The Micro View of the Songs of 1948 @ SoY : Setting The Stage

Wait for the curtains to go up for a review of songs for the particular year @ Songs of Yore is more than an eager wait. It is preganat with more unknown songs now.  Having covered songs of 1955, 1953, 1951, 1950 and 1949 in the previous years, SoY has now crossed the threshold well into the Vintage Era as it now ventures into ‘Best songs of 1948: And the winners are?

As noted in the overview turnkey article, we now enter the period which has two quite distinct characteristics:

One, Lata Mangeshkar did sing over 40 songs of which you can count about ten memorable and a couple of all-time great songs, yet she was not the sole pole star, as she became from 1949 onwards. Therefore, dividing the female playback singers as Lata Mangehkar and ‘others’ as (has been) done for 1949, 1950 and 1951 would not be a true reflection of reality.

Secondly, the Vintage Era also means entering a period of more unknown than known, therefore, the year-wise review would now be more a discovery trip.

The post under consideration – Best songs of 1948: And the winners are?  – has presented quite an  encompassing overview in an established template: –

Musical landmarks: Like a golden Jubilee (Mela) and a silver Jubileen (Anokhi Ada) under the belt Naushad hasestablished his morchical position. His nearest rival C ramchandra has Nadiya Ke Paar and Kidkiin the year under review. Ghulam Hiader has presened his swan song on now the Indian soil – Shaheed. Raj Kapoor directs his maiden film Aag with Ram Ganguly as music director. Lata Mangeshkar has hardly any presence in these films.

Other important musical compositions are no less noteworthy nor have lost their charm. We will enlist them here –

Anil Biswas:

Gajre

Door papia bola – Suraiya
Baras baras badly bhi bikhar gayi – Lata Mangeshkar

Veena

Wo teekhi nazron se mere dil par – Mukes

Husnlal Bhagatram

Tere Naino Ne Chori Kiya – Suraiya

O Door Jaanewale – Suraiya

Khemchand Prakash

Marne Ki Duaen Kyon ManguN– Kisore Kumar’s maiden solo song – Ziddi

Chanda Re..Ja Re Ja Re – Lata Mangeshkar – Ziddi

Ghulam Haider

Grihasthi

Tere naaz uthane ko ji chahta hai – Mukesh & Shamshad Begum

Pugree

Ek teer chalanewale ne dil loot liya – Mukesh & Sitara (Kanpuri)

S D Burman

Vidya

Laayi khushi ki duniya – Mukesh & Suraiya

Bahe na kabhi nain se neer – Mukesh

Debut

Asha Bhosle – Only a line Bahana Khush Ho Ke Sangam Manaye – in a chorus in the song Sawaan Aya Re – Chunariya

Kishore Kumar’s first duet with Lata Mangeshkar Ye Kaun Aya Re – Ziddi

Prem Dhawan Chanda Re..Ja Re Ja Re – Ziddi

RK Films Aag

Geeta Dutt – Lata Mangeshkar’s maiden duet Har Shai Pe Jawani Hai – Majboor

Mukesh – Lata Mangeshkar duet Ab Darne Ki Koi Baat Nahin – Majboor

Ab Yaad Na Kar – Ankoha Pyar

Khayyam (as Sharmaji & (Rehman) Vermaji with Aziz Khan) Dil Dil Yun YuN Karata Hai – Geeta Dutt, Aziz Hindi – Heer Ranja

Lata Mangeshkar first song with Shamshad Begum and Mohantara Khushiyan Manayen Na Kyun Ham.. Kismat Hamare Saath Hai.. Jalanewale Jala Karen – Khidki

Surinder Kaur Itne Door Hain Huzoor Kaise – Pyar Ki Jeet

Padmini as dancer-actor in Uday Shankar’s Kalpana

S Mohinder – as music director in film Sehra and as a singer Ae dil Uda Ke – Sehra

Jaan Nissar Akhtar – as lyricist in Shikayat

Sahir Ludyanavi – as a lyricist for Badal Rahi Hai Zindagi – Azadi Ki Rah Par

Snehal Bhatkar – as a music director in Suhaag Raat

Bharat Bhushna and Geeta Bali – as actors in Suhag Raat

Fact file and Trivia notes that five songs of Meena Kapoor for Anokha Pyar were recorded on Lata Mangeshkar; Leela Chitnis played mother for first time in Shaheed; Mohammad Rafi holds a falg pole in Watan Ki Rah Mein Watan Naujawan Shaheed Ho; Ameerbai Karnataki composed music for Shahnaz, once only in her career; Vidya Nath Seth sang firve songs for Rooplelka of which he composed one song too.

List Of Memorable Songs is a fairly representative list of films, music directors and known as well as less-known songs that were released in the year. I have re-compiled this list, under the title Memorable Songs of 1948, by adding the relevant link to YT file.

For the year under review, Special songs also cover the songs which open a path of discovery on their own well as they have thir own personality. In this case too, I have brought these songs on the same page with List of Memorable Songs of 1948.

The stage is now set to commence our journey into the Micro View of the Songs of 1948. As the List of Memorable Songs and Special Songs have covered most of the well-known songs for the year, we will restrict our micro-view to in-depth listening of not-so-well-known songs. We will then combine our impressions of these songs with that we already have for the well-known ones to present our point of view in so far as

Best male playback singer
Best ‘other’ female playback singer
Best songs of Lata Mangeshkar
Best duets
Best music director

are concerned for the year 1948.

All the posts that will appear on this subject here have been tagged as Songs of 1948 @ SoY.

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Carnival of Blogs on Golden Era of Hindi Film Music – November 2016

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

For the present episode we continue with posts from Silhouette magazine, on the memories of S D Burman on his birthday on 1st October (1906) –

Moti Lalwani chronicles some of the outstanding experiments SD Burman had tried out with remarkable success, drawing out references from his extensive research and in-depth interviews – Part I and Part II – of his article Pioneering Experiments Which Became Trends: S D Burman and His Music

The Mesmerizing Moods of Jaane Kya Tune Kahi (Pyaasa) – The iconic Jaane kya tune kahi in Guru Dutt’s Pyaasa (1957) is a masterpiece in the world of music and cinematic technique. Anand Desai and Antara Nanda Mondal dig into the finer nuances of this classic song, unspooling its various artistic and creative layers – composition, rendition, camera work, performances, orchestration and more. Here is its Bengali version – Mono Dilo Na Bandhu

The Incomparable Music Of S D Burman Transcends GenerationsWhat makes Burman Dada’s music stand the test of time? What gives it that everlasting appeal? What makes music lovers turn back to him wanting more? What gives his music a signature that is unmistakably his?  Antara Nanda Mondal  seeks possible answers. Here is just one example, from her search across a cross section of people who are in the know.

