Tag: S D Burman

Sahir’s Songs of Romance : 18 Films Association with S D Burman

The much-needed nourishing touch that seeded-in-1948- career of poet-lyricist, Sahir Ludhianvi would have dreamt, and the equally much needed escape velocity providing boost that S D Burman’s seeming to be steadying career required came in the form of Thandi Hawaein Lahera Ke Aaye (Naujawan, 1951 – Lata Mangeshkar), boosted further by Tadbeer Se Bigadi Hui and Suno Gajar Kya Gaye (Baazi, 1951- Geeta Dutt) and Tum Na Jaane Kis Jahaan Mein Kho Gaye (Sazaa, 1951 – Lata Mangeshkar) in the same year. What followed was a seven-year phase that this unique combination of two extremely talented and perhaps equally strong-willed personalities of the golden era of the Hindi film industry gave us music that we all so fondly remember in one of the most remembered 18 films association of a music director who believed in primacy of melody and a lyricist who sore by the importance of lyrics to make a film song meaningful.

S D Burman (10 October 1901 | 31 October 1975) was known to refuse films where the filmmaker wanted ‘hit’ songs, he would firms stand by his motto, “I compose only good songs”. S. D. Burman won only a few ’popular’ awards – because he never cultivated them – but his greatest triumph lay in the fact that his choosiness made every score count. There was a time in Bombay when the lyrics were set to tune by the music directors. S D Burman changed that theory. The tune first, the lyrics later. How S D Burman and Sahir Ludhianvi would have worked together with their totally contrasting approach on this aspect is not known, there is no denying the fact that their 18 films association remains a golden chapter in the history of Hindi film music.

Starting from first film with S D Burman Naujawan (1951) to 18th and the last film, Pyasa (1957), with him, Sahir Ludhianvi penned songs for 16 films with other music directors.  In comparison to this, in the same period, S D Burman did only nine films with five other lyricists.

I have selected one, relatively less heard, song from each of the 18 films that S D Burman and Sahir Ludhianvi worked together, except Radha Krishna (1954) which was a devotional theme film and Taxi Driver (1954), Devdaas (1955), House No. 44 (1955), Munimji (1955), Funtoosh (1956), Pyasa (1957), because the songs from these films are so well known.

Dekh Ke Akeli Mohe Barkha Sataye, Gaalo Ko Chume Kabhi Chhittein Udaye Re, Tip Tip Tip ……. ….. – Baazi (1951) – Geeta Dutt

chali naa jaye chal lachaku jaise dal
saadi bhigi, choli bhigi, bhige gore gal

lute har shingar paapi jal ki dhar
khuli sadak pe lut gayi logo main albeli naar

paanv phislata jaye tan hichkole khaye
aise mein jo hath pakad le mann uska ho jaye
bas ho jaye

aise me jo hath pakad le mann uska ho jaye

Are Kahaan Leke Jaihho Ram… O Zulmi Naina… …. ….  …  Dekho Arre Dekhoji Kuchh Bhi Kar Lo Jeet Hamari Hai – Naujawan (1951) – Lata Mangeshkar, Kishore Kumar

o zulmi nainaa waalon
tum daaman laakh bachaa lo
hamse bachnaa hai mushqil
ye nainon ko samjhaa lo
jahaan chaloge sang chalenge
ban kar tumhri chhaayaa

tum aisi qismat laaye
ke ham jaison ko paayaa
aur ham wo qismat waale
ke tumne khud bulwaayaa
arre kyaa daataa ki den hai dekho
raah mein heeraa paayaa

o nainon ke matawaale
dheere-dheere ye man
huaa teraa sajan
din aaye milan waale
….   ……   ….. …

….   ….. ….  ….. ….
jeet kahaan ki haar kahaan ki
dil khoyaa dil paayaa

Chori Chori Meri Gali Aana Hai Bura, Aayeja, Aake Bina Baat Kiye Jaana Hai Bura, Aayeja– – Jaal (1952) – Lata Mangeshkar

achchhe nahi yeh ishaare, pedon tale chhup chhupaake
aao na do baatein kar le, najaron se najarein milaake
din hai pyaar ke mauj bahaar ke
dekho bhole bhaale, ji ko tarsaana hai bura

dil aa gaya hai toh pyare badnaam hone ka darr kya
ishq aur wafa ki gali mein, duniya ki ghum ka gujar kya

din hai pyaar ke mauj bahaar ke
dekho bhole bhaale ji ko tarsaana hai bura

Preet Sataye Teri Yaad Na Jaaye…. Dil Deke Gam Le Liya – Lal Kunwar (1952) – Suraiya

jahar bhari ye kaisi baji shahnaai
thes jiya pe lagi aankh bhar aayi
aa re balam tere gam ki duhai

ruthe nasiboN ko kaise manayein
chhota sa dil aur lakho balayein
ghut ke gam se kahiN mar hi naa jaye

MaiN Pankh Lagake Ud JauN, Aur Phir Naa Palat Ke AauN – Armaan (1953 – Asha Bhosle

lehroN mein jhuluN, taroN ko chhu luN, lehroN mein jhuluN
ambar ki chhati se lag kar sapnoN mein kho jauN
anjani raho mein chhup kar anjani ho jauN
aur khud bhi khoj naa pauN

lehroN mein jhuluN, taroN ko chhu luN, lehroN mein jhuluN
badali banakar ban ban ghumuN bijli ban muskauN
jharnoN ki jhalar mein baithi geet suhane gaauN
duniya ko najar na aauN

