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Centenary Celebrations

Sahir’s Songs of Romance – Eight Films Association

The poet in Sahir Ludhianvi never allowed his lyricist exterior to compromise with the poetry not being given status equal to music. Lyrics for film song normally require very easy words and the meaning for the lay listener to easily align with song. Sahir’s lyrics invariably had perianised urdu touch., That would be just the first hurdle. His poetry was always steeped in the bitter reality of world. The combination ought to be too formidable for lyricist to even stay put in the commercial world of Hindi film music. However, Sahir Laudhianvi could always get a music director who was able to give the structure of his poetical lyrics the wings of music. The end result was Sahir Ludhianvi’s highly successful journey as a Hindi film lyricist during the era which had stiff competition from lyricist of all hues with almost comparable literary competence.

Roshan (Lal Nagrath) -14 July 1917 – 16 November 1967 – was one such music director who had inherent command over the melody. Roshan’s career took off with success of his second film, Malhar (1950). He scored several popular and lasting scores during the ‘50s, and as such, was indeed recognised as a music director with lot of potential. Bu that latent energy had still not reached the stage of escape velocity that could take his career into the orbit of meritorious, versatile and commercially successful as well, music director.it was at that of his career that he was associated with Sahir Ludhianvi in 1960, with Babar and Barsaat Ki Raat. One was a period film, and the other was a sheer romance social. Sahir Ludhianvi also had seen break off with S D Burman after a hugely successful run in the ‘50s till Pyaasa (9157). The association with Roshan in 1960 also proved to be a booster dose to the till now successful run of his career. In the span of seven consecutive years, they did eight films together, with the exception of one (Chitralekha, 1964) all being, more or less, Muslim culture theme ones.

For Sahir, this may have been natural ground for his poetry to Persianized Urdu poetry to flourish, but that also unleashed the Roshan’s potential in the form of composing ghazals, mujhras and qawwalis. The bond had been mutually so strong that when pure Hindu culture-based songs were to be composed for Chitralekha, Sahir brilliantly came up with chaste Hindi lyrics, including for the run-of-the-mill comedy song,  to Roshan’s classical raag based tunes.

Presently, we take up just a few representative romantic songs from this extremely rich treasure of Sahir Ludhianvi’s Eight Films Association with Roshan.

Maine Shayad Pahle Bhi KahiN Tumhein Dekha Hai – Barsat Ki Raat (1960) – Mohammad Rafi

ajnabi si ho magar gair nahiN lagti ho
vaham se bhi jo ho naazuk vo yakiN lagti ho
haay ye phul sa chehra ye ghaneri zulfein
mere sheroN se bhi tum mujhko hasiN lagti ho

dekhkar tumko kisi raat ki yaad aati hai
ek khaamosh mulaaqaat ki yaad aati hai
jahan me husn ki thandak kaa asar jagataa hai
aanch deti hui barasaat ki yaad aati hai

jiski palkein meri aankhoN pe jhuki rahti hai
tum vahi mere khayaaloN ki pari ho ki nahiN
kahiN pahale ki tarah phir to na kho jaaogi
jo hameshaN ke liye ho vo khushi ho ki nahiN

Salam-e-Hasrat Qubul Kar Lo, Meri Mohabbat Qubul Kar Lo – Babar (1960) – Sudha Malhotra

udas najrein tadap tadap kar, tumhare jalwoN ko dhundhti hai
jo kwab ki tarah kho gaye, un hasin lamhoN ko dhundhti hai
…..    …….   …….  …… …..
agar naa ho nagwar tumko toh yeh shikayat qubul kar lo

tumhiN nigahoN ki justju ho, tumhiN khayaloN kaa muddaa ho
tumhiN mere waste-sanam ho, tumhi mere waste-khuda ho
….. ……     …….   …….   …. . 
meri parastish ki laj rakh lo, meri ibadat qubul kar lo

tumhari jhukti najar se jab tak na koyi paigam mil sakega
naa ruh taskin pa sakegi, naa dil ko aaram mil sakega
….  ……     ……     …..   ……
gam-e-judayi hai jan leva, yeh ik haqiqat qubul kar lo

Tum Ek Baar Muhabbat Ka Imtahaan To Lo, Mere Jhunun Meri Vahshat Ka Imtahaan To Lo – Babar (1960) – Mohammad Rafi

salaam-e-shauq pe ranjish bhara payaam na do
mere khaloos ko hiras-o-havas ka naam na do
meri vafa ki haqikat ka imtahaan to lo

na takht-o-taz na laal-o-guhar ki hasarat hai
tumhare pyar tumhari nazar ki hasarat hai
tum apne husn ki azmat ka imtihaan to lo

maiN apni jaan bhi de duN to aitbaar nahiN
ke tum se badhke mujhe zindagi se pyar nahiN
yuN hi sahi meri chahat ka imtihaan to lo

Tumhari Mast Nazar Gar Idhar NahNi Hoti, Nashe Mein Chur Fiza Is Qadar NahiN Hoti – Dil Hi To Hai ((1963) – Mukesh, Lata Mangeshkar

tumhi ko dekhne ki dil mein aarzuein haiN
…..  …..   ……   …. .   .
tumhare aage hi oonchi, nazar nahiN hoti

khafa na hona agar badh ke tham luN daaman
….   ……   …….   …  ….
ye dil fareb khata, jaan kar nahiN hoti

tumhare aane talak ham ko hosh rahta hai
….   ……   ….  ……. ….
phir us ke baad hamein kuchh khabar nahiN hoti

Churaa Le Naa Yumko Ye Mausam Suhaana Khuli VaadiyoN Mein Akeli Na Jaana, Lubhaataa Hai Mujhko Ye Mausam Suhaana Main Jaaungi Tum Mere Pichhe Na Aana – Dil Hi To Hai (1963) – Mukesh, Suman Kalyanpur

lipat jaayega koi bebaak jhokaa
javaani ki rau mein naa aanchal udana

mere vaaste tum pareshaN Na Hona
Mujhe Khub Aata Hai Daman Bachana

ghata bhi kabhi chum leti hai chehara
samajh soch kar rukh se zulfein hatana

ghata mere nazdik aakar to dekhe
in aankhoN ne sikha hai bijli girana

PaoN Choo Lene Do PhuloN Ko Inaayat Hogi, Varana Hamko NahuN Inko Bhi Shikayat Hogi – Taj Mahal (1963) – Mohammad Rafi, Lata Mangeshkar

aap jo phul bichhaaye unhe ham thukraaye
 ….. …..  ……   ……
hamko dar hai ke ye tauhin-e-muhabbat hogi

dil ki bechain umangoN pe karam farmaao
…..   …..   …….   ……  …..
itna ruk ruk ke chaloge to qayaamat hogi

sharm roke hai idhar, shauk udhar khichein hai
….   ……   ……. ….. 
kya khabar thi kabhi is dil ki ye halat hogi

sharm gairoN se hua karti hai apnoN se nahi
…..   …..   …..  ….
sharm ham se bhi karoge to musibat hogi

Chand Takata Hai Idhar Aao KahiN Chhup Jaayein, KahiN Laage Na Najhar, Aao KahiN Chhup Jaayein – Dooj Ka Chand (1964) – Mohammad Rafi, Suman Kalyanpur

phul sakhoN se jhuke jaate hothoN ki taraf
jhoke bal khaake mude aatein hai
ho mude aate haiN julfoN ki taraf
…..    …..   …..   …..
chhod kar inki dagar aao kahiN chhup jayein

maiN hi dekhuN sajan duja na dekhe tohe
kya khabar kaun sautaniya tora
ho sautaniya tora man mohe
….   …..   ……   …….
dil pe dalo na asar aao kahiN chhup jayein

sari najroN se pare sare najaaroN se pare
aasmanoN pe chamakte hue
ho chamakte hue taroN se pare
…   …..   …..    …..   …
odh kar lal chunar aao kahiN chhup jayein

Sun Aye Mahjabin Mujhe Tujhse Ishq NahiN, – Dooj Ka Chand (1964) – Mohammad Rafi

yuN maiN tera Qayal huN, Qayal huN
naaz-o-adaa par mayal huN, mayal huN
….. …… ……
jalwoN ka dam bharta huN
chhup-chhup dekha karta huN
par aye pardanashNi mujhe tujhse ishq nahiN

tu wo dilkash hasti hai, hasti hai
jo kwaboN mein basti hai, basti hai
….  …… …..
tu kah de to jaan de duN
jaan to kya imaan de duN
par aye khaslagi mujhe tujhse ishq nahiN

