… … …       … … … ..
phir kho na jaaye ham kahiN duniya ki bhid mein
…. …        …. ….. ……..
milti hai paas aane ki mohalat kabhi-kabhi
…..   …. …         …..    . … ..

Sama Ye Rut Ye Nazare, Dil Mera Machalne Laga, Jaan-e-wafa, Aye Dilruba, Aise Mein Aa Meri BaahoN mein Aa, Rok Le NigahoN Ke Ishare, Tan Mera Pighalne Laga, Main HuN Teri, Tu Hai Mera, Aa Mere Dil Ki PanahoN Mein Aa – Do Kaliyaan (1968) – Mohammad Rafi, Lata Mangeshkar

shame pe mere, gira de julfe
aankho pe mere, bichha de julfe
aisa jaga de pyar ka jaadu
sare jahan pe chhaye nasha
rok le nigaho ke ishare, tan mera pighalne laga

Ijaazat Ho To Puchhe Aap Hi Se Ke Hum Milkar Bhi Hai Kyun Ajnabi Se Mile Hum Tum Aise YuhiN Naa Samajho Koi Milta Nahi YuNhi Kisi Se – Aadmi Aur Insaan (1969) – Asha Bhosle, Mahendra Kapoor

hazaaroN shaukh kurbaaN us par
jo tumne keh diya hai saadgi se
ajab sa lag raha hai tumse kahkar
ye baatein hum naa kahte the kisi se

meri manzil ki raahine jagmaga do
mohabbat ki sunheri roshani se
safar ki intaha hone naa paaye
sada ka sath lele zindagi se

Jane KyuN Bar Bar Bar Mera Dil Mujhe Kahe Us Se Mil – Paisa Yaa Pyar (1969) – Asha Bhosle

jisse milte nahiN bilkul hi khayalat tere
kyu pareshan hai uske liye zazbat tere
jab bhi wo mujhse mila usne sataya mujhe
mujhko bura to laga phir bhi wo bhaya mujhe

jo tere husn ki tauhin kare us se na mil
jo kisi dusri saztaz pe mare us se na mil
mujhko to jo bhi dekhe raho me aahe bhare
mai kyu kisi pe maru mujhpe zamana mare

ho sake to koi sangin saza do usko
tere kabil nahi wo dil se bhula de usko
usko bhulau kaise itna bata do mujhko
uska irada kya hai kuch to bata do mujhe

Taaro Ki ChhaoN Mein SapnoN Ke Gaon Meon PariyoM Ke Sang Tumhein Jana Hai. So Jao Chain Se Is Kali Rain Se Aage Jo Des Hai Suhana Hai – Samaj Ko Badal Dalo (1970) – Mohammad Rafi, Lata Mangeshkar

gagan tale pawan chale thandi suhani
dhimi dhimi laye mein kahe man ki kahani
aayi rey aayi rey aayi hindol le ke nindiya ki rani
so jao, so jao, so jao
taaro ki chhao me sapno ke gaon me
pariyo ke sang tumhe jana hai

bhaNve teri pita jaisi maa jaisi ankhiyaN
gajab kare jiya hare dhunde kankiya
aayi rey aayi rey
aayi hai tumhe lene phulo ki sakhiya
so jao, so jao, so jao
taaroN ki chhaoN mein sapnoN ke gaon mein
pariyo ke sang tumhein jana hai

khili rahein saji rahein yuN hi ye kyari
hasi khushi jiyo sabhi maa tum pe vari
….. ….. ….. …….. ….
….. … …. ……….. …….. …
aayi rey, aayi rey
aayi rey chanda ke rath ki sawari

Is Dharti Is Khule Gagan Ka Kya Kahna Madmati Madbhari Pawan Ka Kya Kahana, phuloN Bhare Ye Gulsan Hare Magan Hua Tan Man Kya Kahna – Ganaga Tera Paani Amrit (1971) – Mohammad Rafi, Lata Mangeshkar

gawalanoN ka roop ghunghatoN ki aad mein
panchhiyoN ka pyar bairiyoN ki jaad mein
basuri ki dhun khetiyoN ke par se
panghatoN ki nar dole is pukar se
dhadkan badhe nasha sa chade
thirak uthe gagan kya kahna

chappuoN ke rag kah rahe hai pyar se
…… …. …. … … …

jud gaye hai aaj kastiyoN ke tar se
ja raha hai jane kaun kisi ki chah mein
bas raha hai kaon jane kis nigah mein

bas gayi hai nigahein jab kahi tum aaye ho
kya meri pukar sunke bhi paraye ho
…. ….. ….. ….. ….. … …….. …
…… ……….. ….. …… …….. . …
itna intzar roj kar na paungi
rok lungi aaj ya main sath jauNgi
duri ghati to ye duvidha hate to
fir mere sajan kya kahna

Jubna Se Chunariya Khisak Gayi Re, Dunia Ki Najariya Bahak Gayi Re – Dhundh (1973) – Asha Bhosle, Manna Dey

najuk tan or uspe jawani
haye patli kamariyaN
haye re haye re patli kamariyaN
lachak gayi re

balkhati julfein jo dunia ne dekhi
dal fasi gale mein latak gayi re

gusse mein inke ye tewar to dekho
jaise badal mein bijli
haye re haye jaise badal mein bijli
kadak gayi re

Meri Chahat Rahegi HameshaN JawaN, Jism Dhalne Se Jajhbat Dhalte Nahi Maut Aane Se Bhi Pyar Marta NahiN, Dam Nikalne Se ArmaNn Nikalte NahiN – Mehmaan (1975) – Mohammad Rafi

lakh toofan ho hum na ghabrayenge
tu na aayegi milne to hum aayenge
jaan par khelne se jhijhakte hai jo
wo mohabbat ki raho pe chalte nahi
jaan par khelne se jhijhakte hai jo
wo mohabbat ki raho pe chalte nahi

humne choda na chodenge daman tera
jisko apna liya usko apna liya
ho sake to hame umar bhar aazma
mausmo ki tarah hum badalte nahi

tu mile na mile par salamat rahe
dur hi ki sahi tujhse nissbat rahe
zindagi bhar teri mujhko hasrat rahe
hasrato ke bina khwab palte nahi

Cycle Pe HasinoN Ki Toli Dekhi To … Dekhi To Dekhi To Tabiyat YuN Boli, Aye Kash Ke Hum Cycle Hote Tn HathoN mein Handle Hote… Pairo Ke Tale PaiNdal Hote Dabti Uthi SaiNdal Hote Bhar Jati MuradoN Ki Jholi – Amaanat (1975) – Mohammad Rafi, Asha Bhosle, Manna Dey, Chorus

cycle pe jawano ki toli dekhi to
dekhi to dekhi to tabiyat yuN boli
ae kash ke hum sendal hote sode ki bhari botal hote
tab thik se tum dakhal hote sab jhagde abhi settle hote
pachta abe ke niyat kyuN doli pachta abe ke niyat kyu doli

sadko pe pared ye fashion ki ek shakal hai invitation ki
jat kuch bhi banao nation ki tum jaan ho us genration ki
jo dil pe chalati hai goli jo dil pe chalati hai goli

kya bat hai education ki halat hai ye civilization ki
kuch sharam karo position ki yu humse jo conversation ki
kar waoge khopadiya kholi kar waoge khopadiya kholi

kuchh naaz ada ke rule bane romaance ke kuchh school bane
tapori hain hum kyuN tool bane dil de ke tumHein kyun fool bane
is neend humein samjho goli is neend humein samjho goli

Dil Mein Kisi Ke Pyaar Kaa Jaltaa Huaa Deeya, Duniyaa Ki AandhiyoN Se Bhalaa Ye Bujhegaa Kya – Ek Mahal Ho SapnoN Ka (1975) – Kishore Kumar

saanso ki aanch paa ke bhadakta rahega ye
sine mein dil ke saath dhadakta rahega ye

The Lata Mangeshkar version:

wo naqsh kya hua jo mitae mit gaya
wo dard kyaa huaa jo dabaaye se dab gayaa
dil mein kisi ke pyaar kaa jaltaa huaa deeya

ye jindagi bhi kyaa hain amaanat unhi ki hain
ye shaayari bhi kyaa hain inaayat unhi ki hain
inaayat unhi ki hain
ab wo karam kare ke sitam unka faislaa
hum ne to dil mein pyaar kaa shola jagaa liyaa

Har Vaqt Tere Husn Ka Hota Hai Samaa Aur … Har Waqt Mujhe Chahiye Andaj-e- BayaN Aur – Chingaari (1989) – Mahendra Kapoor

phulo sa kabhi naram hai sholo sa kabhi garam
mastana ada mein kabhi shokhi hai kabhi sharam
har subah guma aur hai har raat guma aur
har waqt tere husn ka hota hai samaa aur

bharne nahiN pati tere jalvo se nigahein
thakne nahiN pati tujhe lipta ke ye baahein
chhu lene se hota hai tera jism jawaan aur

+ + +

Basically, Sahir Ludhianvi was rebel at the heart. But his poetry had several other dimensions at his core, than the rebellion. We have closely looked at one such dimension of romance, from several different perspectives, during our present memoir. And yet –

ko_ii bhii us kaa raaz na jaane
ek haqeeqat laaKh fasaane
ek hii jalawaa shaam sawere
bhes badal kar saamane aaye

All the episodes of Sahir Ludhianvi’s sogs of romance with different music directors can be accessed /downloaded as one file by clicking @ Sahir’s songs of romance – Sahir Ludhianvi Centenary.

