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 – October 2015

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

We have a fairly long list of anniversaries of the playback singers this month. But before we take them up, there is one a very unique tribute that must take the precedence over all those. So, we open our account of anniversaries for the current episode of blog carnival with –

First male dancer of Hindi films: Mumtaz Ali, which is the tribute to this great artiste from the vintage era with some dance-songs picturized on him.

On the other end, we open our account of posts on birthdays / anniversaries of the playback singers with –

We begin with Lata Mangeshkar’s birthday:

The Great Mughal and The Empress of playback singing – an exclusive post on Lata Mangeshkar’s best songs by Naushad, on her 86th birth anniversary (b. 28 September 1929). The previous ones, wherein other music directors have been chosen are : Chitragupta, C Ramchandra, Roshan, SD Burman and Anil Biswas.

Ten of my Favorite Lata Mangeshkar Songs from the Films of V. Shantaram is a fairly representative list.

Celebrating a legend: A century of MS Subbulakshmi through 10 songsVeejay Sai – tracks her journey from a child prodigy to a singing movie star to the Carnatic icon she became in her lifetime…. MSS specially recorded Hari Tum Haro for Gandhiji’s birthday on 1947.

Interestingly, we have several posts that were in fact sent in by our friends, primarily to remember a song of the particular singer or the music director, but each of the post inherently is also a commemoration of the anniversary. We will take up the underlying song separately along with other songs forwarded by our friends.

Tera Mera Pyaar Koi Aaj Kal Ki To Baat Nahin – by Mahesh Mamadapur on Usha Khanna’s 74th birthdayFor some reason, Usha Khanna never received the recognition and fame that she so rightfully deserves. She is not the first, but definitely is the most successful and talented of a handful of female composers in the Hindi film industry, having composed something like about 973 songs in total.

[We have separately documented Mukesh’s songs composed by Usha Khanna for easy access.]

Lo Mil Gayi Degree Pyaar Ki by skapur01 while tastefully narrating the circumstances how Mukesh got associated with this song, the post goes onto list 36 songs that Roshan composed for Mukesh.

[We have also separately documented Roshan’s songs of Mukesh.]

MukeshGitKoshN.B. – Both these compilations have been provided none other than Shri Harish Raghuvanshi, from his one of the several painstakingly researched books Mukesh Geet Kosh. Here is a video clip wherein Shri Raghuvanshi talks about this epochal work.]

Dekha Hai Jab Se Aapka Chehra Ye Chaand Saskapur01 – Remembering Mahendra Kapoor on the anniversary of his passing away – 27th September……He got his debut break under the music direction of V Balsara in the 1953 film ‘Madmast’, with a duet with Dhan Indorewala – “Kisi Ke Zulm Ki Tasveer Hai Mazdoor Ki Basti” and a qawwaali with SD Batish – “Unhen Dekhen To Weh Munh Pher Lete Hain”. …..Next came his first solo song by Snehal Bhatkar in ‘Diwaali Ki Raat’(1956) – “Tere Dar Ki Bhikmangi Hai Daata Duniya Saari”.  In 1956 again, he recorded a duet with Sabita Bannerji for the film ‘Lalkaar’ – music director Sanmukh Babu Upadhyay – “O Bedardi Jaane Ke Na Kar Bahaane”.  The music competition and the associated assignments with major league music directors came later.

In Phir Mohabbat Ke Pyaam Aane Lagey, skapur01 remembers Hemant Kumar on the anniversary of his passing away – 26th September – by delving way back to ‘Iraada’ (1944) – the first Hindi film for which Hemant Kumar sang playback.

October 17 would have been 60th birthday of Smita Patil, who would certainly be ranked in the history as one of the most talented artist of the (what we know as) new, post-1970s cinema. We take note of some of the posts on this occasion to pay our tribute:

Smita Patil loved the camera and it loved her right backScroll Staff – Rare images from the key films of the late celebrated actress.

Songsstoriesbooksandmore has reviewed Sangtye Aika (You ask, I tell: An autobiography) by Hansa Wadkar transl. by Jasbir Jain and Shobha Shinde.

YT also has Smita Patil – Biography.

UpperStall had posted a decade back a very vivid profile of Smita Patil by Karan Bali.

If there has to be one song that can sum up the essence of Smita Patil’s acting talents, Tumhare Bine Jee Na Lage Ghar Men (Bhumika – 1977, Preeti Sagar- Vanraj Bhatia) can easily be the one.

Shammi Kapoor – In Perpetual Motion – It is not just that Shammi Kapoor didn’t know how to stand still; it is that he seemed to have an inordinate number of songs that were picturised in/on some mode of transport or the other. Last year, on this same date, the author had done a post on Shammi Kapoor and various musical instruments. Now it is time to chronicle his trysts with travel, whether in vehicles or on animals. In any case, whether they moved or not, Shammi definitely did.