Chhaa Gaye Badal Nil Gagan Par, Khul Gaya Kajhara Saanj Dhale – Chitralekha (1964) – Mohaamd Rafi, Asha Bhosle

dekh ke mera mann bechain
rain se pehle ho gayee rain
aaj hriday ke swapna phale
ghul gaya kajara sanjh dhale

rup kee sangat aur ekant
aaj bhatakta mann hai shant
keh do samay se tham ke chale
ghul gaya kajara sanjh dhale

andhiyaro kee chadar taan
ek honge do vyakul pran
aaj naa koyee dip jale
ghul gaya kajara sanjh dhale

Aise To Na Dekho Ke Bahak Jayein KahiN Hum, Aakhir Koik InsaN Hai Farishta To NahiN hum, Haaye Aise Na Kaho Baat Ke Mar Jayein KahiN Hum, Aakhir Koik InsaN Hai Farishta To NahiN Hum – Bheegi Raat (1965) -Mohammad Rafi, Suman Kalyanpur

angdaai si leti hai jo khushboo bhari zulfein
girti hai tere surkh laboN par teri zulfein
zulfein na teri chum le ae mahjabiN hum
aakhir koik insaN hai farishta to nahiN hum

sun sun ke teri baat nasha chhaane laga hai
khud apne pe bhi pyar sa kuchh aane laga hai
rakhna hai kahNi paanv to rakhte haiN kahiN hum
aakhir koik insaN hai farishta to nahiN hum

bheega sa jo hai naaz ye halka sa pasina
haaye ye naachti aankhoN ke bhaNvar dil ka safina
socha hai ke ab dub ke reh jayein yahiN hum
aakhir koik insaN hai farishta to nahiN hum

Log Kahete Hai Ke Tum Se Kinaraa Kar Lein, Tum Jo Keh Do To Sitam GaNvaaraa Kar Lein – Bahu Begam (1967) – Mohammad Rafi

tumne jis haal-ae-pareshaN se nikala tha hamein
aasra de ke mohabbat ka sambhala tha hamein
sochte hai ke wahi… …… ….. haal dobara kar lein

yuN bhi ab tumse mulakat nahiN hone ki
mil bhi jao …  ….  …. ..  to koi baat nahiN hone ki
aakhri baar bas ab …. ….  jikr tumhara kar lein

aakhri baar khayalo mein bula le tumko
aakhri baar kaleje se laga lein tumko
aur phir apne tadapne …. …. …. ….  . ka najara kar lein

Saahir Ludhianvi’s Eight Films Association with Roshan can best be explored in more than one article, may be at next opportune occasion(s) in the future. For the present, we ready up for Sahir Ludhianvi’s 18 films dream-like association with S D Burman in the next episode.

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – November 2021

Welcome to November 2021 edition of IXth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

We move on to other tributes and memories this month.

Mehfil Mein Meri presents Lata – Non-film songs, for the period 1975 till 1995 in Part III, after having covered 1954 till 1965 in Part 1 and for the years 1966 to 1975 in Part 2.

Shabana Azmi pens note on mother Shaukat Kaifi: ‘You left and everything went wrong’ – Shaukat Azmi has done memorable roles in critically acclaimed films like Salaam Bombay, Bazaar, Umrao Jaan, Heer Raanjha and Haqeeqat.

The Masters: Roshan (14.07.1917-16.11.1967) – Anyone who loves old Hindi film music will find that, inevitably, there will be a ‘Roshan song’ among their favourites

The out of sight genius Hansraj Behl – A tribute to the great Master Hansraj Behl (19 November 1916 – 20 May 1984) on his 105th birth anniversary

Geeta Dutt and ‘haseen sitam’ of her music: Her relationship with Guru Dutt, love of her life and reason for her downfallShaikh Ayaz – Would the world of Bollywood playback have been different if she hadn’t died relatively young at 41 in 1972?

Geeta Dutt sings for Chitragupt – a tribute eon Chitragupt’s 104th birth anniversary (16th November) and Geeta Dutt’s 91st birthday (23rd November)

We recall Sounak Gupta lyrically tracing the rise of the skylark from the banks of the Meghna, who continues to enthrall music lovers with her dulcet voice, long after dusk has settled and the river has broken its banks in Eternal Wait: The Story Of The Dark Girl By The Meghna (Geeta Dutt)

Remembering Helen on her 83rd birthday is a song Meghwa Gagan Beech Jaanke – Harishchandra Taramati (1963) – Lata Mangeshkar  – Laxmikant Pyarelal – Pradeepji

Phani Majumdar: A Journey Through Life…Ratnottama Sengupta pays a glorious tribute to the filmmaker, exploring his life and works and her own personal memories. In the second part of our 2-part Special Tribute to Phani Majumdar, Silhouette presents Ranotama Sengupra’s translation of exclusive excerpts from Eka Naukar Jatri/ Journey of a Lonesome Boat, the autobiography of Nabendu Ghosh where he fondly remembers his Phani Da.

Remembering Faruq KaiserIn his career spanning over five decades, he wrote around 390 songs for about 115 films. His first movie as a lyricist was Rooplekha (1949) and last movie was Naqab (1989). The latter was released posthumously. He died on 10th November 1987.

Sushmita Sen and Zeenat Aman: Two women, an era apart and always ahead of their time – Known for their grace and poise as well as their talent, Sushmita Sen and Zeenat Aman celebrate their birthdays today. Sushmita turns 46, while Zeenat Aman turns 70.

Remembering the lovable child artiste- Baby Naaz – Born as Salma Baig on the 20th of August, 1944, in Mumbai, she was given the screen name Naaz and as Baby Naaz she went on to become one of the most loved child artistes of the Golden era of our Hindi cinema…Tragically, at the young age of 51, on October 19th, 1995, she succumbed to liver cancer.

Amol Palekar: The relatable boy-next-door who was the antithesis of angry young manSampada Sharma – On Amol Palekar’s 77th birthday, here’s revisiting his relatable boy-next-door era in Hindi movies in films like Gol Maal, Chitchor and Chhoti Si Baat, among many others — which portrayed Amol Palekar as the antithesis of big, blustery Bollywood.

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

In the series of articles on Sahir’s Songs of Romance, commemorating Sahir Ludhianvi’s birth centenary,  we now take up Sahir Ludhianvi’s Five Film Association with O P Nayyar.

November 2021 episode of Fading Memories, Unforgettable Songs takes up Salil Chowdhury and Shailendra’s Songs Fading From the Memory: 1958 to 1960. Till now we have covered the years

1953-1955 in 2018,

1956 in 2019, and

1957 in 2020

Here is a vintage photograph, remembering Satyen Kappu on his 14th death anniversary (27/10) as Ramlal in the movie Sholay (1975), posted on BollywooDirect:

We now move on to posts on other subjects –

What was behind the slow decline of Indian art cinema?Rochona Majumdar – The first blow to art cinema came with the restructuring of the National Film Development Corporation (NFDC) at the end of the decade of ‘80s. One unlikely factor: Richard Attenborough’s ‘Gandhi’, argues a new study.  Gandhi dovetailed with other changes that were contributing to art cinema’s continuing marginalization through the 1980s. One of these was the boom of India’s televisual and video sectors and the “migration of socially relevant content to television.” It was the arrival of globalization from 1991 onward that completely transformed India’s media ecology.

Songs of women for the women by the women – Our culture has sanskars and rituals from birth till the end of life, all accompanied by women’s songs.

What was the secret of the impeccable tuning between composers Laxmikant and Pyarelal?Rajiv Vijayakar – A new biography of the Hindi film music hit-makers includes an edited account by long-time collaborator Amar Haldipur.

Songs with Laughter, where the playback singer laughs and sings. Thus, the laughter is not in the background. Sometimes the laughter is in the mukhda or antara. In some others, it is in the interlude. In a few songs there is just a trace of laughter and in others there is whole hearted laughter.

An Actor’s Actor: Book Excerpt – Here is an edited excerpt from the book, An Actor’s Actor: The Authorized Biography Of Sanjeev Kumar (Authors: Hanif Zaeri and Sumant Batra),looking at the making and release of one of Kumar’s finest films, Aandhi (1975).

Around India’s Towns in Ten Songs, songs that are filmed in places far and wide, songs that go beyond the usual tourist attractions. Songs which make you feel you were, for those brief few minutes, in another town.

The Mela Songs, some of which are shot in a mela setting and others which refer to the mela, either literally or symbolically. Songs shot in a mela setting are largely dance numbers – some of them are rather loud, which is what they would be in a rustic setting.

From Bollywood Rewind – Sampada Sharma – Indian Express’s weekly column:

Micro View of Best Songs of 1944 @SoY concluded the micro-view of the song sof 1944 with  My Top Duets and My top music directors

SoY has also presented an exhaustive analysis to arrive at ‘fairtest outome’ for adjudging the Best Music Director spot for the year 1944 in its Best songs of 1944: Final Wrap Up 4, jointly, in favour of Naushad, Khemchand Prakash and Pankaj Mullik.