Hemant Kumar’s Hindi Song Compositions: Male songs – [3] – ‘Other’ Male Singers

This is the third and concluding part of the article – Hemant Kumar’s Hindi Song Compositions: Male songs. The previous parts have covered Hemant Kuamr’s solo songs in the voices of Hemant Kumar |Mohammad Rafi and Kishore Kumar |Manna Dey.

The end of the spectrum of Hemant Kumar’s solo male compositions presents quite unusual variety of, not-from-the-mainstream, male singers. Except for the first and last song, incidentally in the chronological order, all other songs can also be ascribed to not-so-usual song situations. However, one thing that stands out is the Hemant Kumar’s choice of the singer for the song – he has fully leveraged the singer’s voice quality in the first and the last song, while duly accommodating his compositions to the vocal range of the respective singer in the other songs.

Kavi Pradeep

Pradeepji was essentially a poet, but the beauty is whichever film song is recorded in his voice has become a massive hit.

Aao Bachcho Tumhe Dikhaye Jhanki Hindustan Ki – Jagriti (1954) – Lyrics: Pradeepji

When I look at the song now, I realize how imaginatively the song has been conceived, filmed, composed, and rendered. No wonder, we found the song so enchanting in our school days in the latter half of ‘50s.

Chitalkar

Chitalkar (a.k.a. C. Ramchandra) has very rarely agreed to sing a song for other music directors. However, the mutual rapport that both will have developed while working together for Anarkali (1953) seems to have tilted the scales.

Sunaoon Ik Majnu Ka Haal, Ke Ghar Pe Pakati Na Thi Daal – Lagan (1955) – Lyrics: Rajinder Krishna

The song seems to be street song. Hemant Kumar has packed in all possible variations that the situation for the song seems to have demanded and Chitalkar deftly handles his part of the deal.

It is said that Ravi’s original plan was to make a career as a singer, as well. As such, he did pick up every possible opportunity in the beginning of the career. However, he did seem to have finally settled to focus on his music direction career.

Khol Ke Aankhein Dekh Jara…. Dekhi Teri Duniya Duniyawale – Lagaan (1955) – Rajinder Krishna

Whether it is quirk of circumstances or was Ravi’s own choice, but good many of beggar song genre songs that Ravi composed were popular.

Aside:

HFGK records Mohammad Rafi as the singer of the song ‘Dekhi Teri Duniya’ (Lagan 1955). There is a footnote saying that initially the song was recorded in the voice of Ravi.

Therefore, we may surmise that Mohammad Rafi was called in to sing the song with a view to boost the sale of records, and in turn, possibly help the performance of the film at the box office.

Balbir

Balbir (a.k.a. S. Balbir) has had a fairly long active career in the Hindi films. He is said to have sung around 120 songs in the films, but he was so typecast as a co-singer in male-male duet songs that there are hardly a dozen or so solo songs to his credit. To that extent, Hemant Kumar deserves special mention since he has used Balbir’s voice as a standalone singer in the following song, and the duet – O Lili, Yu Tham Ja Mere Aagey Aa Gayi Billi – with Geeta Dutt.

Main Mar Gaya To Likhna Ye Kabhi Mere Afsaane Mein… Arre Hamne To Saari Zindagi Gujaari Kedkhane Mein – Laalten (1956) – With chorus – Lyrics: Shewan Rizvi

Mukesh – In a Version Song

Mukesh apparently did not have solo song composed by Hemant Kumar.

Gori Chori Chori Jaana Buree Baat Hai, Teri Kismat Ki Chaavi Mere Haath Hai – Ek Jhalak (1957) – Lyrics: S H Bihari

Mukesh Geetkosh (Hindi Edition, November 2020) records this as version song, with record number FT21009

Asides:

Here is the song as it appears in the film, in the voice of Hemant Kumar

Anil Kumar

Hardly anything is known of this singer.

Rooh Pyase Hai, Pareshan Hai Oos Raat Ke Baad – Oos Raat Ke Baad (1970) – Lyrics: Gohar Kanpuri

The song is rendered in Mohammad Rafi style.in the credit titles of Oos Raat Ke Baad. The credit of the singer and the lyricist for the title song appears in a separate frame in the credit titles.

This is the video clip of the film. The titles run from the beginning till @2.19 in the clip.

Yesudas

Yesudas was playback voice for many of the songs filmed on Anmol Palekar on the screen., Probably, hence the choice.

Kise Khabar Kahan Dagar Jeevan Ki Le Jaaye – Do Ladke Dono Kadke (1979) – Lyrics: Yogesh

This film is produced by Hemant Kumar’s son, Jayanta Mukherjee. Hemant Kumar, the music director, has easily been able to rhyme in with the NextGen singer in the song.

In this Long Tail of the Other Singers Yesudas is the only exception of being a mainstream playback singer.

On the whole, this representative selection of Hemant Kumar’s male solo songs abundantly endorses the tenet that a music director knows whose voice would justice to the composition.

For the purpose of the debate of deciding whether Hemant Kumar is a better composer or a better singer, we can always have a couple of more of such samples, in the future.

Originally published on SoY as Hemant Kumar’s Male Playback Singers. This is the edited and improved-on-the-inputs-of-discussions-thereupon version.

A single file collated version of the three parts of Hemant Kumar’s Hindi Song Compositions: Male Solo Songs is available for download by clicking on the hyper link.

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

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

First, the major events in December 2019:

Shriram Lagoo (1927-2019): Acting legend and rationalist leaves behind a rich and complex legacy – Damini Kulkarni – The legend of the stage and the screen died in Pune at the age of 92 on 17-12-2019

We also take an opportunity to revisit – The Legend of Dr Shriram Lagoo | Tabassum Talkies

A boy called Yusuf – What would Dilip Kumar, who turned 97 on 11-12-2019, say on the identity debate today?

Ten of my favourite Naushad Songs is a tribute to the memory of Naushad who was born on 25 December 1919.

Dharmendra and Sharmila Tagore: Exploring the silver screen journey of two beautiful stars – The two share their birthdays besides having shared a wonderful on-screen chemistry.

Happy Birthday Dharmendra and Sharmila Tagore! – Here are films featuring the pair – Subhash K Jha recounts, Anupama (1966), Devar (1966), Satyakam (1969), Yakeen (1969), Mere Hamdam Mere Dost (1968), Chupke Chupke (1975), Ek Mahal Ho Sapno Ka (1975), Sunny (1984) as the 8 films the duo have done together.

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

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

अमिताभ बच्चनः ‘एंग्री यंग मैन’ से दादा साहेब फ़ाल्के पुरस्कार तक – Mihir Pandya recounts how Amitabh countered negative factors around him to create and created a dominant space for himself that has brought his career to this miles stone.

Why actor-producer Devika Rani was truly the First Lady of Indian cinema – Alaka Sahani – Actor, star, producer, studio boss. Devika Rani walked a path that few women in Indian cinema have managed to. As a new play on the pioneer gets ready to tour, a look back at her journey.