We now move over to other posts from our regular blogs –

Arre kahaan chali – Arun Kumar Deshmukh – Film Jaalsaaz-59 was the first of three films with the same title. The second movie by this title came in 1969 and the third in 2000. Similarly even film Jaal was made 3 times- in 52, 67 and 86.

Unvoiced Emotions, Expressed Feelings has ten songs that fitted this category. Each song listed here has the lead characters’ ‘feel’ what they feel, and those emotions are ‘spelled’ out by others’ voices, even if the underlying mood is not similar (and in fact, is quite the opposite) in some cases. No, these are not ‘background songs’, but songs that are actually sung on screen by other characters.

Ten of my favourite ‘credits songs’ – are not necessarily ‘background songs’ as well: some of them are ‘sung’ by people onscreen. They run the gamut from songs that introduce the film’s ethos or primary theme, to—well, just another song to add to a list of romantic to philosophical to patriotic songs the film already boasts of..

All USTADJIs, who made us happy and will continue to make happy in all our coming generations.

Three Tandav dances feature Anada Bhairavi 1983 || Damini 1993 || Sivaanai Seemai 1959

‘Pyaasa’ is the Guru Dutt gift that keeps givingNasreen Munni Kabir – A new restoration of the 1950s classic provides an opportunity to appreciate all over again its many achievements.

The Namesakes: Musicians and the raags named after themAneesh Pradhan – Renditions of Mia ki Todi. by Faiyaz Khan, Amir Khan, Bhimsen Joshi and Kishori Amonkar.

‘Vaishnav Jan to Tene Kahiye’: One of Gandhi’s favourite bhajans played by classical maestrosAneesh Pradhan – Featuring duets by Bismillah Khan and VG Jog, and Rashid Khan and Shahid Parvez

Making Indian classical music relevant to the contemporary | Manasi Prasad | TEDxHyderabad – Manasi Prasad connects us to our roots by infusing the beauty of music from different times to present day creating relevance for us to understand it nuances better.

After the overview post on the Best songs of 1950, Wrap Up 1 on the best male solos, and Wrap Up 2 on the best female solos by ‘other’ singers have been the stage wise review of the readers’ views as well as SoY’s own analysis. .  Continuing the series, here is the third Wrap Up on the best songs of Lata MangeshkarBest songs of 1950: Wrap Up 3

We take of note of the review of Mem Didi (1961) for Salil Chaudhary’s songs –

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

Bhagvan Thavrani

Ajab hai yeh duniya – Naya Aadmi (1956) – Lata Mangeshkar – Madan Mohan. Naya Aadmi, Hindi version of Santosham (1955), had 10 songs. 6 of them were composed by Madan Mohan and the rest by South Indian duo of Vishwanathan / Ramamurthy . Hemant Kumar – Lata Mangeshkar duet – laut gaya gham ka zamana – was the creation of the duo. They also created Lata solo – dile betaab thahar – while Madan Mohan created Rafi solo – gharibo ka paseena bah raha hai . The film had NT Rama Rao (NTR) had in the lead.

Samir Dholakia

Arre kahaan chali -Jaalsaaz (1959) – Kishore Kumar, Asha Bhonsle – N Datta – Majrooh Sultanpuri – The tune is based on “Lavani” songs of Maharashtra.

Sumant (Dadu) Vashi form Chicago (U S A) had sent in –

Dil Jalega To Zamane Mein Ujala Hoga – Yeh Basti Yeh Log (1965) -Lata Mangeshkar – Bhola Shreshtha

Harish Raghuvanshi

Tera Mera Pyaar Koi Aaj Kal Ki To Baat Nahin  – (Dada) (1966) – Mukesh, Usha Khanna – Usha Khanna – Asad Bhopali

Koi Kushnaseeb Na Hoga – Malkin (1953), Kishore Kumar, Mukesh, Ram Kamlani – Roshan – Rajendra Krishna

Yeh khaamoshi kyun ye madhoshi kyun – Hamaare Gham Se Mat Khelo (1967) – Jaidev – Nyay Sharma – Geeta Dutt’s only solo in Hindi films by Jaidev is the subject of Bharat Updhyay’s post.

[This film had a very well-known Talat Mahmood solo – Ansoo Chupaye Aankh Mein Khoon-e-Jigar Piya Karoon.]

Dekha Hai Jab Se Aapka Chehra Ye Chaand Sa – Husn Ka Ghulam (1966) – Mahendra Kapoor – Robin Banerjee – Anjaan

Phir Mohabbat Ke Payaam Aane Lagey Iraada (1944) – Hemant Kumar – Pt Amarnath – Aziz Kashmiri.

[There is another wonderful solo song “Aaraam Se Jo Raaten Kaaten” from this film.]

Jab tum hi chali England -Meri Asha (1950) –Agha – K Narayan Rao – a parody song posted by Atul Kumar Deshmukh

In the end, we have (our customary) very special songs of Mohammad Rafi, remembered Naresh Mankad, from Naqli Nawab (1964) [Music Director: Babul]:

There are a couple of very enjoyable Rafi – Asha Duets:

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