Aankh Jhukakar Baithnewaale (Funtoosh, 1956) SD Burman / Sahir Ludhianvi / Kishore Kumar and Asha Bhosle)

10 Most Loved Duets of Geeta Dutt – As a tribute to the Queen of Bhaav Gayaki, Antara Nanda Mondal revisits some of her most favourite duets of Geeta Dutt that create a charming world of evergreen music. She put her heart and soul into each and every song she sang, What stood out was a unique style, rendition, gayaki and that added edge that made these songs reach a new level altogether.

More to read on Geeta Dutt

mala-sinha-810x574We have an excellent career-sketch of Mala Sinha, profiled by Karan Bali  in this episode.  Well into her 30s, a dreaded age period for Hindi film heroines, she continued with leading roles into the 1970s pairing with the younger lot of heroes – Premendra (Holi Aayee Re (1970), Sanjeev Kumar (Kangan (1971)), Rajesh Khanna (Maryada (1971)) and Amitabh Bachchan (Sanjog (1971).

Baat Niklegi Toh Phir: The Unforgettable Voice and His Musical Journey – In remembrance of Jagjit Singh, Antara Nanda Mondal  for Learning and Creativity-Silhouette Magazine presents a review of journalist-editor-biographer Sathya Saran’s eloquent and engrossing chronicle Baat Niklegi Toh Phir The Life and Music of Jagjit Singh, peppered with anecdotes, instances, stories and nuggets of information, traces the life, works and music of India’s most popular ghazal singer.

Helen of the dance floor, in 10 songs – Born on November 21, 1938, and dazzling viewers all the way to eternity, Cha Cha Cha (1964) offered Helen a rare chance to be a heroine, while offering maximum exposure to her dancing prowess:

The instrumental title track from Cha Cha Cha

Cha Cha Cha*Cha Cha Cha(1964) Dance Competition

15 films about children to mark Chacha Nehru’s birthday : Children’s Day is the perfect excuse to visit the most enduring cinematic explorations of the world of the little ones.

SP Balasubrahmanyam’s staggering achievement: 40,000 tracks, 50 years later, numerous languages : With his unparalleled talent to emote, SP Balasubrahmanyam has lifted compositions to sublime levels.

The November, 2016 episode of Fading Memories, Unforgettable Songs was dedicated to Surinder Kaur.

Here are posts on other subjects as well:

When Lata & Noor Jehan Sang The Same TuneKaran Bali in his study of Lata – Noorjehan parallels landed upon Nayanawa Chalaye Ban, in Norrjehan’s voice for Anjuman a 1970 Pakistani film. The very same tune had been used in a Hindi film called Kar Bhala (1956), recorded in Lata Mangeshkar’s voice by Nisar Bazmi as Balamji Bade Nadan.

Some great songs of Lata Mangeshkar by Shankar-Jaikishan goes onto chart one more color of SoY’s Lata Mangeshkar spectrum, supplementing her association with other music directors Chitragupta, C Ramchandra, Roshan, SD Burman, Anil Biswas and Naushad. Previously, Lata Mangeshkar’s dance songs by SJ and S-J’s female dance duets have already added different shades to the Shanker – Jaikishan:-Lata Mangeshkar color on SoY.

My Favourites: Nigahein Songs is in line with different categories of Naina and glance, gaze – Nazar – songs that in Hind films invariably leads to romance song. All these come from Aankhen.

A Few Words About the NYPL Library for the Performing Arts and Reviews of A Few Books That I Got There even in those rushed visits.

The debt that Indian cinema owes to Wilkie Collins and his ‘The Woman in White’Karan Bali According to Nasreen Munni Kabir’s seminal book Guru Dutt: A Life In Cinema, Raaz was based on The Woman in White… Although Guru Dutt had abandoned Raaz, the movie was destined to be made. His former assistant Raj Khosla, got permission to use the unfinished film’s story. Khosla reworked Raaz with writer Dhruva Chatterjee as the well-crafted suspense drama Woh Kaun Thi? (1964)… Woh Kaun Thi is the first in a trilogy of mystery films that Sadhana did with Khosla, the others being Mera Saaya (1966) and Anita (1967)… The success of Woh Kaun Thi? inspired remakes, Yaar Nee? (1966), in Tamil and Aame Evaru? (1966) in Telugu, both starring the up and coming J Jayalalithaa. The Woman in White also travelled across the border. Acclaimed music director Khwaja Khurshid Anwar’s Humraz (1967) stars Pakistani star Shamim Ara in the double role of the sisters.

‘Gulzar in Conversation with Tagore’ is a love letter from one poet to anotherManish Gaekwad :  Composer Shantanu Moitra tunes Gulzar’s lyrics to Rabindra Sangeet in a stunning non-film album Gulzar in Conversation with Tagore featuring seven songs based on Hindi translations of poems by Tagore.

Gulzar’s ‘Lekin’ is a mystery in an enigma wrapped in raag MaandRineeta Naik:  The combination of Gulzar’s lyrics and Hridaynath Mangeshkar’s music is adequately ghostly.

In Micro View of the Best Songs of 1949 @SoY, having covered Male Solo Songs, Other Than Lata Mangeshkar Female Solo Songs, and Solo Songs of Lata Mangeshkar, the series went to  take a look at Male-Male Duets and Triads & Triads+ as the last leg of the journey. The journey has ended with My Top Duets and My Top Music Directors as my concluding pieces. SoY’s  Best songs of 1949: Wrap Up 4  of dueta fondly notes that male-female as well female-female duets of singers other than Lata Mangeshakr create a kaleidoscope of colors.