Devika Rani with Najam-ul-Hussain in Jawani Ki Hawa. (Photo: Wirsching Foundation)

We pick up other tributes and memories:

Asha Bhosle and the Five Elements that balance her struggles, and later her career: Earth (Ab Ke Baras Bhej Bhaiya Ko Paarti), Fire (Ye Kya Kar Dala Tune Dil Tera Ho Gaya), Water (Do Boonden Swan Ki, Ek Sagar Ki Chhip Mein Tapake ..), Air (Aage Bhi Jaane Na Tu..), Ether (Khaali Haath Shaam Aayi Thi ..)

Hans Jhakhar takes up two vital facets of the Ravi saga on SoY with Ravi and Asha Bhosle: A class combination and Shakeel Badayuni: Revitalising bond with Ravi

Khayyam and Asha Bhosle is the selection of Asha Bhosle’s songs composed by Khayyam. We have taken one song here to get the feel of the songs presented in the post:

Taaron Se Ankhiyaan Milaoon Main – Dhobi Doctor (1954) – Lyrics – Majrooh Sultanpuri

Shailendra’s Teesri Kasam: Sapne Jagaa Ke Tune Kaahe Ko De Di Judaai – Teesri Kasam was made in another age and time. But more than 50 years after it briefly lit up the screen before it was yanked off the majestic Apsara Cinema of Bombay, “the finest human document written on celluloid”— as one viewer describes it— continues to live in the heart of every single viewer. Ratnottama Sengupta pays a tribute to the man behind this ‘love-lyric on celluloid’ – Kaviraj Shailendra, with some untold stories about the making of the classic.

Mukesh: A Different Romance in the Voice – Celebrating the uniqueness that was Mukesh – In this article, Monika Kar does not even attempt to list all of Mukesh’s songs that have made an impression, for there are way too many; it simply celebrates this singer for being who he was with sheer sincerity and goodness resonating in his voice.

वर्ल्ड गिटार डेः गिटार पर सुपरहिट धुन छेड़ने वाले वो सितारे जो गुमनामी में खो जाते हैं – Vandana profiles the unsung masters who played guitars in the Hindi film song and helped create some of the most popular songs.

The legendary actor Balraj Sahni as remembered by his son – Alaka Sahani – In a new biography of actor Balraj Sahni, son Parikshat recounts memories of his father’s off-screen life and the troubled yet loving relationship they shared.

The Maestros Called Laxmikant Pyarelal – The first song for which LP played together in the orchestra was a Marathi song – Tinhi sanja sakhya milaalya!! It was after that they became assistants to legendary composers like S D Burman and Kalyan ji Anand ji.

No, I Did Not Forget Noor Jehan’s Birthday! – For those who do not know about the series on this blog – or those who know but would like to look at it again – may please go to last year’s post, which includes links that will take you to prior Noor Jehan posts (including the post from 2015 that includes links to all the others going back to 2009).

Legendary Hindi film composer Usha Khanna shares her life’s journey through music at an event held on 21-9-2019 at Chowdiah Memorial Hall, Bengaluru, reports Shilpa Sebastian R

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

The Silent Tributes which became benchmarks in the Hindi film music and no they are not merely copied or inspired, they are tributes in the real sense. E.g. Bimal Roy filmed a boy sitting on a buffalo while Sadhana sings O Sajana Barakha Bahar Aaye. Gulzar pays tribute Bimal Roy by depicting boy playing flute sitting on the buffalo while the sisters in Namkeen sing – Aaki chali baaki chali

September, 2019 episode of Fading Memories, Unforgettable Songs takes up (Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory : 1958 – 1959. This is in continuation to the series from the previous episodes which had listed some of the song from 1949 to 1954 and 1955 to 1957.

And, now commence the posts on other subjects.

A Paen on Piano, like Aap Ki Haseeb Rukh Pe Aaj Naya Noor Hain or Dheere Dheere Machal Aye Dil-e-Bequrar and so on.

Music composer Vanraj Bhatia claims to be penniless, struggles amid hearing and memory loss

Only 29 of 1,338 Indian silent films have survived. One man is doggedly telling the story of the era – Who knows what’s out there, says Virchand Dharamsey, the writer of the authoritative filmography of the Indian silent film period between 1895 and the 1930s.

Khaike Paan Banaras – Don – The Banaras Paan Effect – Archana Chauhan notes that Tamil remake of ‘Don’, Billa (1980) has Rajnikant taking up the dance steps and the dress to match with that of Amitabh

‘Tawaifs’ of Awadh: The first women of Hindi cinema – Shivani Bhasin – These highly skilled courtesans sang, danced, wrote poetry, and were the purveyors of all that was considered good taste and high fashion.

Other cinemas, other cineastes: on Namrata Joshi’s Reel India is a very wide-ranging book, chronicling of magnificent obsessions – he obsessions of people who live outside the cinematic mainstream, but engage with films in myriad ways, not seeking monetary benefit but doing things because they are compelled to; because cinema is so central to who they are.

Window Romancing With Dev Anand – Amongst all his ways to win his lady love or sing a song, his most favourite style must have been window romancing. So many of his songs are around the doors, windows or balconies crooning soft lyrics in your ears. The takes a glimpse of few such songs and window romance with Dev Anand, e.g. Aise To Na Dekho Ke Hamse Nasha Ho Jaaye – Teen Deviyan (1965) – S D Burman – Majrooh Sultanpuri

The Romantic Rain Songs lists the rain songs of 1990s.

Nothing but melody presents a playlist of songs from the 50s and 60s that do not have any percussion instrument at all

Following the overview article, Best songs of 1946: And the winners are?, we had taken up micro view of Female Solo Songs for 1946 and have covered Suraiya , Shamshad Begum, Part 1 and Part II, Amirbai Karanataki, Zohrabai Ambalewali, Mohantara Talpade and Rahkumari, Hamida Banu, Zeenat Begum, Noor Jehan Khursheed and Kanan Devi, Naseem Akhtar and Paro Devi, and other female singers, viz. Dilshad Begum, Kalyani Das, Meena Kapoor, Neena ( Sitara Kanpuri), Beenapani Mukherjee, Susheela Rani, Jayshree, Parul Ghosh, Shanta Apte, Saraswati Rane, Lalita Deulkar, Anima Dasgupta, Shobha, Jyoti, Radharani, Iqbal Bano (Begum?), Snehprabha Pradhan, Baby Anu, Baby Mumtaz, Geeta Roy and Lata Mangeshkar. We have then concluded the Micro View of Female Solo Songs for 1946.

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:.

Ye Jhulfein Jadoo Sa Kar Rahi Hai, Tauba Tauba – Unreleased song – with Lata Mangeshkar

Abhi Kamseen Ho Nadaan Ho Jaane Jaana – Aaya Toofan (1964) – Laxmikant Pyarelal – Asad Bhopali

Shola Ulfat Ka Bhadaka De Mere Dil Mein Aag Laga De – Aurat (1967) – with Asha Bhosle – Ravi- Shakeel Badayuni

Jaane Kahan Gaye Tum.. Bechain Hai Nazare – Aaja Sanam (1975) – Usha Khanna – M K Javed

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.

Fading Memories…. Unforgettable Songs : August 2019

Shailendra with Hemant Kumar, Ravi and Kalyanji (Anandji)

Shailendra (a.k.a. Shankardas Kesarilal) – B: 30-8-1923 / D: 14-12-1966 – was as much a poet as he was a lyricist. His film songs were easy to sing, easier to understand and even easier to make sense. Most of us remember Shailendra as Shalendra-Hasrat twin and an important angle of Shankar-Jaikishan – Shailndra- Hasrat quadrilateral, Shailendra has very actively paired with several other music directors. Quantitatively, bulk of his 800 songs are composed by Shankar Jaikishan, followed by a fairly large numbers of songs composed by S D Burman and Salil Chaudhary. However, Shailendra’s work with ‘other music directors’ does form a very important ingredient of the whole. For example:

Sabhi Kuchh Lutakar Hue Hum Tumhare is the sole Hindi song in the Bengali film, Indrani (1958, Music: Nachiketa Ghosh)

We have undertaken a series on Shailendra’s songs with other music directors in our episode every August, from 2017. We commenced with ‘Shailendra and “Other” Music Directors’, as an overview and then took up Shailendra and Roshan, the fourth highest combination in terms of number of songs.