All the episodes of Micro View of Best Songs for 1944 @SoY can be read / downloaded from one file, by clicking on the hyper link.

In continuation to our tradition of ending the post with a few songs of Mohammad Rafi, which connect with the posts in the present episode, we take up a few less heard songs composed by Roshan:

Kahin Se Unchi Kahin Se Neechi Sadak Zamane Ki – Malkin (1953) – with Kishore Kumar – Rajinder Krishna

Aa Bedardi Balama Preet Ka Karein Hisaab – Chhora Chhori (1955) – with Lata Mangeshkar – Kidar Sharma

Bade Khoobsurat Bade Woh Haseen Hai Magar Kya KarooN Ke Woh Mere NahiN Hai  – Jashan (1955) – with Asha Bhosle – Rajinder Krishna

GunahoN Ka Chirag Kabhi Na Jal Sakega – Agra Road (1957) with Geeta Dutt, Shamshad Begum – Bharat Vyas

Kadki Tera Nam Hi Clerki – Aji Bas Sukriya (1958) – with Asha Bhosle, Ghulam Mohammad – Farooq Kaiser

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : April 2021

Hasrat Jaipuri – Beyond Shankar Jaikishan: 1959

Hasrat Jaipuri (born Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – has penned  around 2000+ songs for close to 350 films in a fairly long active career as lyricist for the Hindi Films. Even though the widespread impression is that along with Shailendra, his major work was Shankar Jaikishan, he has done sumptuous work with many other music directors. With Shankar Jaikishan, as would be obvious, all the available situations in a film would be shared Shailendra. That would offer Hasrat Jaipuri ample spare time. It is also said that he was also worldly wise to spread his eggs among many baskets. That seems to have made himself open to be associated with other music directors. He is even said to carved out other streams of income with the help of savings generated from the income of songs-writing. 

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

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018

The songs from 1956 -1957 in 2019, and

The songs from 1958 in 2020

Presently, we will refresh the memories of Hasrat Jaipuri’s songs for the year 1959, with Roshan, Dattaram and Kalyanji Virji Shah. Except for two films with Dattaram, Hasrat Jaipuri was neither the sole nor the major lyricist in the films discussed herein. Whether he was chosen for a situation for which he would prove to be a better choice, what sort of rates he would have charged are some of the questions for which it would be interesting to know the reasons.

Roshan

CID Girl (1959)

Anand Bakshi was the other lyricist for the film.

Ik Baat Sun Matwale Kahate Hai Nazar Ke Pyale – Asha Bhosle

This is a signature club song. Roshan has successfully tried hand with using western rhythm instrument in Mukhada and then switching over to Dholak as rhythm instrument in the main lines  Anataras, ending with western instrument rhythm instrument. Hasrat Jaipuri has penned lyrics pregnant with the message enshrouded for those whom the song is actually addressed.

Akiyon MeinDil Khoya Batiyon Mein Dil Khoya, Main Ise Dhoondh Loongi Baabu Asha Bhosle

We have here a club song that is peppier. The song is straightforward a tantalizing one

Dattaram

Qaidi No.911 (1959)

Hasrat Jaipuri was the sole lyricist for the film. Meethi Meethi Baton Se (Lata Mangeshkar) and
Pyar Bhari Yeh Ghatayein (Manna Dey, Lata Mangeshkar) are two well-known songs.

Tere Teer Ko Hamne Pyar Se Dil Mein Rakh Liya – Lata Mangeshkar, chorus

This time Dattaram comes up with club song. However, playback singer is Lata Mangeshkar, who might have agreed to sing the song to help bolster Dattaram’s career.

Tune Mera Maine Tera Dil Le Liya … Do Nain Mila Ke Haye Diwana Kar Diya  – Lata Mangeshkar

This one is street-play genre song. This genre was also a popular genre in those days. Dattaram smartly blends his ‘theka’ with the orchestration pieces of harmonium.

Yeh Khile-Khile Taare Hamare Hain Ishare Aaja Re Aaja – Lata Mangeshkar, Mehmood

This is again a peppy club song that is a blend of tantalization that is impregnated with hidden message to a particular client – dressed up as an Arab, which itself can be a masquerade.

Santan (1959)

Hasrat Jaipuri is sole lyricist here too. Kehta Hai Pyaar Mera (Twin version – Lata Mangeshar  + Hemant Kumar). Dil Ne Use Maan Liya (Mukesh) and Bole Ye Dil Ka Ishaara (Manna Dey, Lata) are the well-known songs.

Aside Trivia: There are at least three other films with this title, a 1946 film (Music: Ramchandra Pal; Lyrics – Anjum Pilibhiti), a 1976 film, which also has Hasrat Jaipuri as sole lyricist with Laxmikant Pyarelal as music director and a 1993 film9 Music: Anand Milind; Lyrics – Sameer).

Chhoti-Si-Dulahaniya Ke Shaadi, Pyari Si Dulhaniya Ki Shadi – Lata Mangeshkar, chorus

Here we have a (all-kid girls) party song so ably created by Dattaram and Hasrat Jaipuri weaving in simple events with meaningful lyrics of a marriage function.

Chham-Chham Mein Naachu Jhumati Bahar Mein, Jane Kis Khayal Mein Baje Man Ke Taar –  Lata Mangeshkar

The young heroine is bubbling with the first acceptance of her love –

Jane Kyu Ye Jiya Lehraye
Raz Hi Samajh Na Aaye….
Haye Re Sharm Si Lagi Haye Re Na Bola Jaye
Haye Re Na Bola Jaye Chhalke Hai Pyar Haye

Jeene Wale Khushi Se Jiye Ja Apne Ansoo Tu Khushi Se Piye Ja – Mohammad Rafi, chorus

Dattaram had so masterfully used choir chorus in the counter melody in this background song. Hasrat Jaipuri dutifully pens lyrics that fits the situation like a T. Mohammad Rafi is his usual theatrics best for such songs.

Kalyanji Veerji Shah

O Tera Kya Kehna (1959)

The film had six songs, penned by four lyricists Gulshan Bawra, Indeevar, Shor Niyazi and Farooq Qaiser, with one song each, in addition to two songs by Harat Jaipuri. No less than eight playback singers have been deployed for these six songs.

Mein Hoon Miss Lali Dekho Nahi Dena Jhatka – Suman Kalyanpur

This appears to be a club song.

Baabu Na O Baabu Na … Dil Maange Dil De DooN, Jaan Maange Jaan De DooN, Teri Ada Pe Main Cheen Aur Japan De DooN – Manna Dey, Mahendra Kapoor, Suman Kalyanpur

The use of Baabu Na (No Please O Baabu) is a very clever ploy. The opening lines of the song set stage for the two competitors, at a club performance, by openly bidding for the common prize of a beauty.

Satta Bazaar (1959)

That Gulshan Bawara (3 songs), Indeevar (2 songs) and even Shailendra (1 songs) are the other lyricists, indeed makes the film as an ideal case to know why these lyricists were chosen for the film. Interestingly, it is also noteworthy that after Anandji joined his elder brother. And the duo was well established, Hasrat Jaipuri has worked with Kalyanji Anandji off and on in films like Jee Chahta Hai (1965, sole lyricist), Ghar Ghar Ki Kahani (1970, 2 songs), Rakhwala (1971, 1 song), Apradh(1972, 1 song) etc.

Aside Trivia: The present film was produced by Ravindra Dave under his production banner ‘Nagina films’. Laxmikant was the assistant to the music director, Kalyanji Veerji Shah – thus both hyphenated respective partners – Pyarelal and Anandji- have to yet to join the respective duo teams.

Kaheti Hai Meri Aankhein, Ye Jaadu Bhari Aankhein, Hua Hai Tum Se Pyar…., Tumhari Yaad Aaye Jiya Ko Tadpaye.- Lata Mangeshkar

Hasrat Jaipuri’s signature beginning with the initial couplet- Sakhi – is seamlessly joined with the principal opening line Teri Yaad Aaye.. in this mujra song

Zara Thehro Ji Abdul Gaffar Rumal Mera Le Ke Jaana… O Main To Layi HuN Jamun Se Bahar, Rumal Mera Leke Jaana – Mohammad Rafi, Suman Kalyanpur

Kalyanji has set the song to the Gujarati folk tune of a garba in this essentially a street play song, rendered by the two Pathani-dressed artists. Hasrat Jaipuri has successfully weaved in the lyrics that spell sweet tit-a-tat between the two protagonists – Sabita Chatterji and Johnny Walker.

Aside Trivia: The sad-faced hero is Suresh, who may be better recalled as an actor who had sung Suhani Raat Dhal Chuki (Mohammad Rafi; Dulari, 1949; Music – Naushad; Lyrics- Shakeel Badayuni)

We will continue with Hasrat Jaipuri’s songs for other music directors in our next (year) episode.