We end today’s episode with a couple post / songs on Mohammad Rafi’:

When Big B lost out to Sanjay Khan  in ‘Duniya Ka Mela’ – Here is the original song from the film pictured on Bachchan and Rekha….Asha Bhosle accompanies Mohammad Rafi in this duet.

Very Rare Songs Clips (1 & 2) by Great Mohammad Rafi Sahab

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

The Micro View of the Best Songs of 1949 @ SoY – MY Top Music Director(s)

The theme poster of ‘Best songs of 1949: And the winners are?’ has six films, but five music directors. Naushad has two films there (Andaz and Dillagi), whereas four others Shanker Jaikishan, C Ramchandra, Khemchand Prakash and Husnlal Bhagatram have one each (Barsat, Patanga, Mahal and Bari Bahen respectively).

Naushad had huge contribution in the huge success of Andaz at the box office, mainly through the solos of Mukesh, with Lata Mangeshakar solos playing a fair measure of the support. This was the last monumental work that Naushad had had with Mukesh, till they worked again in Saathi, a good 19 years later.

Hum Aaj Kahi Dil Kho Baithe Yun Samajo Kisi Ke Ho Baithe

Shanker Jaikishan also had a lion’s share in box office success of Barsat, that went on to create a great Lata Mangeshkar wave. They also created the RK-SJ signature style of ending the films with a very unique style of the theme song of the film –

Barsat Mein, Ham Se Mile Tum Sajan Tumse Mile Ham

Here is the such first maiden final scene

Khemchand Praksh needed to have created only Ayega Aanewala, to find a very honorable emeritus mention in the annals of Hindi Film Music history.

Ek Teer Chala Dil Pe Laga

Husnlal Bhagatram, who too appear quite prominently in  Male Solos, Female Solos or even Duets  lists for 1949, certainly have to their credit some all-time outstanding solos of Suraiya (in Bari Bahen) this year.

Tum Mujhko Bhul Jao Ab Hum Na Mil Sakenge

Mere Piya Gaye Hai Rangoon is one of those non-traditional song among such other all-time chartbusters from the stable of C Ramchandra that one would hardly ever imagine that it is same CR would later on go on to give some of Lata’s or Talat’s all time greats.

Balam Tujhe Mera Salam

However if we go a step beyond the measure of box office success of both the film and the songs, we have at least a couple of more music directors who had excellent scores for 1949.

Gyan Dutt has Maine Dekhi Jag Ki Reet, Meet Sab Jhuthe Pad Gaye or Baharon Ne Jise Chheda Woh Saaz-e-Jawani Hai like evergreens for Sunhare Din.

Javani Ke Din Hai Yeh

S D Burman too had Quismat Mein Bichhadan Tha or Tu Mahalon Mein Rahanewali or Tumhare Liye Hue Badnam for Shabnam.

Hum Kisko Sunaye Haal Ke Duniya Paise Ki

Shyam Sundar had had his own share in Lahore (Nazar Se Dur Jaanewale, Baharen Phir Bhi Aayegi Magar Hum Tum Juda Honge) and Bazaar (Apni Nazar Se Dur Woh Unki Nazar Se Dur Hum) or Char Din (Anjaam-e-Mohabbat Kuchh Bhi Nahin).

In fact the towering commercial success of Andaz had paled some other very good scores of Naushad. Dillagi songs like Leke Dil Chupke Se or Duniya Kya Jaane Mera Afsana or Char Din Ki Chandani Phir Se Andheri Raat Hai had quite an undeniable charm. So were Do Din Ke Bahar Pyare or Na Bol Pee Pee More Anagana Panchhi Ja Re Ja or Muhabbat Hamaree Jamana Hamara Tu Gaaye Aye Dil Tarana Hamara form the album of Dulari. Even relatively little less known Chandani Raat had gems like Chhaya Meri Ummeed Ki Duniya Mein Andhera or Aankh MilI Dil Chala Gaya or Do Din Ki Khushi Haye Do Din Ki Kushi Raaaz Na Aayi Kisiko.

1949 had so many other than Lata Mangeshkar – Mohammad Rafi great songs from such a wide cross section of Music Directors that no one may have ever imagined then that just by the turn of the decade this duo will overwhelmingly rule the Hindi Film Song world.

In the ultimate analysis that will remain the sole importance of the year 1949 in the history of Hind Film Music – a threshold that provided the escape velocity to Lata Mangeshkar and Mohammad Rafi even when many other singers were so strong on their spheres.

SoY has presented a very comprehensive summary of all the discussions @ Best songs of 1949: Final Wrap Up 5. The detailed analysis leads to the conclusion that the Best Music director of 1949 goes to Naushad.

P.S.

I have compiled a meta write-up of my micro-view of the songs of 1949, in pdf form. Here is the link:

https://drive.google.com/open?id=0B_GJ0xhT0LUuamJWTlRoQUJiVUE

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

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

For the present episode we have posts from Silhouette magazine delves on the on the memories of S D Burman on his birthday on 1st October (1906) –

Pag thumak chalat balkhaye, haye, Sainyan kaise dhaarun dheer (Sitaron Se Aage, 1958) Lata Mangeshkar

In addition to these, Moti Lalwani has penned Part 1 of his memoir of S D Burman’s experiments, which we shall look at in details along with Part 2, to be published later.

Hrishikesh Mukherjee: In a Humane Genre of His Own By Antara Nanda Mondal  – Most of Hrishikesh Mukherjee’s films had music that has lasted through the decades and continue to be heard, hummed and cherished till date. SD Burman, Hemant Kumar, Shankar Jaikishen, RD Burman, Salil Chowdhury, Vasant Desai – whoever he worked with came up with some of their best tunes for him.

We should not miss Hrishikesh Mukherjee: Giving Cinema a New Definition too – a tribute based on a lengthy interview Shoma A Chatterji had with Hrishikesh Mukherjee.

Tribute: Shailendra was the proverbial moth who got burned too quickly – The lyricist has left behind a legacy of exquisite songs that make you cry and think.