Today we will listen to the reprehensive songs from the basket of soulful Shailendra with melodious Hemant Kumar. We have also combined Shailendra’s songs composed by Ravi and the his one-only song with Kalyanji Anandji. We have stitched the warp of Shailendra’s songs by these three music directors with a common weft of one Song Man Dole Mera Tan Dole (Nagin, 1954), which was composed by Hemant Kumar, set to music by Ravi, as assistant of Hemant Kumar, for which the been (pungi) was played by Kalyanji (Anandji) Virji Shah on clavioline.^[1]

Shailendra with Hemant Kumar

Hemant Kumar (a.k.a. Hemant Kumar Mukherjee) – B: 20-6-1920 – D: 26-9-1989 – commenced his career in Hindi Films, as a singer first, with Irada (1944) song Aaram Se Jo Raaten Kaate, (Lyrics: Aziz Kashmiri), under the baton of Pt. Amarnath and as a music director in Filmistan’s Anand Math (1952).

As sweet as any coincidence can be, Shailendra penned the majority of the songs for this film. Shailendra and Hemant Kumar teamed up for two more films (Chand and Hum Bhi Insaan Hai, both 1959) and one song for Masoom (1960) in the roles of lyricist and music director respectively.

Aside:

Shailendra also combines with Hemant Kumar as a playback singer – Shankar Jaikishan’s compositions Yaad Kiya Dil Ne Kahan Ho Tum (Patita, 1953) and Rula Kar Chal Diye HasiN Ban Ke Jo Aaye (Badshah, 1954), in addition to the songs discussed separately in the present post.

Naino Mein Saawan, Man Mere Phagun, Palchhin Jale Aur Jalaye Yaad Aye Bachpan, Yaad Aaye Re – Anand Math (1952) – Geeta Dutt

Geeta Bali reminisces the memory of her journey from her parent’s home to the present times in the Math. The pathos of the lyrics are so well captured in Geeta Dutt’s soft tone. The composition of the song also reflects the different moods of the song at different stages.

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

On one hand, Geeta Bali successfully attempts to divert attention of the British soldier by carefully modulated initial recital of first set of lyrics, while also challenging her love, Pradipkumar, with the carefree rendition of her part of the song. However, palpable tension, on both counts, is evident in Pradeep Kumar’s response. Geeta Dutt and Talat Mahmmod have captured the mood the song in totality.

Aside:

Pradeep Kumar made a dbut with Anand Math.

Kabhi Aaj Kabhi Kal Kabhi Parso – Chand 1959– Lata Mangeshkar,Suman Kalyanpur

We have here a one of the few rare Lata- Suman duets. Hemant Kumar dexterously presents a fast-paced dance song.

Hai Re Kismat Ka Andher Hai Re Banate Der Lage Na Bigadate – Hum Bhi Insaan Hai (1959) – Hemant Kumar

The opening notes of flute is picked up by Hemant Kumar to express the despair of dark phase of the life.

Oonch Neech Ke Bhed Bhula Ke Gale Milo Saare Insaan – Hum Bhi Insaan Hai (1959) – Hemant Kumar

A bhajan composition that has appropriately Shailendra has used to weave in the socialistic thinking.

Phulva Band Mahake Dekho Laheke Daali Daali – Hum Bhi Insaan Hai (1959) – Geeta Dutt, Suman Kalyanpur

Hemant Kumar resurrects pure melody from Shailendra’s wonderful description of the nature, from the eyes of two young friends. Geeta Dutt and Suman Kalyanpur fully blend each other’s individual style into the melody of the duet.

Pyaar Jatake Lalchaaye Mora – Hum Bhi Insaan Hai (1959) – Shamshad Begum

Without any benefit of the video, one is left in no doubt about the gay mood the singer – on and off the screen.

Nani Teri Morni Ko Mor Le Gaye – Masoom (1960) – Ranu Mukherjee

Shailendra comes up with gem of child song by using the first line of folk song. Hemant Kumar also has done an out-of-box trick by using the voice of Ranu Mukherjee, who is his the then very young, daughter.

Shailendra With Ravi

In 1952, Ravi (a.k.a. Ravi Shankar Sharma) – B: 3 March 1926 – D: 7 March 2012 – was discovered by Hemant Kumar who hired him to sing backing vocals in Vande Mataram from the film Anand Math. Ravi assisted Hemant Kumar till Nagin 1954, before he ventured on to his own.

Shailendra and Ravi had four films together, all of them being pre-Chaudhvi Ka Chand (1960). Ravi then went onto work more with Shakeel Badayuni or Sahir Ludhyanavi or Rajendra Krishna, depending upon the film’s production house’s own preference.

Shailendra penned two songs in their first ever joint venture, Dilli Ka Thug (1958) – Chal Ri Ameeren Bhai Chal Re Fakire, A Kishore Kuamr solo and Ye Raatein Yeh Mausam Nadi Ka Kinara, a Kishore – Asha duet we have covered in our overview article.

They then paired for 3 more films.

Ye Kaisi Rut Aayi – Devar Bhabhi (1958) – Asha Bhosle

As compared to a very distinctive style of O P Nayyar, Ravi lent the essential variety to Asha Bhosle’s style of singing, thereby enabling her to establish her position in the playback singing As compared to field.

Kal Ke Chand Aaj Ke Sapne – Nai Rahen (1959) – Hemant Kumar, Lata Mangeshkar

Ravi has so aptly chosen Hemant Kumar for a male playback voice for a song which so evocatively passionate, for expressing the emotions with a restraint when the the couple share each other’s views outside the public glare.

Kal Ke Chand Aaj Ke Sapne – Nai Rahen (1959) – Lata Mangeshkar

A classic twin version which recollects those happy moments when the circumstances have taken an unhappy turn.

Tose Laage Naina Saiyaan Ho To Se Lage Naiana – Nai Rahen (1959) – Mohammad Rafi, Asha Bhosle

Romantic songs cast in semi-classical mode is also very oft-used genre in Hindi films. Ravi uses his simplicity wand to present the song.

Kaun Jaane Re Baba Duniya Mein Preet Parayi – Jawani Ki Hawa (1959) – Mohammad Rafi, Asha Bhosle, Geeta Dutt

Ravi deftly does justice to the street-performance genre song here. Getta Dutt, very sparingly ever used by Ravi, sings for the younger of the girl members of the performance troupe.

Shailendra with Kalyanji (Anandji)

In a very rare occurrence, a lyricist writes songs for a senior music director as well as for two of his erstwhile juniors, in two different cases. Shailendra has done this in this case of Hemant Kumar, Ravi and Kalyanji(Anandji) as well as in case of S D Burman, Jaidev and R D burman. Shailendra himself has penned songs for two such pairs, more than once – Shankar Jaikishan and Dattaram, S N Tripathi and Chitragupt.

Ja Ja Na Chhed Maan Bhi Ja – Satta Bazar (1959) – Mohammad Rafi, Suman Kalyanpur

Shailendra, incidentally, has penned, only one song in this film.

As it happens, the last few songs in the post have Mohammad Rafi as the singer. So we will take up one more song, this time composed by Hemant Kumar, to traditionally our posts with Mohamad Rafi song

Pyaari Bole Bulbul Padosan Bole Kauwa – Hum Bhi Insaan Hai (1959) – i

An absolutely carefree mood song. You don’t get many such song from Hemant Kumar’s stable.

We will continue our quest of Shailendra with other music director in this series in our next episode, next year.

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.

^[1] A tickling trivia on the making of Man Dole, Mera Tan Dole –

There has been a lot of discussion on who created that piece. The cover of the record released by HMV gives credit to Ravi and Kalyanji, who were part of Hemant Kumar’s the then team. Shyamanuja provides some essential, and one very interesting, inputs in his article Who created the classic been music in Man Dole, Mera Tan Dole?.

It was in the year 1954 that Kalyanjibhai’s son Dinesh Shah was born, who has shared Nagin 1954 – Been Music on Clavioline played by Kalyanji Virji Shah for its nostalgic and documentary value.

Carnival of Blogs on Golden Era of Hindi Film Music, March 2019

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

A tribute to Shashi Kapoor on his 81st birth anniversary: The many faces of the legendary Shakespeare Wallah

Rekha speaks through her eyes, which made her my choice for Umrao Jaan: Muzaffar Ali -For every art enthusiast, Muzaffar Ali’s home is a treat to the eyes. Speaking with him about his films while laying focus on his best-known work, Umrao Jaan (1981), we got to know a bit more about him and his process of bringing poetry and art to the 70mm screen and more.

Rarely Heard Ghulam Mohammad – on 51^st death anniversary – the lyrics formed an important part, then the actual tune.