We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month next year too……..

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: April, 2019

Hasrat Jaipuri – Beyond Shanker Jaikishan: 1956 -1957

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

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

1956

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

Music Director: S N Tripathi

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

Music Director: Mukul Roy

Film: Sailaab

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

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

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

Jiyara Baat Naahi Maane Re Kisi Ki – Geeta Dutt

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

Music Director: Chitragupta

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

Music Director: Ramlal

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

Music Director: Vasant Desai

Fim: Toofan Aur Diya

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

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

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

1957

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

Music Director: Dattaram

Film: Ab Dilli Door Nahi

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

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

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

Aside:

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

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

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

Music Director: Roshan

Film: Coffee House

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

Tod Diya Dil Tune Sanwariya – Asha Bhosle

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

Music Director: Basant Prakash

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

Film: Neelofar

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

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

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

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

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

Music Director : Vinod

Film: Mumtaz Mahal

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

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

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

Music Director: N Dutta

Film: Mohini

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

Nainon Mein Jhoome Hai Pyar Savariya – Asha Bhosle

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

Film: Mr. X

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

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

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

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

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

Music Director: O P Nayyar

Film: Johnny Walker

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

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

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

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

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

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

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

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

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

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

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

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music : November, 2018

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

We will take up posts dedicated to commemorate 51st death anniversary of Roshan as THE topic for November, 2018.

Early Days of Roshan is the first of the two parts that takes us through Roshan’s relatively less known journey of 1950s. In the concluding post, well-known, years 1960-1968 – part of Roshan’s career has been covered. Roshan had his usual creative flavor even in the relatively less-known films like Warrant (1961) in this period, as can be seen in the songs as diverse as Hothon Pe Hasin, Ankhon Mein Shararat Raheti Hai (Lata Mangeshkar), Nigahon Mein Yeh Masti Kyon Kyun (Geeta Dutt), O Beimaan Maine Tujhe Pehchan Liya (Asha Bhosle).

Six years after Rafi’s solos by Roshan, and after a tandem series on Roshan and Madan Mohan, Songs of Yore has presented two well-crafted posts on Roshan:

Rafi’s duets by Roshan – Out of the total 92 Rafi-Roshan songs, solos are about 35 and duets 57. Third of Roshan’s Rafi songs belong to eleven years of 1949 to 1959,, and two thirds belong to the nine years of  1960 to 1968.

Roshan’s songs for ‘other’ singers – Apart from qawaalis, whenever Roshan has used other ‘singer’s, the resulting output has been quite everlasting. e.g.  Yeh Ichak Beechak Chhurr  (Baware Nain – 1950- Shamshad Begum)

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

A Eulogy that Touches the Heart – Three-quarters of a century back, a child prodigy from Punjab, the sensational vocalist named Master Madan used to electrify live audiences with his light classical singing of ghazals, thumris and Punjabi gurbanis. But before he became 15 years old, the boy passed away as a result of mercury poisoning, if the rumour is true. He was able to cut just 8 records, through which he is immortalized, especially for rendering two ghazals written by Sagar Nizami: Yoon na reh reh kar humen tarsaaiyeand Hairat se tak raha hai jahaan-e-wafa mujhe…. Our films have featured kids in hundreds of situations as well as songs. On Jawaharlal Nehru’s birthday, Bal Din, the post lists some songs now, but only those where children themselves sing, without any adults singing with them.

Sohrab Modi – His films always carried Social or National Message – (born 2 November 1897) a great filmmaker of the 1930s 1940s.and 1950s. He launched Minerva Movietone in 1936.

Sohrab Modi: The Great Mughal of Historicals – Amrit Gangar║ ISBN : 8183281087, 9788183281089

In the Musical Memory of Meena Kapoor is a tribute to Meena Kapoor on her first death anniversary (B: 1930 – D: 23 November, 2017). In a comprehensive review of Meena Kapoor’s career, Shalan Lal takes a close look at her first 10 films

S D Burman Was Someone Who Adjusted To Changing Times, Therein Lies His Greatness – Anirudha Bhattacharjee – The entire book, S D Burman – The Prince Musician, by Anirudha Bhattacharjee and Balaji Vittal, is full with trivia, minutest details of his work, his career, his unreleased songs, the work which went unnoticed and yet the book focuses on what it should be focussing – his music.

Here is The Concluding Post – S D Burman after S D Burman – the 60s in the S D Burman series that Mehfil Celebrates ‘S D Burman’ Month

That The Song “Gata Rahe Mera Dil” was the Last Addition in Guide is perhaps not a less known story now. Here is a good recount, nonetheless

Usha Uthup – A Journey from Night Club to Bollywood – recorded covers of two pop songs in English, “Jambalaya” and The Kingston Trio‘s “Greenback Dollar”, on an EP.

Runa Laila – The Melody Queen Beyond Borders has listed, among other, her song of a Pakistani ‘Hum Dono’ (1966)

Mala Sinha – One of the most sought-after actresses in the 1950s, 1960s – (born on 11th Nov 1936) was the highest-paid actress from 1958-65

Baazi- The Film that was a trendsetter and gave Bollywood many Legends, like Dev Ananad as a hero, Guru Dutt as a director, S D Burman as a music director and the Kalpna Kartik, the future wife of Dev Ananad.

On the 10th birthday of the blog, Dusted Off, Ten of my favourite songs from films I haven’t watched. In most cases, the films seem to have completely disappeared off the radar.

November, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to Salil Chaudhury’s composition of Shaliendra’s songs for the years 1953 to part of 1956..

And, now the posts on other subjects:

Rahi (1952) – India’s First Film to Venice and Moscow International Film Festivals in 1954 – starred Dev Anand and Nalini Jaywant with Balraj Sahni produced and directed by K A Abbas. The film was based on Mulk Raj Anand‘s novel “Two Leaves and a Bud“. It was produced as a bilingual in Hindi as Rahi and in English as The Wayfarer, under the Naya Sansar banner. It was also dubbed in Russian. The Russian version called Ganga was released in the USSR

When The Moon And Romance Go Together – Moon has fascinated and charmed the poets and the lovers alike. Poets have turned into lovers and lovers have turned into poets because of its beauty. We have folklores singing the praise of the moon too. Here is a list of few such songs.

In continuing the Food and Food Movie Month on Dustedoff, The Food and Food Movie Project, Part 4 is followed by Onscreen Chefs: The Myth and the Reality, Ten memorable food scenes from Hindi cinema..

Mirza Ghalib eats mangoes (Mirza Ghalib, 1954)

Top 20 Bollywood film soundtracks of Golden Era is a very representative selection from the films released in 1940s till 1975.

Coming Down the Musical Notes – If we compare music to adventure sports, it has same thrill of going up the scale like in mountaineering or coming down the scale like in skiing. A song starting from any of these four notes: Sa Re Ga Ma, and then heading up in the mukhda itself is a mountain-climbing, purvaang start song, while any song descending the ski slopes of the saptak, from Sa Ni Dha Pa in the mukhda itself is an utaraang start. You will, normally, find that a large percentage of them belong to the purvaang kind. It is very seldom that you find songs fashioned in the utaraang way. The post has spotted some such songs. Here is one good example:

Aaja o jaan-e-jaan, mere meherbaan (Asha/Hasrat/Ramlal/Geet Gaya Patharone, 1963)

Mi Raat Taakli Mi Kaat Taakli – Jait Re Jait – Liberated In Love – When Shailendra wrote, Tay Kar Liya… Aaj Phir Jeene Ki Tamanna Hai, Aaj Phir Marane Ka Irada Hai, little would he have known that he is going voice to thousands of women. Like Rosie of Guide, Maya of Maya Memsaheb are the examples of the women who had the courage to remove themselves from the situation in life which was unacceptable to them. Present song from Jabbar Patel’s Marathi Film Jait Re Jait (Win Win) is a classic example of art concealing the art.  The film is about winning in life, but losing in love.

The Punjabification of Bollywood – It was B.R Chopra. and Raj Kapoor led the ‘Punjabification’ of the Indian film industry.  Punjabi music was first introduced by Gulam Haider. In the 50s and 60s, we saw the influence of Urdu and Muslim influence in Hindi songs and films besides Bengali.

Urdu sounds are disappearing from Bollywood songsRizwan Ahmad traces the gradual decline of Urdu diction in Bollywood songs from Mughal-e-Azam to My Name is Khan.

To Each His Colour – The history of Films is from monochrome – B&W – to, multicolor films. Wadia Brothers were the first production company to announce a B-grade film entirely in colour. That was the Feroz Khan and Sayeeda Khan starrer Char Darwesh of 1964. The post has listed some colour songs that were from “partly-in-colour” films:

From BIG DATA to Small Cinema? Challenges & Opportunities of Cinema in New Media – The rate of increase of mobile internet subscription is extremely fast .. With ‘big’ data being harnessed by companies, the customer targeting has reached a new aggression. Cinema not only gets changed continuously with respect to the format and projection technologies but with the giant nation slowly but surely getting addicted to the small screen, the bigger question is with so much information about the audience preferences whether cinema is actually becoming ‘small’.