Films that are 50:

We have a few excellent career-sketches too for the present episode:

Hema Malini by Karan Bali – Acting aside, Hema has dabbled in film production having produced Swami (1977), Sharara (1984), Awaargi (1990) and Marg (1992 but unreleased) besides directing Dil Aashna Hai (1991), Tell Me O Khuda (2011) and Mohini (1994) for Television.

Kersi Lord – by Karan Bali – Ace musician Kersi Lord, not only imported the first synthesizer into India in 1973, butthe-human-factor also introduced musical instruments like the ‘glockenspiel’ in Indian cinema for the cigarette lighter effect in Hum Dono (1961). He is also well-known for playing the accordion pieces in the hit songs Roop Tera Mastana from Aradhana (1969) and O Meri Sharmilee from Sharmilee (1971), among many others. it was RD who first introduced the electronic organ in India for the composition O Mere Sona Re in Teesri Manzil (1966) for which I had the privilege of playing the organ.” Kersi Lord retired in 2000 after a career spanning more than 5 decades. He passed away in Mumbai on October 16, 2016. He had been ailing for sometime. The Lords – father  Cawas, Kersi and his brother, Burjor, all musicians, have been featured extensively in a wonderful documentary, The Human Factor (2012), directed by Rudradeep Bhattacharjee.

leela-a-patchwork-life Leela Naidu: The Person Behind the Image – “A couple of months ago when I had come across her autobiography, “Leela – a patchwork life” (Penguin India, 2010), written with Jerry Pinto, I was very tempted to read it and at the same time, I was not very sure that it would be a wise thing.
Through experience I have learned that favourite film persons are better seen through the sepia tinted glasses of nostalgia. Knowing them as persons ruins their magic. However, in the end I had not resisted. The book has definitely changed my perception about Leela Naidu, the person behind the image.”

Here are posts on other subjects as well:

This Indian Film Won The Highest Prize In Cannes In 1946, But Still Remains Forgotten – Gautam Chintamani – Even though it won the highest prize at Cannes, Chetan Anand’s ‘Neecha Nagar’ remains largely forgotten today.music-masti-modernity

From Teesri Manzil to Yaadon Ki Baaraat, Nasir Husain’s cinema is celebrated in a new bookRohini Nair – In an interview with Firstpost, Akshay Manwani spoke of why he felt compelled to write – in a new book, titled Music, Masti, Modernity — The Cinema of Nasir Husain about the cinema of Nasir Husain, the filmmaker’s legendary collaborations with Shammi Kapoor, Asha Parekh and RD Burman, and what his lasting contribution to Hindi films has been.

Actors Prepare – From Ravan to Mahatma Gandhi  presents some of the images of the theatre actors from India, Italy and some other countries.

Redemption song: ‘Titli Udi’ by Sharda was a beginning and an end by Manish Gaekwad – Once upon a time in the 1960s arose a rare challenger to the Lata-Asha combination – This is quite an interesting, and yet balanced, narrative of Sharda’s Hind film career.

N.B.:  The articles that have appeared in this series in the past can be accessed at Stories in A Song.

‘Jago Hua Savera’ dropped: ‘Mumbai has lost out on watching a classic that is still relevant’ by Anjum Taseer – Jago Hua Savera sees the best talent from East and West Pakistan and India participating in a production under trying circumstances. This is a film that was lost, rediscovered and restored. The new version is a perfect showpiece of the original masterpiece.

Songs of Angana nostalgically recalls the Anagan, the courtyard, a central feature of the then houses of India. Open to the sky, and surrounded on the four sides by verandah and living rooms, this quadrangle is the place where the family lives out its life, does all its mundane chores of daily existence, and also holds all its ceremonies and special occasions.

We have had a post on songs of atariya too on SoY.

Remembering Diwali Songs presents a multi-faceted view of Diwali in Hindi film songs during the decades of ‘40s, ‘50s and ‘60s.

Vyjayantimala’s Singing Debut for Composer Master Venu  – by Lakshmipriya – The songs referred to in the title of the post are: Dachinanu ravoi neekai and Daricheraga rava priyuda . There is also an interesting refrence to Dekhane Mein Bhola Hai. Waheeda Rahman mentions this anecdote in her many interviews of how she was humming the yeruvaka song on the sets of Solva Saal. S D Burman was very impressed to found out who the composer was and asked Master Venu permission to use it in his song Dekhne Me Bhola for Bambai ka Babu. Master Venu was so delighted that he immediately agreed happily…...

In Micro View of the Best Songs of 1949 @SoY, having covered Male Solo Songs, Other Than Lata Mangeshkar Female Solo Songs, and Solo Songs of Lata Mangeshkar. In the category of Duets, we had covered duets of Mohammad Rafi with Lata Mangeshkar, Suriya and Shamshad Begum and Geeta Roy and other female playback singers  and Duets of Mukesh in the Male-Female Duets sub-category. For the present month, we have continued with duets of Shamshad Begum with other Male singers, Geeta Roy, Lata Mangeshkar and Suraiya with other Male Singers, Other Male Female Duets and then have moved on to Female-Female Duets of LatamangeshkarOther Female-Female Duets in the Female- Female duets subcategory.

We end today’s episode with a post on Mohammad Rafi’:

Rafi is Hindi Cinema’s greatest voicePankaj Vohra – The findings of the survey were revealed on the Independence Day and Rafi came out as the winner from a formidable field that comprised Lata Mangeshkar, Asha Bhosle, Kishore Kumar and Mukesh. In fact, the Survey put Rafi ahead of Lata Mangeskar by nearly 12 percent with Kishore Kumar coming second, with about five percent votes less than those secured by the winner…It was also interesting that Asha and Mukesh polled nearly the same number of votes and if added to those polled by Lata Mangeshkar, they were not enough to catch up with Rafi….Another aspect of Rafi’s voice was that he could replicate his studio recording even in a public function and sang exactly the same way as he done for a film. This was a unique trait since there has been no singer other than him who could sing exactly the same song in a public function as during the recording.

I whole-heartedly wish you and your family a Crackling Happy Diwali, and look forward to receive your inputs for further enriching the contents of the posts…..

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

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

We take up the tributes first.