Remembering Ravi through the songs that he wrote, Lata sings for Ravi and The silent giant-killer and the man of many-splendoured talents: Ravi are rich tributes to a music director who did not get credit befitting his success.

Chalo Ek Baar Phir Se Ajnabi – Gumraah – Strangers Once Again – the situation in life becomes such that you start feeling it is better to be strangers than being lovers. Music composer Ravi takes all the care to handle the delicate situation with utmost care. He uses only the piano (violin and percussion is just an accompaniment) and Mahendra Kapoor’s voice to convey Sahir’s thoughts.

The real mesmeriser Talat Mahmood: His best non-film songs capture some of the most remembered non-film songs of Talat Mahmood.

The Story Of A Sindbad – Shankarrao Biniwale, is narrated to us by Kaushal Inamdar in Marathi here. The post is English translation of that article. Shankarrao Biniwale was an accomplished violinist, who went around the world and explored the origins of violin.

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

Farooq Sheikh – A Man For All Seasons, who worked with directors like M S Sathyu, Satyajit Ray, Muzaffar Ali, Sai Paranjape, Hrishikesh Mukherjee, Yash Chopra, Ketan Mehta, Ayan Mukherjee.

On Kundan Shah, Paigham, and Vyjayanthimala as the comic foil recollects a lighthearted scene in the 1959 Dilip Kumar-Vyjayanthimala-starrer Paigham

Flashback series: human pain and human comedy in Boot Polish (1954) recommends seeing the film because two child actors get top billing in a 1950s Hindi film… and earn it

March, 2019 episode of Fading Memories, Unforgettable Songs takes up S N Tripathi: Unremembered music director of remembered songs :1957 – 1960. This is the 3^rd article in the series on S N Tripathi. First two covered his songs from 1941 to 1950 and from 1951 to 1956 respectively in 2017 and in 2018.

And, now the posts on other subjects:

Barahmasa in film songs = Literally meaning ‘twelve months’, in music it refers to folk or light classical form of north and east India, sung primarily in the rainy season. E.g.

Barkha ki raat aye manwa by Pankaj Mullick from Adhikar (1938), music Timir Baran
O varsha ke pahle baadal mera sandesa le jana by Jagmohan Sursagar from Meghdoot (1945), lyrics Faiyyaz Hashmi, music Kamal Dasgupta

His girl Friday: Sanjeev Kumar and the ‘computer’ in Trishul, an economical, unobtrusive little moment in a larger-than-life film. The scene is where we are introduced to the middle-aged version of the businessman RK Gupta, played by Sanjeev Kumar, and his superbly resourceful secretary Geeta (Raakhee). The office scene in Trishul isn’t subdued or quirky, but it performs a comparable function – telling us something important about a character, a situation and an environment with a few minute brush-strokes.

Songs At The Opening Credits Of The Movie – Title songs carried a gist of that particular film and the songs at the opening credits sort of served as the preamble of that particular film. Though at times both combined as one and solved both purposes. Opening credit songs might not essentially have the title of film in it. Sometimes the film might also have both, opening credits having the title as well as independent title song. We have picked up a few examples form the article:

Dhund,

Umrao Jan

Rang Birangi – serves the purpose of title songs and an opening credit song.

Somewhat Cross-dressed Women ‘Romancing’ Women in Performances: Ten Songs from which I have picked out a few, which are relatively less-known-

Chaakuwaala chhuriwaala (Al Hilal, 1958):
Dupatta mera mal-mal ka (Adalat, 1958)
As-salaam alekum babu (Kalpana, 1960)
Jawaani jala bedardi (24 Ghante, 1958
Chhodo chhodo ji baiyaan mori (Baradari, 1955)

Few Marathi songs by prominent Hindi singers has listed Marathi songs sung by Geeta Dut, Sudha Malhotra, Mukesh, Manna Dey, Hemant Kumar and Moahammad Rafi, obviously excluding Lata Mageshkar, Asha Bhosle and Suamn Kalyanpuar. The post ends with a note on Lata Mangeshkar’s connection with Marathi cinema – a music director. Sixty-nine years back Lata Mangeshkar debuted as a Music Director in the Marathi movie Ram Ram Pavhana (1950). It is to be noted that in her first movie as a composer she used her own name. And it’s not clear why in the later four Marathi movies she gave music under the pseudonym- Anandghan. Anonymity I guess. Her music was one of the 8 state awrds that Sadhi Manas got.

How SD Burman became as famous as the singers he worked with despite his thin, nasally voice – In edited excerpts from a reissued biography – Incomparable Sachin Dev Burman – on SD Burman (known as Dada), H Q Chowdhury reopens the debate: was he a singer-composer or a composer-singer?

Who wrote the classic Hindi film ‘Aandhi’? And was it based on Indira Gandhi? Gulzar clears the air – In edited excerpts from an interview, by Saba Mahmood Bashir, in ‘Aandhi Insights into the Film’, Gulzar reveals how his Suchitra Sen-Sanjeev Kumar starrer got made.

Khilte Hain Gul Yahan – Sharmilee – Of Roses And Romance – One version rendered by Kishore Kumar and the other by Lata Mangeshkar. One is happy, the other is sad. The opening lines of both songs depict the sense of the opposites in the songs.

Songs with a Surprise! Share the opening lines by chance. The post has put up quite demaninding filters for the selection of these songs

- The words should be from the opening lines of the songs
- The songs should share at least four words.
- The songs should not have been inspired from a well known ghazal or a bhajan,
- The songs should be from two different films

Teri Dhoom Har Kahin – Kala Bazaar – Money Matters is a praise money situation –

Sooraj ke jaisi golaai
Chanda ki thandak bhi paayi
Thanke toh pyare duhai
Lai lai lai lai
Teri dhoom har kahin
Tujh sa yaar koi nahin
Hum ko toh pyare tu sab se pyara

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

Duniya Ki Haalat Naram Naram, Halwa Chhodo, Poodi Chhodo, Bajhiya Yeh Kha Lo Garam Garam– Guzara-1(954) – Ghulam Muhammad – Raja Mehdi Ali Khan

Ghoda Peshauri Mera Tanaga Lahori Mera – Pyar Ka Bandhan (1963) – Ravi – Sahir Ludhyanavi

Beta Jamure Kah De Duniya Ko Lalakar Ke – Biradari (1966) – With Manna Dey – Chitragupta – Prem Dhawan

Kya Hua Maine Agar Ishq Ka Izahar Kiya – Yeh Dil Kis Ko Doon (1963) – with Asha Bhosle – Iqbal Quereshi – Qamar Jalalabadi

I am also not able resist temptation to recall one of my most favorite song – Ghulam mOhammad creation.

Hai Bas Ke Har Ek Unke Ek Ishare Pe Nishan Aur – Mirza Ghalib (1954)

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.

Mohammad Rafi’s First Solo Song With The Music Director: 1957 – 1958

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

1^st Five-Year Period: 1944 -1948: December, 2016

1944-1946 – 11 December, 2016

1947-1948 – 22 December, 2016

2^nd Five-Year Period: 1949-1953

1949 – 15 July, 2017

1950 -1951 – 10^th December, 2017

1952-1953 – 17^th December 2017

Presently, we are into the 3rd Five-Year Period of 1954 to 1958, of which we have already covered

1954-1955 – 8 July, 2018

1956 – 9 December, 2018

We now take up the 3d and the last piece of the years 1957 and 1958 of this five-year period.

1957

1957 had as many as 187 solo songs of Mohammad Rafi. Apart from the music directors who already have been regularly selecting him, we see music directors, like Anil Biswas, Ajeet Merchant, Shivram Krishna, who had first solo with Rafi in 1956 also opting for Rafi again.

1957 has its own share of Mohammad Rafi’s landmark solo songs from these music directors, like Chal Ud Jaa Re (Bhabhi, Chitragupta); Mohabbat Zinda Rehti Hai (Changezkhan, Hans Rah Behl); Janam Janam Ke Phere (Janam Janam Ke Phere, S N Tripathi); Zindagu Bhar Gam Judai Ka (Miss Bombay, Hans Raj Behl); Na Main Bhagwan Hoon (Mother India, Naushad); Ye Hasrat Thi Ke Is Duniya Mein (Nausherwan-e-Adil, C Ramchandra); Ana Hai To Aa (Naya Daur, O P Nayyar); Jinhe Naaz Hai Hind Par and Ye Duniya Agar Mil Bhi Jaaye (Pyasa, S D Burman); Yun To Hamane Lakh Haseen (Tumsa Nahin Dekha, O P Nayyar) etc.