Raat bhar ka hai mehmaan andhera – Lata Jagatiani has remembered the stanza that is in the Original Sountrack of the film:

Yoon hi duniya mein aakar na jaana         
sirf aansoo baha kar na jaana
musuraahat pe bhi haq hai tera
kiske roke ruka hai savera…

Do not just pay a visit to this world,
Don’t go away shedding just tears
You have a right over a smile
Who can ever stop the rise of the morning…

Tere mere milan ki ye raina – Monica Kar discusses how Hrishikesh Mukherjee explores the shades of grey in the husband and wife relationship.

We continue Micro View of Best songs of 1947: And the winners are? with the Duets of 1947, in terms of  Female – Female Duets, Male- Male duet as Triads/Triads+, then conclude with a summary of MY Top Duets so as to end the Micro-View of Songs of 1947  with MY Top Music Directors. All the episodes of The Micro View of Best Songs of 1947 can be read / downloaded from one file, by clicking on the hyper link.

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.

Khali Jebe Ho Kadki Ho, Mera Dil Maage Wo Ladki Ho – Chhora Chhori(1955) – Roshan – Kedar Sharma

Chand Takata Hai Idhar Aao Kahin Chhup Jaen, Kahn Lage Na Nazar Aao Kahi Chhup Jaen – Dooj Ka Chand (1964) – with Suman Kalyanpur – Roshan – Sahir Ludhyanvi

Mere Pyar Mein Tujhe Kya Mila – Suhagan (1964) – Madan Mohan – Hasrat Jaipuri

Gusse Mein Tum Aur Achhi Lagati Ho – Char Darwesh (1964) – G S Kohli – Anjaan

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

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Carnival of Blogs on Golden Era of Hindi Film Music

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

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

Our focused topic for the month of September, 2018 is R K Studios, one of the last icons of the Golden Era of Film-making.RK Studios: The final curtainMadhu Jain – With the Kapoors deciding to sell the iconic studio that was destroyed last year in a fire, a slice of film history has been lost forever – RK Films was in effect a Nargis-Raj Kapoor banner for a few years. Nargis played a much greater role in RK films than is widely known and acknowledged: supervising the lighting on occasion, going into the production details, recognizing the potential of the actress Nadira, giving generously when the money was needed, and much more. She was alongside him through much of their golden years together. They were in sixteen films together, beginning with Aag in 1948 and ending with Jaagte Raho in 1956.

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

Tere mandir ka hoon deepak jal raha, by Vijay Kumar – Pankaj Mullick’s voice had a clarity and a boom that, I am certain, would have reached the man in the last row of a listening audience, without the aid of a mike…He had the voice of a supreme bhakt!

Happy Birthday Lata Didi presents Lata Mangeshkar’s duets or trios with other Mangeshkar sisters.

Madan Mohan’s tuning with Lata Mangeshkar – For all the shared background and their lofty personal bonding, it has ever remained a mystery for many of music lovers as to why Madan Mohan did not use Lata Mangeshkar’s voice in his first film……

The title of the post – Lata Mangeshkar and S D Burman gave Bollywood many Immortal Songs – is a complete statement in itself.

Happy 92nd Birthday, Noor Jehan! has a recently updated playlist of Noor Jehan songs.

O Nigahen Mastana – the most romantic songs ever created by any music director, in which female singer simply hums her part.

The One and Lonely Kidar Sharma: An Anecdotal Autobiography and Anirudha Bhattacharjee and Balaji Vittal’s ‘S D Burman: The Prince Musician’ are the book reviews.

70 Years ago Dev Anand got his first Hit FilmLata Mangeshkar and S D Burman gave Bollywood many Immortal Songs  as Ziddi, in 1948.

Hats off to Dev Anand – Dev Anand was known for very different hats /caps/headgears in different films, He was also very fond of these in his personal life as well.

Dev Anand’s dreams that couldn’t be Fulfilled  gives us a view of Dev Anand’s unfulfilled projects.

In Memory of Dev Anand’s birthday are the songs that Hemant Kumar played back the screen.-

Guide: A Spiritual Odyssey – Dev Anand’s creative effort reached its apogee in Navketan’s Guide, a film that accommodates more than one perspective. On the occasion of Dev Anand’s birth anniversary (he would have been 95 today), Vijay Kumar relives the finer points of one of the finest Hindi films ever made, exploring its streams and currents of thoughts and views.

G P Sippy- A carpet merchant to the maker of Sholay – G P Sippy had turned a construction magnate and then plunged into filmmaking in 1951 with the Dev Anand film Sazaa and rolling of as many 17 films in his career.

60 Years of Madhumati which was released on 12 September, 1958, swept off a big gate collection and a host of awards.

The Musical Journey Of Asha Bhosle is a tribute to her on her birthday (8th September, 1933)

Asha sings for Madan Mohan – I and Asha sings for Madan Mohan – II, are the solos songs and duets/trios etc. respectively.

Roshan aur Madan Mohan ki Asha draws some parallels and some not so parallels in the patterns willingness of the use of Asha Bhosle by these music directors.

Messenger of Love and Peace – 7th September, 2018 is the 40th anniversary of P L Santoshi. The post lists just a few more of his wonderful songs, with the films and singers mentioned. Let us hear this one – Tum Se Hai Pyar Mujhe Tum Se Hai Pyar – Teen Batti Char Rasta (1953)

King of Ghazal Talat Mahmood with Ghazal Maestros Madan Mohan and Roshan and Best of Mukesh by Roshan and Madan Mohan are the two articles in Soy’s series on Roshan and Madan  Mohan that provide finer insight to the use of these two singers by these two music directors.

That Salil Chowdhry – A Creative Genius is evident from the fact that he was Composer, Music Arranger, Poet, Story writer and much more .

The Masters: Rajinder Krishan is a collection of his songs composed by Madan Mohan, and then a select compilation of his work with other directors.

The Guitar That Sang is the recollections of an elder brother of a nine-year older brother, David Vernon (Verni) Liddle, who was a guitarist who played for some of the greatest hits of Hindi cinema.

Sadhana – One photograph that changed her life!  was published in the famous film paper “Screen” publicizing the Sindhi Film “Abaana”.

Piya aiso jiya mein samaye, by Vijay Kumar – Meena Kumari never looked so beautiful, and so fully subsumed in her role, as in this song. An anticipation of a rendezvous in privacy is writ large on her persona. Shakeel too understood the नज़ाकत of the situation and penned words befitting his stature as the poet of romance. And Geeta sang it effortlessly as if giving voice to her own emotions.

September, 2018 episode of Fading Memories, Unforgettable Songs is dedicated (Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory 1955 – 1957

We have two more articles nearer to this subject: Jaiksihan ‘s forte was romantic and western tunes and Hasrat Jaipuri – A Love Letter written in Real Life becomes Immortal in Reel in the form of Ye Mera Prempatra Padhkar……The post lists other Hasrat Jaipuri romantic songs in tribute to him.

And, now the posts on other subjects:

Some of the Great Background Songs of Bollywood – Songs being heard from the background has been a very important genre for Hindi Films. The post has listed many known songs, in alphabetical order.

Aaj Kal Tere Mere Pyar Ke Charche – Brahmachari – Talk Of The Town – Gossip, the communication spreading through the grape wineyard, is autothermic, and once initiated, by a topic like the one in the preceding article, then is almost unstoppable.

In praise of visible film craft is about the simplistic idea that the elements of filmmaking mustn’t draw attention to themselves.

Royal Singing – It is often observed in popular culture that royals do not sing anything; if they do, many people think they should not be doing so. That’s because the arts—especially the performing kind—are seen as trivial affairs. The post lists some songs that were lip-synched by Kings, Queens, Princes and Princesses on Hindi film screen. Actors who portrayed the royals are mentioned too.

Shola Jo Bhadke – Albela – Sparks Of Love – The Cuban percussion at the beginning played by Chic Chocolate warns you of the fire that is about to spread. Geeta Bali herself looking like a luminous spark of that fire, with a Hawaiian lei around her neck, a floral top and a wraparound skirt.

Hindi songs featuring Umbrella, have included the songs where the prop, umbrella is seen throughout the song or at least for a significant portion of the song. Also someone has to handle the umbrella, if it’s just kept there, even if open won’t count for the list.

Badi Der Se Megha Barsa – Namkeen – Withering Woes – There are some who might flaunt that wait when it is over. The show off of that wait you have gone through to your partner might take the romance in your life several notches up. Of course the flaunt is merely a charade to spice up the romance. From here begins the roothna-manaanaa and all the banter. It will also be a treat if this charade of flaunt is in Asha Bhonsle’s voice.