Suraiya - A personally autographed pictureSuraiya: The Last Singing Star of Indian Cinema – a tribute to her on her death anniversary on 31st January – By Parag Sankla“Almost eighty five years ago, God must have said “Today I am sending three great artists to this world. A natural actress, a beautiful lady and a melodious singer! Acting, beauty and singing. These are not three different persons, this is one girl! And here I present you Suraiya.”… Along with Kanan Devi and Noor Jehan, she was one of the most prominent female singing stars of the golden era of Hindi films….Her first two songs as a singer (“Aao aao hil mil kar khushiyan manayein” and “Rana ji ki jai jai se”) came for a film titled Taj Mahal (1941) composed by Madhavlal Damodar. This golden period of Suraiya’s career (1941 – 1946) is often ignored in many of the articles on her……I love the song “Suno more raja, nazariya milaaike” for composer Neenu Majmudar from “Main kya karoon” (1945).”…..From among other songs that have find mention in the article, we pick up Jab badal ghir ghir aayenge, kaho jee kit jaayenge – Daak Bangla. 1947 – Naresh Bhattacharya as a song that is we get to hear less.

Waheeda Rehman and Soumitra Chatterjee in Abhijan (1962)Waheeda Rehman: Quintessential Beauty with Intense Acting Prowess – By Antara Nanda Mondal – Impressed by her enigmatic screen persona and acting panache, Satyajit Ray picked her for the role of Gulabi in his celebrated Bengali film Abhijan (1962).

More about Waheeda Rehman :

Indurani, a star of the 1930s is a rich tribute on death anniversary of Ishrat Jehan Imamuddin aka Indurani on 18th February by film historian Arunkumar Deshmukh, enriched by photographs and posters by Harsh Raghuvanshi.

Ye Sama Ye Khushi Kuchh Bolo Ji Bolo Ji” – Azra – now known as “Farhana”, for the most part, acted in second heroine and character roles in around two dozen movies viz. ‘Junglee’, ‘Ganga Jamuna’, ‘Ganga Ki Lehrein’, ‘Ishara’, ‘Baharon Ke Sapne’, ‘Bandish’, ‘Wapas’, ‘Raja Saheb’, ‘Mahal’, ‘My Love’ and ‘Ilzam’ and finally bid adieu to Filmdom after she got married. In ‘Ganga Jamuna’, she was the second lead opposite Nasir Khan. Movies ‘Shaan-e-Khuda’ (1971) and ‘Pocketmar’ (1974) released after her marriage. ‘Shaan-e-Khuda’ was directed by her father Nanubhai Vakil.

Happy Brithday, Cuckoo! – Some readers of the blog Dances on the Footpath know about the incredible Cuckoo news and trivia post that have developed there. It started with so many comments to the 2011 Cuckoo birthday post (linked to below). And here are a couple of the Cuckoo birthday posts, both of which include a bunch of really good song clips. …. This blog contains a whole lot of Cuckoo…. 2011 Cuckoo Birthday Post ǁ   2014 Cuckoo Birthday Post

The Unlucky Genius Ghulam Mohammad’s best songs for Talat Mahmood – If you associate Anil Biswas, C Ramchandra, Madan Mohan and SD Burman for the best of Talat Mahmood, Ghulam Mohammad would rank at the equal footing with them.

The article is a tribute to the Unlucky Genius with his best songs for Talat Mahmood as a tribute to the singer, too, with velvet voice on his 92nd birth anniversary.

Here are some of the less heard songs:

Meri Yaad Mein Tum Na Aansoo Bahana: Remembering Talat Mahmood – Talat Mahmood was grand-uncle, naani’s (maternal grandmother’s) brother of Sahar Zaman. She reminisces her association with Talat Mahmood over the years in this article.

Talat Mahmood, the photogenic ghazal superstarManish Gaekwad notes that Talat Mahmood sang over 700 songs in his career, including a rare solo “Kadale Neelakadale” in the Malayalam film Dweepu for composer MS Baburaj. His last recording was “Mere Shareek-e-Safar”, a duet with Hemlata, for the film Vali-E-Azam (music by Chitragupta). Lyricist Ahmed Wasi writes, “Mere shareek-e-safar, ab tera Khuda hafiz” (My companion in this journey, I take your leave now). It turned out to be Mahmood’s swan song. He died on May 9, 1998, at the age of 74.

मण्टो का बम्बई” narrates the 21 minute docudrama directed by Dharmendra Nath Oza, which was first aired on TV on Sahara Samay on 3rd April, 2005. The documentary can be seen on Dharmendra Nath Oza’s YouTube Channel in six clips.

Nalini Jaywant – Down Memory Lane – is based on interview was conducted in 1960.

Remembering Nadira: The Diva Who Didn’t Want to be Rescued – Ranjib Mazumder – Remembers Nadira on her death anniversary – Two Jewish women stood out in the race among many prolific names starting from the early days of cinema. In the silent era, Ruby Myers was the most successful star known in film history as Sulochana, and in the post-independent Hindi cinema, Florence Ezekiel, better known as Nadira shone the brightest…..She was the anomaly in a society where women didn’t dare. The viewing public limited her career in a swift stroke of judgment in Shree 420, and in real life, men couldn’t gather the courage to handle an informed mind…..She craved companionship without having to be rescued, but we didn’t have enough imagination to understand that.

The Real and Reel Life of Pran, Bollywood’s Villain Extraordinaire – Ranjib Mazumder looks at some of the interesting aspects of the real and reel life of the villain extraordinaire who would have been 96….Here is one example …. “Pran was very close to Dilp Kumar and Raj Kapoor owing to their long association in the film industry……. When Dilip was getting married, Pran was shooting in Kashmir. Despite heavy rain, he managed to reach Bombay to attend his friend’s wedding. The entire gang including Raj Kapoor got drunk, banged on Dilip’s nuptial-night bedroom door relentlessly till he opened up to say hello to them.”

We now move over to the blog spots on other subjects.

Multiple Versions Songs (24): Songs having versions across different films – similar initial lyrics in mukhada – is a presentation of interesting variety of songs which have multiple versions across different films. In some cases these may be a traditional bandish, where you may find some versions outside films.