In terms of numbers, 1957 does not seem to have many of Mohammad Rafi’s maiden solo songs with a music director. But the ones that are there, more than make up for the paucity of numbers.

Dattaram (Wadkar) had had a maiden solo song with Mohammad Rafi that has gone onto become a milestone song. In his later films Dattaram seems to have experimented with other male singers like Mukesh and Manna Dey too. However, his own career unfortunately could not reach the critical escape velocity, for reasons other than his merit as composer.

Chun Chun Kar Ke AAyi Chidiya – Ab Dilli Door Nahin – Lyrics: Shailendra

The song has remained so evergreen, that hardly anything more need to be said about it.

Ramnath has only other picture, Meera of 1947 to his credit. This is the film that was a remake of the Tamil version. Both had M S Suubulaxmi as the lead actor and, obviously, the lead singer. Ramnath was the music director who seems to have been added for the Hindi version.

Radhe Shyam Duniya Door Se Suhani – Aadmi – Lyrics Sartaj Rahmani

Getting to listen the song for the first time!

Jaidev, though did not use Mohammad Rafi in his maiden film Joru Ka Bhai. However, he has several of Rafi’s greatest songs to his credit.

Budhdham Sharanam Gachchami – Anjali – Lyrics: Nyaya Sharma

Even though the song has not attained the level of popularity that the Anil Biswas composition of 1960 film Angoolimal has attained, Mohammad Rafi has full justice to Jaidev’s concept of composing the tune to the spirit of the message.

Ravi made his debut from ‘Vachan’ in 1955. This film had two duets of Mohammad Rafi – a classic tonga song – Jab Liya Haath Mein Haath and one of the pioneering song in the genre of beggar songs – O Babu Ek Paisa De De .

Dil To Kisi Ko Doge Kisi Ke Aakhir Hoge – Ek Saal – Lyrics: Prem Dhawan

Ravi has successfully created a classic-fit composition to Johnny Walker’s signature mannerisms.

Kis Ke Liye Ruka Hai Kis Ke Ruka Hai Karana Hai Jo Bhi Karle Ye Waqt Ja Raha Hai – Ek Saal – Lyrics: Prem Dhawan

Here is another successful experiment of using Rafi’s voice for a background title song. Ravi has used voices of Hemant Kumar (Ulaj Gaye Do Naina) and Talat Mahmood (Sab Kuchh Luta Ke) in the film..

Basant Prakash began his career in Hindi films from 1942. So he becomes one more of vintage era music director to work with Mohammad Rafi. He has composed two solos Dharti Maan Ke Veer Sipahi Jeene Marne Aaj and Gajar Baj Raha Hai Sehar Ho Rahi Hai in ‘Maharani’. I have not been able to locate the digital links to these songs.

S Haridarshan is another obscure music director whose first solo with Rafi, Aya Kar Ke Bhesh Nirala in ‘Shahi Bazaar’ seems to have no soft digital link.

To end the year with live linked song, we reach out a forgotten song from the film which had one Rafi song which remains a milestone even today- Jawan Ho Ya Budhiya Ya Nanhi Si Gudiya – Bhabhi (1957) – Music: Chitragupta – Lyrics: Rajinder Krishna); –

1958

1958 was also quite a productive year for Mohammad Rafi, with as many as 177 solo songs., with a fairly large share of some of the all-time greats like – Tujhe Kya Sunau Main Dilruba (Aakhari Dao, Madan Mohan); Bhala Karnewale Bhalai Kiye Ja (Ghar Sansar, Ravi); Hum Bekhudi Mein Tujm Ko Pukare (Kala Pani, S D Burman); Toote Hue Khwabon Ne (Madhumati, Sail Chaudhary); Man Mora Bawara (Ragini, O P Nayyar); Aaj Galiyon Mein Teri (Sohini Mahiwal, Naushad); Raat Bhar Ka Mehman (Sone Ki Chidiya, O P Nayyar); etc.

1958 has a fair catch of songs befitting our subject.

Mukul Roy, brother of Geeta Roy (Dutt), debuted with Sailaab in 1956, which he had produced too, in association with his sister.

Chhodiye Gussa Huzur Aisi Naraazgi Bhi Kya – Detective – Lyrics: Shailendra

On the Brother Mukul Roy page of the site Geeta Dutt.com, it is noted that the song borrows its main body and interlude from “Bimbo” – a 1953 Jim Reeves song.

Khayyam, technically, could be considered to have made a debut with a 1949 film Parda. But here we have films with his more official name. We have two films in this year. So, instead of choosing which film should appear as the one to include a maiden Rafi solo, I would prefer to place Hai Kali Kali Ke Lab Pe Tere Hush Ka Fasana (Lala Rukh, Lyrics: Kaifi Azmi) in the phigh pedestal of an evergreen song. That leads us to another film, Phir Subah Hogi, in the same year.

Sabki Ho Khair Baba Sab Ka Bhala, De De Bhookhe Pet Ko Roti Ka Tukda – Phir Subah Hogi – Lyrics: Sahir Ludhyanavi

Here is the least noted song from the film which had some great Mukesh songs, including a Mukesh- Rafi duet, Jis Pyaar Mein Ye Haal Ho. The present song is a beggar genre song, wherein chorus of support singers also join Mohammad Rafi.

R Sudharshanam is a music director from the Tamil films, and as such would be content with scoring music for the remake-into-Hindi films.

Jis Dil Mein Lagan Manzil Ki Ho – Matwala – Lyrics: Har Govind

We have what is popularly known as Tonga genre song, wherein Rafi maintains high scale to reflect the high mood of the song.

Iqbal Quereshi, is one of those fairly known music directors, who could not make it as big as his caliber was. He makes a debut this year..

Milke Baitho Jodo Bandhan – Panchayat – Lyrics: Shakeel Nomani

This a background title song, and assuch conveys the core message of the film.

Adinarayana Rao, also is a music director from Telugu films, who makes appearance on Hindi films because of the remakes form the South. He, also, is the producer of Suvarna Sundari, the film that figures presently.

Ram Naam Japna Paraya Maal Apna – Suvarna Sundari – Lyrics: Bharat Vyas

The song is possibly made to cater to the Hindi film audience.

Maa Maa Karta Phire Laadla – Suvarna Sundari – Lyrics: Bharat Vyas

This is a background song, which typically is used a vehicle to carry the film story forward .

Dhani Ram, as per some of the records, was Guru of music directors like Vinod and O P Nayyar.

Botal Mein Band Jawani Peete Peete Dil Jaani – Taqdeer – Lyrics: Verma Malik

A fast paced, drunkad (sharabi) genre song, which I hae listened for the first time.

Is Taqdeer Ke Aage Koi Hi Tadbeer Chalti hai, Agar Chalti Hai Dunia Mein To
Bas Taqdeeir Chalti Hai, Is Taqdeer Ke Age Jhuk Gaye … – Taqdeer – Lyrics: Verma Malik

This appears to be the background song, which typically is played with the film titles.

The receding-from-the-memory song that I have selected to end the present episode is a very unique Madan Mohan composition

Bada Hi CID Hai Wo Nili Chhatriwala – Chandan (1958) – Music: MadanMohan – Lyrics: Rajendra Krishna

Well, on the whole, the third five-year period of 1954 to 1958, for Mohammad Rafi’s maiden solo song with a music directors, has indeed proved to a very rich experience that has refreshed as many known or quite unknown songs, with a large catch of gems as an add-on bonus.

Next year we will take up the 4^th Five-year period of 1959 to 1963, which expectedly should be as interesting as our present 3^rd five-year period.

P.S.

All the three separately posted posts of Mohammad Rafi’s First Solo Song With The Music Director: 1954 -1958 can be accessed at / downloaded by clicking on the hyperlink.

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

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

We begin our March, 2018 episode with two obituaries. One is in memory of Sridevi and the other one is in memory of Shammi..