‘Heroine teasing Hero’ songs – Hero ‘Chhed Chhading’ the heroine is a relatively common scenario in Hindi films, but the exact opposite is not that common. No seductive songs are included, as those songs are usually a part of a trap arranged for the hero. So even if it sounds like a teasing song, they don’t count. And, the target should be one single person and not men in general or a group of boys.

Two princes or two paupers? Parvarish, and an identity non-crisis – In view of the SC of India verdict on the Section 377 verdict, the fluidity of identity (sexual and other kinds) assumes a deeper meaning. Here is a reminder of an egalitarian 1950s Hindi film that simply sidesteps the identity question and even lampoons those who get all hot and bothered about it.

Of Trees And Hindi Film Songs – If ecologically, tress provide much needed oxygen, then they also provide a ready nourishment to human love, particularly between a male and a female.

The Ring Given to Suraiya by Dev Anand is still lying in the Arabian Sea – The real story revealed by Dev Anand in his autobiography” Romancing with Life” It was Suraiya herself who threw the ring far into the sea of Bombay only after the last meeting with Dev Anand….It was on the advice of his elder brother Chetan Anand that the actor decided to end his relationship with the actress and concentrate on his film career. While Dev eventually overcame the trauma of a broken relationship and moved on, Suraiya decided not to get married.

Can’t Play Sad Music – One of the world’s most charming musical instruments, the frame drum called tambourine has featured importantly in hundreds of our songs, but yet has unfortunately not been judged in the light it has deserved. This is true not just here, but abroad as well…In India it is called the daffli. Now the daffli also has a big brother called Daff, which is typically a similar frame drum, except much bigger,

The post lists The Songs shot in Shimla or nearby locations

Ventriloquism in Hindi Films is a well-researched post, on an interesting subject.

We continue Micro View of Best songs of 1947: And the winners are? with female solo songs, wherein after having covered solo songs of Suraiya and Geeta Roy,  Shamshad Begum. Rajkumari, Amirbai Karnataki (Part I and Part II) Zohrabai Ambalewali (Part I and Part II), we have now covered Khursheed, Noor Jehan & Kanan Devi, Meena Kumar, Naseem Akhtar and Zeenat Begum, Lalita Deulkar, Sharda Gangul and Mohantara, Paro Devi, Menakabai & Saroj Welingkar, Hamida Bano, Beenapani Mukherjee, Sitara Devi & Lata Mangeshkar in ‘other’ female singers. We have also presented a post that has presented Female Solos that I liked in 1947. We have also moved to Duets of 1947 with those of Mukesh with other female playback singers.

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

The story behind the song”Chahoonga Main Tujhe Saanj Savere” that tells how the song got in from nowhere.

Rsavare Matvare Kajarare Nain Tihare – Holiday in Bombay (1963) – with Balbir – N Dutta – P L SAntoshi

Le Gaya Zalim Ghari Samaja Ke Mera Dhadakata Dil – Bombay Race Course (1965) – Madan Mohan – Rajinder Krishna

Kisi Se Hamne Ye Poochha Mohabbat Kisa Ko Kahate Hai – Garibi (1949) – Bulo C Rani – Rajinder Krishna

O Gawalan Ku Mera Man Teri Chitwan Le Gayi  – Champakali (1957) – Hemant Kumar – Rajinder Krishna

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: August, 2018

Shailendra and Roshan

Shankardas Kesarilal, born on 30 August 1923, popularly known as Shailendra, was known to conjure up songs on a spark after waiting for days on end to write the first line. These songs were always full of meaning, sentiments and yet were never too difficult to comprehend.

Roshanlal Nagrath (14 July 1917 – 16 November 1967), better known by his first name Roshan for the sheer melody of his tunes.

We pay our tribute to these two most cherished names of HFM today, by recalling their less remembered songs. These songs belong to a period when Shailendra had just attained the fame, but Roshan was still in the process of carving out a space for himself.

It may not therefore be a matter of sheer (commercial) chance that films for which Shailendra wrote songs to Roshan’s compositions number just after Shanker Jaikishan, S D Burman and Salil Chaudhary.

Last year, in our article in the present series, we had a Roshan – Shailendra song  Mere Dil Ki Dhadkhan Kya Bole [Anhonee (1952); Talat Mahmod, Lata Mangeshkar]. We take over our journey of Roshan+Shailendra songs from that point of their co-work. For our present article, I have chosen those songs for which I could not recollect the song by just reading the initial words of the song. I have also tried to include as many playback singers as possible while applying the first filter.

Kajraari Matwari Madhbhari Do Ankiyan – Naubahar (1952) – Rajkumari

The song has been placed in the film to convey the real negative feeling which the protagonist (Kuldeep Kaur) had when she was presented to meet a very bright, but a blind, son of a rich man. The song has been set to a mujra dance, which has all the external forms of a very expressive art, but socially carries a negative connotation.

Preet Nibhani Balma Tum Kya Jano O Sajana– Sanskar (1952) – Meena Kapoor

We have only an audio clip available here.

Mil Jhul Ke Kaaton Logon Gareebe Ke Fande – Aagosh (1953) – Hemant Kumar, Indra Meerchandani, chorus

The song gives a call to the people to unitedly fight the poverty and usher in the poverty. The lyrics of the song have been closely aligned with the work of log cutting being carried out by teams of the workers.

Jhilmil Taare Kare Ishaare – Maashuqua (1953) – Mukesh, Suraiya

This is lullaby duet, which is a rather uncommon format for the genre. The song has interwoven the touch of pathos about the ways of the world.

Dil Ki Shiyakat Nazar Ke Shiqve Ek Jhubaan Aur Lakh Bayaan, Chhupa Na Sakun Dikha Na Sakun Mere Dil Ke Dard Bhi Hue Jawan – Chandani Chowk (1954) – Lata Mangeshkar

This song belongs to letter (‘chitthi’) genre of songs. The song has an ebullient, very young, pre-tragedy queen Meena Kumari in the process of writing down her thousands of tales (‘bayaan’) through one pen….

Jawan Ye Zindagi Pyaar Ka Sama – Coffee House(1957) – Asha Bhosle

This is the only song written by Shailendra for this film. In fact Hasrat Jaipuri has written one more and all other were written by Prem Dhawan

Ho-Ho Hone Laga Ye Dil Mein Dard Kaisa…Mitha Mitha Kisi Ke Pyar Jaisa – Aji Bas Shukriya(1958)  – Asha Bhosle

The vivacious Geeta Bali is her at effervescent best, well-supported by rollicking lyrics composed to a very unorthodox tune..

Ik Din Ye Aansoo Banenge Sitare, Kabhi Na Kabhi Din Aayenge Hamare – Heera Moti (1959) – Lata Mangeshkar

Shailendra translates the dream of the adolescent girl of realizing a day that would be her own. Roshan has finely woven the cautious optimism in the composition of the song.

Bata Do Koi Kaun Gali Gaye Shyam – Madhu (1959) – Lata Mangeshkar ║Manna Dey
A very well-known bhajan, cast in a twin song style.

Jaise Court Mein Haakim Ki Chale Re Kalam, Ter Sang Mein, Ho Tere Sang Mein Chaloongi Chaloongi Baalam – Soorat Aur Seerat (1962) – Asha Bhosle

The song is lady’s promise to be a fully-involved co-traveler on the roads of the life. Why Shailendra would have chosen a mundane metaphor of a judge’s pen delivering a judgement for so sentimental a commitment being conveyed remains unfathomed.

To end our present episode with a Mohammad Rafi song we have one more very unique experiment by Shailendra – Roshan combination –

Na Ro Bhai Na Ro,. Main Tera Banadar Dug Dug Naachu –Deep Jalte Rahe(1959) – Mohammad Rafi, Vijaya

The song brings in the essential philosophy of moving on among all the negative circumstances. The song has used metaphor of the servants of the home baby-sitting the toddler who then goes up into a young boy.

When we look back these ’pieces’ of choices of the song, we see a totally new Roshan emerging from the lyrics of Shailendra.  The pattern obviously not conducive to being commercially successful, but nonetheless provides a fine insight into the deep creativity of both, Roshan as well as Shailendra.

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

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

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Carnival of Blogs on Golden Era of Hindi Film Music

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

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

The month of July will now onwards go in records as the month of passing away of (Gopaldas Saxena) ‘Neeraj’.

In Neeraj (1925-2018): ‘I grew so infamous in my time, it will take centuries for me to be forgotten’, Annie Zaidi recalls different aspects of his poetry.