One can come across widely differing versions on the circumstances that led to the actual performance of Aye Mere Vatan Ke Logo. Subhash K Jha presents one more – India’s most patriotic song: How Lata Mangeshkar almost turned down ‘Ae mere watan ke logon’ .

Shankar-Jaikishan’s dance songs for Lata Mangeshkar – SoY now picks up one music director around him one set of posts remain anchored during the year. 2014 was the year of Anil Biswas, 2015 was that of Naushad with C Ramachndra in tandem with. S D Burman was organically covered concurrently. Now, 2016 has been dedicated to Shanker Jaikishan, with a limit of the year 1959 for the selection of the songs.

My Favourites: ‘Me Tarzan, You Jane’ Songs creates a list with ‘I am…, you are…’ motif.

Here are a few songs that typically represent the theme while not being heard often enough.

Ten of my favourite romantic duets – of pure, outright romance…Nothing to adulterate the headiness of being in love, of being confident, too, that one’s love is returned.

Ten of my favourite ‘Jaa’ songs – begin with ‘jaa’ (and being strict about this; no variations, like jaaiye or jaao). What or who is being sent away differs, but the crux of the matter remains: go. Go away. This post sprang out of an earlier post on ‘Aaja’ songs….Some interesting coincidences…Jaa tose nahin boloon Kanhaiyya (Parivaar, 1956) has, interestingly, another song in another film begins with exactly the same words: in Samrat Chandragupta, a song picturized on Nirupa Roy and Bharat Bhushan begins Jaa tose nahin boloon…..Jaa Jaa re chanda jaa re from Private Secretary (1964), is created by music director, Dilip Dholakia He has another jaa song from the same film, fabulously rendered by Manna Dey – Ja Re Beiman Tujhe Dekh Liya Jaa.. Another song, nearly decade earlier, which is similar to that of the Lata song from Private Secretary is Ja jaa re chanda teri chandani jalaye from Albeli (1955) – music director – Ravi.

Sadanand Kamath also recites similar interesting coincidence in Kaliyon mein Raam mera kiranon mein Raam hai –-It was a surprise to know just a few days back that Amirbai Karnataki, the Kannada Kokila as she was known in Karnataka, had faced a situation when she was required to lip sync in Sudha Malhotra’s voice for the song ‘Kahaan nahi Ram hai’ from the film PAWAN PUTRA HANUMAN (1957). The song is written by Saraswati Kumar Deepak and is set to music by Chitragupta. Apart from Amirbai Karnataki, the other actor in the role of Hanuman is S N Tripathi. Incidentally, Chitragupta assisted S N Tripathi before he got independent assignment as music director in 1946. Here is the song that provides the title to the post: Kaliyon mein Raam mera kiranon mein Raam hai – Pawan Putra Hanuman – Geeta Dutt .

‘Gata Rahe Mera Dil was Patchwork’: In Conversation With Vijay Anandnever-before-published interview of Vijay Anand – in conversation with Peeyush Sharma we have some interesting aspects of S D Burman’s music. “No one could dictate Burman Dada about which song must be sung by which singer. He had his own style of testing and selecting the voice. Once he would conceptualize a song and decide on the singer for the particular song, no one could influence that decision. He would go to the final limit of even scrapping the song altogether. He would then create a new song but he would not change his decision on the singer. He had the courage of his conviction. He knew which song would best suit a singer. And that decision would be the best decision and the song of course, would be a hit….There was no singer of his calibre in the entire film industry. The kind of highly complex ‘murkiyan’ (tonal embellishments) or ‘gayaki’ (rendering style) he would come up with was simply out of this world. But when he would sing the same tune for Lata or Rafi or Kishore or Asha, he would make it simpler than before.

More to read :

We end our present episode with some (interesting) posts on Mohammad Rafi

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

Fading Memories….Unforgettable Songs: February, 2016

We are meeting soon after the 26th January, India’s Republic Day. If we do not get to listen to the patriotic songs from films on such an occasion, then the celebrations would seem to have to remain incomplete. Our friend Samir Dholakia does not disappoint and has very timely remembered

Mere Watan Se AchchhaLadki (1953) – Lata Mangeshkar – C Ramchandra – Rajinder Krishna

Naresh Mankad also has added up

Main Hoon Bharat Ki Ek Naar – Lata Mangeshkar – N. Sudershan, from the same film.

Harish Raghuvanshi has sent in a gem of the vintage era:

Main To Udas Hoon Magar, Woh Bhi Hai Sogwar kyoon, Unke Bhi Dil Men Dard Hai, Aye Dil-e-Bequarar Kyon – Kamal (1949) – Surendra – S D Burman – Prem Dhawan

The full lyrics of the song are posted @ Main to udaas hoon magar.

Atul’s Songs A Day has posted nine other songs from this film:

Samir Dholakia remembered Ye Duniya Rahe Na Rahe Kya PataMitti Mein Sona (1960) -Asha Bhosle – O P Nayyar – S H Bihari

Bhagwan Thavrani sees the similarity of this one with Madan Mohan tune which was composed almost 4 years earlier…. Kahin Chal Na Dena – Ek Shola (1958) – Mohammad Rafi, Asha Bhosle

Bhagwan Thavrani also very fondly informs us that his elder brother is even a greater ‘music buff’. They hold long sessions in the evenings, discussing songs around a particular music director, singer, lyricist, era or raag. Here is one song that had come up in one of these sessions, while discussing notable Suman Kalyanpur songs –

Likh De Piya Ka Naam, Sakhi Ri Piya Ka Naam – Saranga (1961) – Saradar Mullik – Bharat Vyas

Here is one more equally poignant VIDAI – farewell to the bride to her new married life – song, composed by Ravi, who, perhaps next to O P Nayyar, has given some of the best songs of Asha Bhosle.

Jaa Ri Sakhi Saj Dhaj Ke – Ghunghat (1960) – Lyrics : Shakeel Badayuni

In a tribute to Mahendra Kapoor, Bhagwan Thavarani states that this duet may not qualify as a vintage corner forgotten melody which needs to be dusted off and presented to all connoisseurs of music…but I’m helpless ! For two reasons – one, I have a personal affinity for this duet…..or perhaps, for some personal reasons hidden in the subconscious…AND then for the Great Helen ! She has no peer as far as dancing is concerned. Just watch body movements….. she displays during each interlude. It’s lightening, killing, intoxicating, maddening and what not !