No One Could Have Expected This Loss – RIP, Sridevi
Sridevi’s superior southern style – Sridevi recast her gamut of talents professionally as an actor to comply with her limited northern brief
The Moonlight Has Dimmed – Sridevi was the quintessential director’s actress, molding herself like clay into what her directors demanded of her. Director Shekhar Kapoor once remarked that Sridevi made love to the camera. The quiet, reserved woman who sat quietly in one corner of the sets, makeup on, waiting for her co-stars to arrive or the shot to be ready, would transform once the director called ‘Action’.

Annu Kapoor on Shammi: In spite of setbacks, she always smiled – Born as Nargis Rabadi in 1931 in a Parsi family Shammi debuted against Sheikh Mukhtar in Ustad Pedro(1949), then as one of the lead actors of Malhar (1951). The film didn’t do well commercially even though she got noticed. Soon after, she was cast along with Dilip Kumar and Madhubala in Sangdil (1952).

We recall here one of her forgotten appearance in Musafirkhana (1955)

And, now, we take up the tributes in March, 2018:

Remembering Baby Naaz, Sridevi’s voice in her early Hindi films – Soumya Rao – Despite achieving acclaim early on as a child actress, Salma Baig spent her later years lending her voice to the cinematic dreams of others.

Chalo Ik Baar Phir Se: The Versatility of Ravi – The trademark of music director Ravi’s compositions? They are hummable, memorable and as alive in our memories as yesterday. Monica Kar looks at the phenomenon this giant, prolific, composer was and what he leaves behind.

Music Composer Ravi & The Golden Age Of Hindi Cine Music – A Suresh Sharma Film, showcasing his last composition

As a matter of mere coincidence, the choice of Romantic Songs by Sahir, in the course of celebrating Sahir Ludhyanavi’s 96^th birthday (on 8^th March, 2018), happens to be duets. Here is one of the rare duets from the post: Chand Bhi Koi Deewana – Pyas (1968) – Asha Bhosle & Mahendra Kapoor – N Datta

Recalling a Fine Actor and Poet – Sajjan (Lal Purohit), born in 1921 was a rare combination of actor and a poet. He wrote several geets that Talat Mahmood crooned in his soft voice:

‘The New York Times’ obituary of Madhubala notes her tragic life, compares her to Marilyn Monroe – The Madhubala tribute, published by ‘The New York Times’, is part of ‘Overlooked’, a series of obituaries of 15 trailblazing women.

Riding in Masculine Style celebrates launching of ROXOR by Anand Mahindra from their US plant. M&M’s Jeep was one popular vehicle which actors have even been singing songs while driving it too. The post lists some cases of actors behind the wheel in a Jeep during a song, whether they themselves were lip-syncing or another actor was, or even if the song was being filmed background

Nasir Hussain-The King Of Musical Hits (16 November 1926 – 13 March 2002) had a ear for good, popular music.. He started his career as story writer in 1948. The famous films he wrote for Filmistan include Anarkali (1953), Munimji (1955), and Paying Guest (1957)

March, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to: S N Tripathi: Unremembered music director of remembered songs:: 1951 – 1956 in continuation with March, 2017 episode of his songs from 1941 to 1950.

And, now the posts on other subjects:

Parody songs: Part 1 and Part 2 are single parody songs and medley of songs respectively.

Songs in the praise of Nature lists the songs that mainly describe the beauty of nature, and also some may describe its connection to the character singing the song. E.g.

Mausam Hai Jawan – Tower House (1962) – Asha Bhosle – Ravi – Asad Bhopali

The Trio of DEV ANAND,DILIP KUMAR and RAJ KAPOOR in 1960s combined to formed the trilogy of the Indian cinema in the 1950’s and 60’s. All the three started their career as Hero before Independence. In the 1950s all of them were in the peak of their career. Each had their own brand value and distinct persona and loyal following. ..

Love gets spooky in ‘Lag Ja Gale’ from the suspense thriller ‘Woh Kaun Thi?’ – Nandini Ramnath – The song from Raj Khosla’s classic features Sadhana at peak etherealness. A remake of Raj Khosla’s Gothic-style suspense thriller Woh Kaun Thi? (1964) is on the cards. To be produced by KriArj Films, the movie will retain two of the biggest reasons behind its success: the songs Naina Barse Rimjhim Rimjhim and Lag Ja Gale.

Bollywood’s Connection with Goa – Goans played a major role in Bollywood music until the 1980s,Initially only Goans, having trained in Western music, knew how to compose music for orchestras, with a multitude of instruments playing in harmony.The biggest connection with Goa is Lata Mangeshkar and Asha Bhosle who are from Goa.

‘Devdas’ to ‘Daas Dev’: What torch songs say about Indian cinema’s favourite tragic hero – Archana Nathan – There’s a song to fit every mood in every adaptation of Sarat Chandra Chattopadhyay’s classic novel.

In our tradition of ending our post with article on Mohammad Rafi or a topical song of his, I have picked up songs that basically have link with the topics discussed in the present post, i.e. two songs filmed on Shammi but wherein Mohamamd Rafi playbacks and one of the many Ravi- Sahir compositions for the year 1963. The second of the Rafi song on Shammi also is penned by Sahir Ludhyanvi ::

Thoda Sa Dil Lagaa Ke Dekh – Musafirkhana (1955) – with Shamshad Begum – O P Nayyar – Majrooh Sultanpuri

This is an Asymmetric Duet where Rafi is in the support role.

Jahan Jahan Khayal Jata Hai, Wahan Wahan Tumhi Ko Paata Hai – Bade Sarkar (1957) – with Geeta Dutt – O P Nayyar

Itni Haseen, Itni Jawaan Raat Kya Karein – Aaj Aur Kal (1963) – Ravi – Sahir Ludhyanvi

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

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’

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

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

We will commence our present episode with My Favorites: Songs of Spring. The only restrictions placed in the selection of the songs were that the lyrics should actually mention the word ‘Spring’ in any of its synonyms – Bahaar. Basant. Vasant- and that the picturisation should show some signs of the season, even if it only means that the song is picturised outside. This is why Aaya basant hai aaya from Subhadraharan (1964) or Dekho mausam kya bahaar hai from Opera House (1961) do not make it to the list. It’s also why Ketki gulaab juhi (Basant Bahar / 1956) is missing from this list, even though the lyrics describe the season so well. Here are some of the less heard songs from this list –

Bahaar aayi khili kaliyan – Alif Laila (1953) – Lata Mangeshkar – Shyam Sundar – Sahir Ludhianvi
Aayi bahaar hai – Hamari Shaan (1951) -Kishore Kumar, Shamshad Begum – Chitragupt – Raja Mehdi Ali Khan
Din suhane mausam bahaar ka – Poonam (1952) – Lata Mangeshkar – Shankar Jaikishan – Shailendra
Shaam-e-bahaar aayi – Shama Parwana (1954) – Mohammed Rafi, Suraiya – Husnlal Bhagatram – Majrooh Sultanpuri
Aayi jhoomti bahaar – Insaniyat (1955) – Lata Mangeshkar, Talat Mehmood – C Ramchandra

I have also added one from my side –

Bahar Ban K e Who Muskaraye, Kali Ghata Tu Na Chaaye To Kya, Baag-e-Shabad Tu Na Aaye To kya – Apne Huye Paraye (1964) – Lata Mangeshkar – Shanker Jaikishan

We now move over to our regular Anniversaries section.

Lalita Pawar: The Dominating Matriarch And Scheming Manthara – A tribute to the prolific Indian actress, with some interesting anecdotes on her life and times By Niilesh A Raje on her 100^th birthday .

Lalita Pawar - in 1940s

Before she met with a freak accident in 1942, Lalita Pawar- born Amba Laxman Rao Sagun on 18 April 1916 – used to play the lead roles.

We have one song from a 1938 film. The clip does not have the original soundtrack with video, but the video uploader, Shalin Bhatt has filled in the gap with some rare images of Lalita Pawar

Sakhi Prem Sudhaa Bharne Aayi – Duniya Kya Hai (1938) – Music: Anna Saheb Mainkar .

Big FM had a Lalita Pawar Birthday Special

The Swar Kokila Kanan Devi – A tribute to Kanan Devi (22 April 1916 to 17 July 1992) on her birth centenary – Here is pip into her well-known and not-so-well-known songs –

Tum Manmohan Tum Sakhiyan Sang – Haar Jeet (1940) – RC Boral
Zara Nainon Se Naina Milaye Jao Re – Hospital (1943) -Kamal Dasgupta – Pt Bhushan
Lachhmi Moorat Daras Dikhaye –Street Singer (1938) -RC Boral – Arzoo Lakhanavi
Ye Duniya Toofan Mail – Jawab (1942) – Kamal Dasgupta and its Bangla version

On Mac Mohan’s Birthday, Remembering Sholay’s Forgotten Villain – Khalid Mohamed completes the whole picture of Mac Mohan’s persona.