Neeraj-The great Poet and Lyricist called himself an unfortunate poet which led to his stopping himself from writing film songs and restricting himself to just writing and getting his poems published. The reason that he gave for this was that at least two or three prominent music directors of the Hindi Film Industry for whom he wrote very successful and popular songs, had expired.

Remembering Gopaldas ‘Neeraj’ through songs like ‘Tum Nacho Ras Barase‘ from Sati Nari (1965, Mahendra Kapoor; ), – In 1970 -71, around 14 films were released with Neeraj as a Lyricist and it can be considered as a peak of his career.

RS TV had done an excellent feature on his life, in 2012 – Gopaldas “Neeraj” in Unki Nazar Unka Shahar

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

On Gauhar Jaan’s 145th birth anniversary, Google’s endearing doodle

V Balsara, the music director who did not want to remain confined to a studio – On Balsara’s 96th birth anniversary (he was born on 22 June 1922), renowned tabla player Dipankar Acharya and noted music arranger Durbadal Chatterjee speak about working with the multi-faceted musician in Bengali cinema.

Sajjad Hussain, Bollywood’s Loss – D P Rangan pays tribute to Sajjad Hussain on his 23rd death anniversary (15 June 1917 – 21 July 1995)

Mukesh-who wanted to be like K L Saigal – Many critics derided him as an imperfect singer who had a nasal twang and who would often miss a note or a beat and many a time they had a valid point. His limited vocal range also made high-pitched songs difficult for him. Mukesh proved them wrong.

75 Years(19th July 1943) ago Dev Anand landed Bombay to become Hero in Bollywood – It was in 1945 he got the role in the film Hum Ek Hain which was made in 1946 but released in 1947 after independence.

Chetan Anand: Exploring the Unconventional to Make Landmark Films – Twenty one years ago, on July 7, 1997, Chetan Anand bid farewell. For Silhouette, Peeyush Sharma  pays tribute to the great film maker, the director, writer, producer, actor who dared to explore unconventional subjects that turned into landmark cinema.

Roshan & Madan Mohan: Twin Towers of Rhapsody – In a joint tribute to Roshan on his 101st birth anniversary (14 July 1917 – 16 November 1967) and to Madan Mohan on his 43rd death anniversary (25 June 1924 – 14 July 1975). D P Rangan. With annotations by Subodh Agrawal, explores the similarities in the essentially different musical styles.

G S Kohli – A Tribute – His first film was Lambe Haath (1960) – O Deewane Chhokare Raah Meri Na Rok Re’ (Asha Bhosle, Mohammad Rafi); followedby.Mr. India (1961) – ‘Dekha Na Jaye’ (Geeta Dutt). He had great hits – Faulad and Shikari – 1963, form big banners. However he could not sustain that magic in his later films.

Some thoughts upon the death of Zarina Begum (and a few other notes updating past posts)Zarina Begum, the last disciple of ‘Mallika-e-ghazal’ Begum Akhtar, and the only torch-bearer of Baithak Gana, died of a chronic kidney disease at a private city hospital at around 8 am on 12-5-2018….She ived at Hatha Khuda Baksh area in Old Fatehganj in Lucknow. An old harmonium, a tabla and some old pages and diaries with lyrics in Urdu were her companions in her final days.

Rajesh Khanna-The heartthrob of the young generation of 1970s,  During his career, Khanna played the lead in 74 films that were shown in cinemas for more than 50 continuous weeks (Golden Jubilee Hits) which includes 48 films which ran for 75 weeks (Platinum Jubilee hits) and 22 films that were shown for more than 25(Silver Jubilee hits), but less than 50 weeks.

Musically Yours, 1963 (Part I) – Monica Karpays a personal tribute to 12 music directors who created note-worthy compositions in 1963, the year she was born, and have definitely had a hand in keeping her music-crazy for the past 55 years. As many as 22 music directors gave quality music in that year and many of those creations went on to become immortal in the hearts of music lovers – including this writer.

The earlier Years of Mehmood peeps back into the early struggles of Mehmmod and rise to stardom.

Anand Bakshi – The Juggler of Words got his break writing songs in a Brij Mohan film titled Bhalaa Aadmi (1958). His first song in this film was “Dharti Ke Laal Na Kar Itna Malaal.

Mehfil celebrates ‘First Anniversary’ by selecting songs of some rare combinations of singers and composers. For this purpose, the criteria applied are: Both of them should be contemporary; the number of songs for the pair should not exceed five OR The singer has sung only for a single film with that particular composer. Of the resultant output, we take one example: Dear O Dear Nagina (1951) – Shamshad Begum – Shanker Jaikishna

July, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to Mohammad Rafi’s Solo Song From The FIRST Film With The Music Director: 1954 -1955

And, now the posts on other subjects:

The song Khoya Khoya Chaand was written on a piece of cigarette pack foil – What Vijay Anand achieves is a feat which is very rare. Most directors shy away from shooting and showing us more than two verses of a song. Here, his shooting, along with Burmanda’s music and Shailendra’s words, is so perfect that we go through FOUR verses of this song just glued to our seats !!!! That is why Vijay Anand is adored by film-goers and film-makers all over India.

In the Wink of an Eye – A particular film has often achieved an iconic status in which the lead of the film has used her/his eyes, for instance Anthony Hopkins in Silence of the Lambs, or our every Om Puri in Ardh Satya. Eyes, indeed, convey a gamut of emotions that move beyond the coyness of just doe eyed stars. This essay explores the different ways in which films have used an actor’s eyes. The history of fascinating display on the screen is long and the authors, Amitava Nag and Shiladitya Sarkar, try to articulate what it means to say it all through the eyes.

Songs of ‘Tanhai’ – The loneliness was a very popular theme for Hindi Films up to 60s. The moods of the song ranged from sad to romantic to seductive.

Ornamented for Style – Wearing jewelry is universal and predates recorded history. Even our gods wear ornaments, as is evident from their images. Within India, with its diverse culture, we have so many regional variations and styles of wearing jewelry. Not all ornaments have found a mention in our songs, but many have. The post goes on list the songs,

My Favourite Piano Songs, selected on the basis of 1: The character, who sings the song, should not play the piano. 2: The one who’s playing the piano should be a character from the movie, just a musician won’t fit the bill and 3:  It  should be a solo

Pets and Beyond – Hindi cinema has had so much fun with such creatures too, even some wild ones like elephants and lions. A special mention must be made of an animal that is a rarity in terms of ownership for protection. That honour goes to a mongoose in the film Kohinoor (1960), the animal’s protective nature highlighted at the end of the song Madhuban mein Radhika naache re, when the mongoose lashes out to destroy a snake let loose to kill his owner, Dilip Kumar. The post goes on list some songs that featured a diverse range of creatures. Pets or otherwise, on our screen

In Mythological Frames – Interestingly, it turns out that when it comes to mythological films, songs found in them tend to be so much fun to hear on a repeat basis. Without in any way meaning disrespect to any faith, and looking at the genre just academically, the post lists a few songs from mythologicals, even if not all of them are religious.

Post-drenchings: Ten Songs where getting wet (almost always in pouring, roaring thunderstorms that come out of a clear blue sky) is invariably a precursor to bursting into song. For various reasons.

The reviews of Nargis films continue with Jogan (1950), filmed by Kidar Sharma in just 29 days, with only a one-line idea, inspired  by an English film in which a man falls in love with a nun.

Mat ro maata, by Monica Kar – Why is this song in this movie? To act as a filler? To sway public opinion and emotion? Possibly to tie in the importance of the era in which the movie is shot. Every emotion that is embedded in the song is done with minimal fuss and maximum simplicity. And yet, its effect persists even now.. and will every time we listen to the song.

“The world is being run in brutish ways” – Saeed Mirza on memory in the age of amnesia : “We are so obsessed with our short-term interests that larger contexts get lost. And this is true for both individuals and nations.”

Cineplot has several posts this month. We have picked up two relating to Madhubala. We will, appropriately, cover other posts in our future editions.

Madhubala on the sets of Do Ustad (1959)

The Alarm That Failed (1957)

We continue Micro View of Best songs of 1947: And the winners are? with female solo songs, wherein after having covered solo songs of Suraiya and Geeta Roy, we have covered Shamshad Begum. Rajkumari, Amirbai Karnataki (Part I and Part II) Zohrabai Ambalewali (Part I). SoY has released Best songs of 1947: Wrap Up 2 that sums of the analyses of all other readers relating to female solo songs. Suraiya is adjudged the best female singer for 1947.

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.

Mat Puchh Mera Hai Kaun Watan – Mr India (1961) – G S Kohli – Anjaan

Isko Bhi Apanata Chal – Nai Umr Ki Nai Fasal (1965) – Roshna – Neeraj

Kuchh Aisi Pyari Shakl Mere Dilruba Ki Hai – Naya Kanoon (1965) – Madan Mohan – Hasrat Jaipuri

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : July, 2018

Mohammad Rafi’s Solo Song From The FIRST Film With The Music Director: 1954 -1955

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 planned to take 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 the first slot of 1944 – 1948 in Part I and Part II in December, 2016,  the second five-year-slot of 1949 – 1953 in our July,201710th December, 2017 and 17th December, 2017 articles.