Chhod Kar Tere Pyaar Ka Daman Ye Bat Den Ke Ham Kidhar Jaayen – Who Kaun Thi (1964) – Mahemdra Kapoor, Lata Mangeshkar – Madan Mohan – Raja Mendi Ali Khan

We also take up the opportunity to recall some of the (relatively) for gotten solo songs of Mahendra Kapoor

  • Kho Gaya Hai Mera Pyar – Hariyali Aur Rasta (1961) – Shanker Jaikishan – Hasrat Jaipuri
  • Tum Kitni Khubsurat Ho – Wahan Ke Log (1967) – C Ramchandra – Shakeel Badayuni

In a tribute to Subir Sen, on his passing away in December, 2015, Samir Dholakia has remembered

Sedin Dujane Dulechhinu Bone, Phulodore Bandha Jhulona Bolo Na Bolo Na – Anubhav (1971) – Kanu Roy

This Ravidra Sangeet song has been rendered in their own style by several other artistes. We have picked up its famous Hindi version Nain Deewane – Afsar (1950) Suraiya S D Burman and Hemant Kumar (Mukhopadhyay)’s Bengali rendition in this clip.

Pandit Ravi Shankar had sang this song along with his rendition on sitar at a London concert in June 2011.

Na Jaane Kyon Hota Hai Yeh Jindagi Ke Saath – Chhoti Si Baat (1976) – Lata Mangeshkar – Salil Chaudhary – Yogesh , which had a beautiful Bengali version Pogol Hawa by Subir Sen

In the 1950s, Sen added a unique romantic touch to hit Bengali songs such as “Monalisa Tumi Ki Bolona”.

We have picked up a few more of his rare (duet) songs from Hindi films:

  • Gori Tere Nakhat Naina – Hum Bhi Insaan Hai (1959) – with Geeta Dutt – Hemant Kumar – Shailendra
  • Dil Leke Jaate Ho Kahan – O Tera Kya Kahana (1959) – with Kamal Barot – Kalyanji Virji Shah – Farooq Kaiser
  • Pyar Mein Milna Sanam – Ardhangini (1959) – with Lata Mangeshkar – Vasant Desai – Majrooh Sultanpuri
  • Ghar Tum Bura Na Mano – Mehlon Ke Khwab (1960) – With Asha Bosle – S Mohinder – Raja Mahendi Ali Khan

We shall conclude our present episode with the journey with Peeyush Sharma through everlasting songs of Mohammad Rafi songs Fifty Years Ago: Films and Music of 1965 that seem to be on the path of oblivion…

  • Sab Mein Shamil Ho Magar Sab Se Juda Lagti Ho – Bahu Beti – Ravi – Sahir Ludhyanvi
  • Zindagi Ke Mod Pe Jo Koi Rasta Mila, Teri Gali Se Ja MilaBedagh – Roshan – Shakeel Badayuni
  • Phir Teri Yaad Naye Geet Sunane Aai – Bekhabar – S Mohinder Raja Mehndi Ali Khan
  • Mera Ban Jaye Koi Ye Meri Taqdeer Nahin – Ek Sapera Ek Lootera – Usha Khanna – Asad Bhopali
  • Meri Nigaah Ne Kya Kaam Lajawab Kiya – Mohabbat Isko Kahate Hain – Khayyam – Majrooh Sultanpuri
  • Hamen Kya Jo Har Su Ujale Huye Hain, Ke Hum To Andheron Ke Paale Huye Hain – Namaste Ji – G S Kohli – Anjaan a.k.a. Lal Ji Pandey
  • Kuchh Aisi Pyari Shakla Mere Dilruba Ki Hai, Jo Dekhta Hai Kehta Hai, Kudrat Khuda Ki Hai – Naya Kanoon – Madan Mohan – Hasrat Jaipuri
  • Dil Tadpe Tadpaye, Jo Unke Milan Ko Tarse Wo To Na Aaye, Mausam Aaye JaayePoonam Ki RaatSalil Chaudhary – Shailendra ( Peeyush Sharma notes : Salil was not in favour of taking Rafi for this song. I have personally confirmed this with him during my three meetings with him. After trying out Mukesh and Manna Dey, Kishore Sahu insisted on Rafi, who was summoned to render this difficult number.  And what a job he did!)
  • Teri Meherbani Hogi Badi Meharbaani Haye Teri Meherbaani With Asha Bhosale and Chorus – Raaka – Dattaram – Asad Bhopali

Icing on the cake is this song sent in by Biren Kothari:

Maar Gandasa Mar Jaana – Chhai (1950) – Hansraj Behl, Verma Malik – a Punjabi comic song is from very old classic punjabi movi. Very – very rare feature of the song is PRAN along with SUNDER and KHARAITI on the screen. . .

The song seems to have been inspired on Mohammad Rafi – Ameerbai Karnataki superhit Maar Katari Mar Jaana – Shenai (1947) – C Ramchandra

We will meet again on 2nd Sunday of the next month… with more unforgettable songs that have started slipping out of our memory….

If you have such songs to share, you are most heartily welcome…..

Fading Memories….Unforgettable Songs: January, 2016

The songs that we have for the present episode, incidentally, presents quite an interesting mix – both in terms of music directors or playback singers or even the year in which these songs were first released.

Harish Raghuvanshi remembers:

All songs of ‘Saawan’ (1959) – Hansraj Behl – Prem Dhawan

As we listen to this anthology, we get to listen to several songs that have faded up in the memory, along with some which remain evergreen…..

For those who would prefer to listen to each song individually, here is the bouquet of these gems to pick and choose from:

Bhagwan Thavrani has remembered a wide range of the songs, with equally interesting commentary:

Mere Laadlo Tum to Fulofalo – Sant Gyanenshwar (1964) – Lata Mangeshkar – Laxmikant Pyarelal

This is a wonderful lori with wonderful words and usual Lata magic, still it’s almost forgotten…

There is a second version of this song.. in Mohammad Rafi’s voice

O Mrignayani Chnadramukhi – Rang Birangi (1983) – R D Burman

It’s a classical song by Pt. Vasantrao Deshpande with (perhaps) Arti Mukherjee…but I like the picturisation of the song and wonderful rendering by the Maestro Om Prakash and Chhaya Deviboth actors enact their “seen it all ” feelings in a deft manner and their love for each other shows…and how !  साथ जियेंगे साथ मरेंगे गाते गाते गाना.. ..lyrics is by Yogesh ( or is it Maya Govind ! )..