Shamshad Begum’s songs by OP Nayyar is a tribute to Shamshad Begum (14 April 1919 – 23 April 2013) on her 97th birth anniversary. The back-to-back posts on Shamshad Begum’s songs by Naushad and C Ramchandra last year there was inevitably a reference to OP Nayyar as he is the third member of the trinity which made the greatest contribution to her. To this list we can expect Hansraj Behl in the future who has77 Hindi songs (solos and duets), and 50 songs from Punjabi films. Shamshad Begum’s songs by SD Burman had been presented under the title East meets West. Here are some of the less heard ones –

Bach Ke Balam Kahan Jaaoge – Naya Andaaz (1956) – Jan Nisar Akhtar
Mohabbat Se Tujhe Inkaar… Tu Laage Mora Baalma – Shrimati 420 (1956) -Majrooh Sultanpuri

‘Jo Bhi Ho Tum Khuda Ki Kasam, Lajawab Ho’: Remembering Shakeel Badayuni By Peeyush Sharma – One rare feat (for those times) that gets associated with Shakeel is his hat-trick of Filmfare Best Lyricist Awards in the years 1961, 1962 and 1963. Forty six years ago, on 20^th April, lyricist, poet, shayar, Shakeel Badayuni breathed his last owing to diabetes related complexes. He was just 53 years old

Two of his great ghazals, rendered by Begum Akhtar

Silsila Khatm Na Hoga Mere Afsaane Ka: Shakeel Badayuni, a Tribute – Pavan Jha – He sang his own song in Paak Daman (1957)

We now take a look at posts on other subjects –

Simple melodies of Ravi would normally have dominance of santoor and flute in their orchestration. In most of the cases, the lyrics came first and the tune later. Please enjoy 24 of his lovely songs from LINK TO SIMPLE MELODIES OF RAVI.

Ten of my favourite funny songs is a list of ten songs that are actually funny, funny because of the lyrics, the rendition, the picturization—whatever (in some stellar instances, all of the above). These may not be songs that make one laugh out loud, but they are songs that always make you smile rather more widely than usual.

We have picked up a couple of less heard songs

Lipstick lagaanewaale – Shrimatiji, 1952 – Shamshad Begum – Jimmy
Aa thha jab janam liya thha – Biwi aur Makaan, 1966 – Mukesh, Hemant Kumar . Manna Dey – Hemant Kumar

How Bhupinder Singh blends the ghazal with the guitar – Bhupinder had a tough call to take: should he be behind the microphone or strum a guitar? Having both wasn’t going to be easy. Some of Rahul Dev Burman’s greatest songs, including “Dum Maro Dum” (Hare Rama Hare Krishna, 1971), “Chura Liya Hai Tumne” (Yaadon Ki Baaraat, 1973) and “Mehbooba Mehbooba” (Sholay, 1975) were backed by Singh’s musical fingers. Singh has a formidable body of work in film music, having sung for over 50 films. “Dil Dhoondta Hai” (Mausam, 1975), “Naam Gum Jayega” (Kinara, 1977), “Karoge Yaad Toh” (Bazaar, 1982), “Kisi Nazar Ko Tera Intizaar”(Aitbaar, 1986), “Baadalon Se Kaat Kaat Ke” (Satya, 1998) are just a few of his most popular songs, but the ones that need to rediscovered, like the man himself.

‘In Aradhana, Sachin Karta Gave Me My Life’s Biggest Hit’: In Conversation with Shakti Samanta By Peeyush Sharma -In this never-published-before interview, Shakti Samanta recalls the superlative and everlasting music that became the hallmark of his films.. Shakti Samanta made four films each with O P Nayyar, Shankar Jaikishen and S D Burman. With R D Burman, he did the maximum number of films – 11 in Hindi plus four more in Bengali. Three of his films were with the famous Bengali singer-composer Shyamal Mitra and two each with Ravi and Ravindra Jain.

The post has several very-well songs. I have located one which is not much heard.

Dekho Dekho Jee Balam – Bahu (1955) – Geeta Dutt, Talat Mahmood – Hemant Kumar – S H Bihari

Kite (Patang) Songs is a result of several factors that happened in the background. To us what matters is the outcome –

Meri Pyari Patang – Dillagi (1949) – Shamshad Begum, Uma Devi – Naushad
Main Ban Patang Ud Jaoon Re – Dupatta (1952) – Noorjehan – Firoze Nizami
Piya Main Hoon Patang Tu Dor – Raagni (1958) – Asha Bhosle, Mohammad Rafi – O P Nayyar – Jaan Nissar Akhtar
Lak Patala Patang Uton Gora Gora Rang – Yakke Wali (1957) – Zubaida Khanum, Zareef, Azra Sultana – G A Chisti

Hindi film songs in Swahili – Manish Gaekwad – Taarab, a fusion of Indian, Arabic, and African sounds popular on the Swahili coast of Southeast Africa, has a special place for Hindi film music. Traditionally sung in the Swahili language at weddings and social gatherings, Taarab songs weave several themes into the lyrics, including romance and politics…… There are over two dozen of these songs on YouTube – yet another instance of the phenomenal popularity impact of Hindi film music beyond its traditional markets.

Nutan on the sets of Laila Majnu (November, 1953)

Costumed as Laila, the youthful Nutan signs autographs for fans who visited the “Laila Majnu” set

Madhubala Goes Chinese (January, 1957) – Members of the Chinese Women’s Delegation dropped in on madhu bala-chinese the sets of Om Prakash’s – whom most of us know as a veteran comedian and character actor – “Gateway of India” the day they arrived in Bombay. Madhubala welcomed them cordially and is seen chatting with two of the members.

Om Prakash entertained the Delegation to the screening of a special Chinese song-and-dance number filmed for “Gateway of India”. – Chal Mere Dil Ke Udan Khatole Udata Ja Tu Hole Hole – Mohammad Rafi – Madan Mohan- Here Madhubala, Bhagwan and a party of Chinese children dance together.

Madhubala – The Biggest Star in the World – by David Cort for Theatre Arts – August, 1952 – The actress, born Mumtaz Ataullah in Delhi in 1933, with the greatest following, in numbers and devotion, is not to be found in Hollywood, but on the opposite side of the planet — in Bombay, India.

Poster of 1951 film 'Badal', based on Robin Hood theme — Poster of 1951 film ‘Badal’, based on Robin Hood theme

‘Badal’ was quite successful. Most of the songs of the film also had done well. We will take up one of those for the records

Do Din Ke Liye Maheman Yahan – Badal (1951) – Lata Mangeshkar – Shanker Jaikishan

Two Timir Baran songs –

Mat Bhool Musafir Tujhe Jana Hi Padega – Devdas (1935) – K C Dey
Kaise Koi Jiye…Zehar Hai Zindagi – Baadbaan (1954) – Geeta Dutt, followed by Hemant Kumar in a twin version

We end our present episode with a posts/ articles that cover Mohammed Rafi, from a wide-ranging point of views –

When Dev Anand lent his voice to a Mohammad Rafi song –This is an article that was published on 4-12-2011 – ‘Hurray Hurray’ @0.08 in the song Pyar Mohabbat Ke Siwa Ye Zindagi Kya Zindagi,(Pyar Mohabbat –1966 – Mohammed Rafi, Asha Bhosle – Shanker Jaikishan)is recorded in Dev Anand’s voice. According to some reports, Dev Anand had also lent his voice to another Rafi song from Kala Bazar (1960) – Sooraj Ki Jaise Golayi– S D Burman – by adding ‘Om dhan hai namah’ and ‘Hari dhan hari dhan’ @4.52.

Philatelic Tribute to Great Legend – Mohd Rafi

Rafi 30001

An Open Letter to Rafi Demeanors – J.K. Bhagchandani – The post is a point-to-point rejoinder to the contention that Mohammed Rafi did not have natural pain in his voice for sad songs and he has to bring in sobbing effect to infuse the right impact. The author of the post strongly states that it is not only sad songs that he has provided us with different shades/ sub-genres but almost all genres of songs sung by him have that diversity factor

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