Presently, we will take up the years 1954 and 1955 of the third five-year-slot of 1954-1958.

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

1954

The year 1954 has 44 Hindi solo songs of Mohammad Rafi.  There are many repeat-music directors like  SN Tripathi, Salil Chaudhary, Naushad, Hansraj Behl, Shanker Jaikishan, Chitragupt, Ghulam Mohammad, Madan Mohan, Nissar Bazmi etc, wo composed music for one or more than one film in the year. The films ranged from successful to obscure films.

As a result, with every passing year, we now observe less number of songs that would meet the criteria for our present series, since most of the music directors have had used Mohammad Rafi for a solo song in the years reviewed till now.

Year 1954 is to yield 7 music directors who had a maiden solo song composed for Mohammad Rafi.

Roshan had made his debut in Hindi Films in 1949 with Neki Aur Badi. His first ever use of Mohammad Rafi, wasa Rafi Asha duet Mohabbat Ke Maaron Ka, in Baware Nain (1950).. Then he has used Rafi in a Rafi- Kishore Kumar-Ram Kamlani triad and a Rafi-Kishore Kumar duet, materialized only in Malkin (1953). The first solo comes up now, in 1954. Since then, Roshan’s association with Mohammad Rafi has gone on to become stronger and richer.

Zameen Bhi Vahi Hai Vahi Aasma, Magar Ab Wo Dilli Ki Galiyan Kahan  – Chandni Chowk – Lyrics: Majrooh Sultanpuri

This is a background song. The only male solo – Hamein Aye Dil Kahin Le Chal – filmed on the lead male actor has Mukesh for playback.

Datta Davjekar has had one solo – Main Teri Tu Mera – with Mohammad Rafi in 1947 for Aap Ki Sewa Mein. Incidentally, Lata Mangeshkar had had her first solo playback song – Paa Lagun Kar Jori Re, Sham Mose Na Khelo Hori Re – too in this film. However, we now have a film in which Datta Dvajekar and Jagganath share the credits as music directors, hence our present song.

Saheedo Amar Hai Tumhari Kahani, Watan Par Luta Di Jinhone Jawani – Golkonda Ke Qaidi – Lyrics: Anjaan

The film has had three music directors – Datta Davjekar, Jagganath and Kundan Lal – and three lyricists. HFGK records Datta Davjekar’s statement that all songs for the film were in fact composed by him.

There is one more Rafi solo in the film – Uthake Sar Chalo Jawani Shaan Se

Hemant Kumar probably brought in Mohammad Rafi for this song because it is was possibly Rafi only who could effortlessly scale vertically up while delivering ‘Uttho Chhalang Mar Ke Aaksh Ko Chhoo Lo’ and then in the very next line ‘Tum Gaad Do Gagan Mein Tiranga Uchaal Ke’ come back to the normal scale.

Hum Laaye Hai Tufan Se Kashti Nikal Ke Is Desh Ko Rakhana Mere Bachchon Sambhal Ke – Jagriti – Hemant Kumar – Pradeep

In a very rare Hemant Kumar – Mohammad Rafi combination, Mohammad Rafi does full justice to the confidence invested in him.

Shailesh Mukherji, is one of those Bengali music directors who could not comfortably last longer in the Hindi Film world.

Kismat Ka Likha Na Tale Na Koi Bas Chale, Yah Kya Hai Zindagi Haye Yah Kya Hai Zindagi – Parichay – Lyrics: Keshav Trivedi

We have Mohammad Rafi singing a background song in what is now established his signature style.

Sudhir Phadke has used Mohammad Rafi very selectively. In fact, he has used Kishore Kumar also very selectively, but for the film under discussion, Pahli Taarikh, he has created one of the most iconic KK song – Khush Hai Jamana Aaj Pahli Taarikh Hai….

Kahun Kya Ki Kaun Hoon Kya Hoon Main, Kisi Raste Ka Chirag Hoon, Mujhe Jisne Chaha Jala Diya…Gareebon Ki Duniya Mita Denewale  – Paheli Tareekh –  Lyrics : Qamar Jalalabadi

This also seems to be a background song.

Lachchiram (Tamar), composed music for around 20 films.  For most of the Hindi Film fans, the name of this music director would itself, perhaps, be a forgotten name. But his songs – Dhalati Jaaye Raat, Karale Dil Ki Baat (Razia Sultan, 1961), Gori Tere Nain Nainva Kajar Bina Kare, Sab Jawan Sab Haseen Koi Tumsa Nahin, and solo and duet versions of Tu Shokh Kali Main Mast Pawan (all from, Main Suhagan Hun, 1964) – would easily be recognized.

Akaash Ke Aanchal Mein Sitara Rahega – Shaheed E Azam Bhagat Singh – Lyrics: Shauquat Pardesi

Mohammad Rafi exudes nationalistic fervor in every word that he sings in this rally song.

Hafiz Khan is credited as the music director who created a qawwali – Aanhein Na Bhari Shiquaw Na Kiye  (Zeenat, 1945; Noorjehan, Zohrabai, Kalyani) which has the distinction of being the oldest among all the well-known qawwaalis of Hindi movies.  

Apne Diwano Se Daaman Na Chhuda, Bekhabar Hosh Mein Aa – Watan – Lyrics: Shevan Rizvi

We have one more background song…

1955

The year 1955 had 76 songs solo songs of Mohammad Rafi, of which we have 2 solo songs each of B S Kalla and N Dutta and one solo of Bipin Babul from one film each from their respective maiden association with Mohamamd Rafi.

B(alkrishna) S Kalla is quite an unknown name. From various records, we observe that prior to 1955, he has also jointly composed for films like Mangala (1950), Mr. Sampat (1952),  Bahut Din Huye (1954), which were all produced by the then known Tamil banners. Do Dulhe is his solo music direction film.

Naam Hai Mere Baap Ka Soda, Uski Surat Dekh Ke Aata Mujhko Bukhaar – Do Dulhe – Lyrics: Pt. Indra

The present song is a very good comedy genre song. The song is filmed on mentally challenged persons, and had parodied a couple of known songs. Mohammad Rafi has another solo song – Hal Na Kar Paaye Jise Tu Kaun Si Mushkil Hai Wo – which appears to be background song, one duet with Geeta Dutt and a triad with Geeta Dutt and Sarla Devi.

N Datta (a.k.a. Dattaram Baburao Naik) commenced his career as an assistant to S D Burman in films like Bahar, Sazaa and Ek Nazar (1951), Jaal (1952), Jeevan Jyoti (1953) and Angarey (1954), before his got his maiden assignment in Milaap (1954), which was also maiden directorial venture of Raj Khosla.

Ab Woh Karam Kare Ya Sitam Main Nashe Mein Hun – Marine dive – Lyrics: Sahir Ludhyanavi

His early association with Sahir when N Datta was an assistant to S D Burman seems to be continuing and continuing well. In the present song N Dutta comes out in the true elements of his abilities – very soft orchestration, a smooth composition which has some typical twists.

The film had two Mohammad Rafi – Asha Bhosle duet songs, one of which is what is known as Beggar Song genre song in Hindi films – Bata Ae Aasmanwale Tere Bande Kidhar Jaye and another one is a romantic duet – Muhabbat Yun Bhi Hoti Hai.

Bipin (Dutt) and Babul Started their career as assistants to Madan Mohan, Thiers is one more case of a capable music director who did not ring success to the cash box. They have composed two highly respected Rafi songs – Tum Poochhate Ho Ishq Bhala Hai Ke Nahin Hai and Chheda Jo Dil Ka Fasana Hansa Zor Se Kyon Zamana in Naqli Nawab, 1962.

Rukh Se Parda To Hata Zara Nazrein To Mila – Shahi Mehmaan – Lyrics: Anjum Jaipuri

The composition of the song is more on the Sufi style.

While ending the present episode, I am not able to resist the temptation of presenting one of my most favorite Mohammad Rafi songs (for 1954), even at the cost of repeating a music director.

Hai Baski Har Ek Unke Ishare Me Nishan Aur, Karate Hai Muhabbat To Guzarata Hai Guman Aur – Mirza Ghalib (1954) – Ghulam Mohammad

We will take up the years 1956 to 1958 of the third five-year-slot of 1954-1958 in the month of December, 2018

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Carnival of Blogs on Golden Era of Hindi Film Music

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

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

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

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

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

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

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

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

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

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

Valentine Day also is the birth date of Madhubala.

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

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

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

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

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

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

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

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

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

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

And, now the posts on other subjects:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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