Saari Duniya Se Poochha – Milan (1958) – Lata Mangeshkar – Hansraj Behl

We all remember this 1958 film MILAN for that divine Lata number हाए जिया रोए, but listen to this one…it is a wonderful tune which all of you might have heard often …just trying to take it out from the shadows of more famous one….!

Jahanwale Tune Ye Kya Jindagi Di Jo Aaj Tak Hua Na – Gule Bakawali (1963) – Mohammad Rafi – Hansraj Behl – Gulshan Bawra

Immortal Rafi … Raag Darbari tune by Hansraj Behl . same Raag as in . हाए जिया रोए

Alvida Jaan-e-wafa – Benazir (1964) – Lata Mangeshkar – S D Burman

This gem is from Bimal Roy’s BENAZIR, a flop and forgotten film of the 60’s. It was directed by an unknown director Khaled. It was a Muslim social featuring Ashok Kumar, Meena Kumara, Shashi Kapoor and Tanuja among others. Music had the unique combination of Sachin Dev Burman and Shakeel Badayuni. The film had famous Rafi solo ‘ Dil Me ek Jaan-e-Tamanna Ne Jagah Pai hai ‘ and a couple of other Lata solos which are excellent yet not very popular. To me, this Lata song takes the cake. It was deleted from the film, hence only audio of the song is available. The lyric is so meaningful and a bit tragic.

Samir Dholakia remembers songs –

Beeta Hua Ek Sawan – Shokhiyan (1951) – Lata Mangeshkar – Jamal Sen, as remembered by Mahesh Joshi of Rajkot

One of his melodious but lesser known song…… This song was originally created for film “Shokhiyan “of Kedar Sharma, who introduced him in film. But somehow this beautiful song was not included in that film. After the death of Jamal Sen in 1979 , Kedar Sharma utilized the same in tele film named “Pahela kadam” in 1980.

Here are two songs which were the main subject of Arun Kumar Deshmukh’s posts on Atul’s Song A Day

Samaa Ye Pyaar Ka Bahaar Ke Ye Mele – Baaghi Sipaahi – (1958) – Manna Dey, Asha Bhonsle – Shankar Jaikishan –

This is the 2nd of Manna Dey – Asha Bhosale duets. First one – Raat Gayi Phir Din Aata Hai – was in 1953 film – Boot Polish. Boot Polish also had triad – Thahar Jara O Jaanewale (Manna Dey, Asha Bhosle, Madhubala Zaveri). They went on to record 168 duets till 2005. As against this, Manna Dey – Lata Mangeshkar pair have recorded 106 duets.

Aaja Aaja Aaja Nadiya Kinaare – Raajhath (1956) – Lata Mangeshkar -Shankar Jaikishan – Shailendra –

presented by Helen on the screen

In Four Aces and A Queen, Parag Sankla has presented less remembered songs of Geeta Dutt, by Hansraj Behl, Chitragupt, Bulo C Rani and Avinash Vyas. We have picked up one representative song of each of the music directors mentioned in the article but for which the video links were not provided

Do Roz Ka Jalwaa Hain, Dikhane Ke Liye Hain – Rajput (1951) – Geeta Dutt, Hameeda Bano and Chorus – Hansraj Behl –

An all-female quawaali, indeed a rare one in so far as Geeta Dutt is concerned.

Nadiyaa Kinaare Mora Dera, Mashal Jale Saari Ratiya – Tarang (1952) –

a quartet with Mohammad Rafi, Shamshad Begum, Geeta and composer Chitragupt himself singing a few lines! Between the year 1958 and 1963, this wonderful singer and Chitragupt created as many as fifty plus songs….

Jawaniya Nigodi Sataaye, Ghoonghat Mora Khul Khul JaayeDarogaji (1949) – Bulo C Rani – Geeta’s voice could turn so youthful and natkhat…..

Gun Gun Gunjan Karata Bhanwara – Har Har Mahadev (1950) – Avinash VyasGun Gun so creatively succeeds in recreating the humming of the wasp…

K S Bhatia and other readers have been in enriching the post My favourite ‘special’ Asha Bhosle songs by way of quite interesting add-on comments. In fact the avalanche of such songs by all the readers would call for several separate posts to do the justice. We have picked up one song here:

Aap Ki Baaten Aap Ki Kasmen Sab Jhoote – Kala Samunder (1962) – N. Dutta

The discussion also has added a few songs like this one by Suman Kalyanpur as well.

Meri Preet Mera Pyar Bole Aaj Baar Baar – Teerath Yatra (1958) – Suman Kalyanpur – Suresh Talwar

https://www.youtube.com/watch?v=7qnkA_d_No4

I had fairly encouraging discussion with Maulika Dersari w.r.t. our December, 2015 episode. While she fondly remembered Zindagi Kitni Khoobsurat Hai, Aayie Aap Ki Zaroorat Hai (Hemant Kumar in 1963 film ‘Bin Badal Brsaat’ ). This one has twin version in Lata Mangeshlar’s voice as well. That led me to search for Hemant Kumar’s duet with Lata Mangeshkar :

Ho Dheere Dheere – Aagosh (1953) – Roshan – Shailendra

We shall conclude our present episode with Mohammad Rafi songs composed by Anil Biswas for ‘Heer’ (1956)

O Khamosh Jamana Hai – with Asha Bhosle – Majrooh Sultanpuri

Le Jaa Uski Duaaen, Jo Tera Na Ho Saaka – Majrooh Sultanpuri

Preet Ka Rogi Ho Ya Jogi, Allah Teri Khair Kare – Rajendra Krishna

We will meet again on 2nd Sunday of the next month… with more unforgettable songs that have started slipping out of our memory….

If you have such songs to share, you are most heartily welcome…..