Hamare Munder Bola Kaga Sakhi Ri, Bichhde Balam Ghar Aayengein – Babla (1953) – Rajkumari

ghunghat mein sansein lahakegi
mori suni ratiyaN mahakegi
sakhi birha ke gam sabhi bhulenge
hum sunke unke kadam ko

jab wo aangan mein aayengein
more sapne sach ho jayenge
leke man mein umang maiN
to khelungi rang piya pyare ke sang

jab un bahoN mein jhulungi
maiN jag ke sudh budh bhulungi
aaj main huN magan
mera man hai magan
leke jivan ka dhang

Lag Gayi Ankhiyaan Tum Se Mori. O More Saajan Tum Se Mori Akhiyaan – Jeevan Jyoyi (1953) – Geeta Dutt, Mohammad Rafi

sharm kho hi gayi laaj kho hi gayi
main to duniyaa se hi aaj kho hi gayi
ahaa haa haa ye kahaani nayi sun lo
saari duniyaa se hi main to kho gayi
par kisliye, o lag gayi ankhiyaan

aaj meri nazar ko chamak mil gayi
dil ko ik mithi mithi kasak mil gayi

man ke taaro mein laharaayi masti ki dhun
anaginat paayalein baj uthi chhun chhunan chhun chhunan
o more baalam o mere sanam
o sanam tumpe mori lag gayi ankhiyaan

Jaam Thaam Le, Jaam Thaam Le, Sochte Hi Sochte Na Bite Saari Raat – Shahenshah (1953) – Shamshad Begum

saj ke aayi hai shishe ki pari
dhundh ke laayi hai diloN ki khushi
jannat se kudarat ne bheja tere liye inam

,,,,  ,,,,, ,,,   ,,,,   ,,,,, ,,, 

dunia ke har dukh ka daru ek sunahari jam

subah dur hai rat ki qasam
dil ki maan le mere sanam
masti ki in ghadiyoN mein kya soch samajh ka kam

,,,,  ,,,,, ,,,   ,,,,   ,,,,, ,,, 

zulfoN ke saye mein nadaN kar bhi le aaram

Gori Ke NainoN Mein Nindiya Bhari, Aa Ja Ri Sapno Ki Nilam Pari, ….. . Arre O Mere JakhamoN Ki Fitkari, Aa Bhi Jaa KyoN Der Itni Kari – Angarey (1954) – Shamshad Begum, Kishore Kumar

o nilam pari ruth jaungi maiN, kiya toh naa aaungi maNi
khamosh rahne mein hai behtari
aati huN, aati huN, dam lo ghadi,

aa bhi ja kyoN der itni kari

too hur hai aur maNi langur, too hur hai aur maiN langur huN
ulfat ke hathoN se majabur huN
gussa naa kar, naa kar, gussa naa kar
o meri besuri, o meri besuri, aa bhi ja kyoN der itni kari

Dil Nahi To Na Sahi Aankh To Milao Ji, Sawan Ki Raat Hai – Society (1955) – Asha Bhosle, chorus

us taraf gagan pe kale badaloN ka shor hai
badaloN ka shor hai
is taraf diloN mein mast dhadkanoN ka dour hai
dhadkanoN ka dour hai
ruthane ki rut gai ab to maan jao ji

kachhi kachhi bundiyon ki ras bhari fuhar mein
ras bhari fuhar mein
aur hi maja hai do dilo ki jeet haar mein
do dilo ki jeet haar mein
jindagi ki har khushi daav par lagao ji

kho na jaye ye sama is samay mein kaam lo
..  ….. …..   ….   ….   ….  …  ….   .  .  .
jisse mil gaya ho dil uska hanth tham lo
.. … ..  .  .  .  .  .
mast hoke do ghadi khud ko bhul jao ji

Till we get another opportunity to revisit Sahir Ludhianvi – S D Burman association, we move on to another 18 films association, that with N Dutta in our next episode.

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

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

Theatre and film actor Shaukat Kaifi passes away at the age of 91. Shaukat Kaifi is best known for her work in Umrao Jaan (1981), Baazaar (1982) and Garm Hava (1973). She was last seen in Saathiya (2002).

We pick up other tributes and memories:

In our last episode we had featured Part 1, Part 2 and Part 3 of Lata with Lesser Known Composers. It’s time now for the fourth part of the series, based on Lata Mangeshkar’s association with lesser known composers.

We also continue with tribute articles on S D Burman-

When India’s first international film festival was suspected to be a ‘communist shenanigan’ – When Frank Capra arrived at India’s first international film festival to foil a ‘Soviet conspiracy’ – According to film historian Amrit Gangar, both the superpowers had an eye on newly independent India and IFFI 1952 provided a useful platform to somehow influence the India’s global-political stance.

Seeing Red: Frank Capra with Nargis, Suraiya and others in Bombay. (Photos: Films Division)

The Golden Thread of Bengali Cinema: A Journey Through 100 Years – Coinciding with the Kolkata International Film Festival 2019, the National Museum in collaboration with Shivendra Singh Dungarpur of the Film Heritage Foundation (FHF) and author, film historian and archivist SMM Ausaja unveiled a grand exhibition to celebrate the glorious history of Bengali cinema through rare film memorabilia. The exhibition opened on 8 November, 2019 and will be on display for a month.

“I Was Born Free,” Raakhee Gulzar Speaks Her Heart Out – Rakhee inaugurated the Festival.

Finally, a film about Annapurna Devi that unpacks the legend behind the Hindustani musician – Nirmal Chander Dandriyal’s ‘Guru Maa’ was screened in Mumbai on October 13 and 14, 2019.

Millennial Review: Pati Patni Aur Woh Is About a Pathological Liar– Pati Patni Aur Woh is loaded with normalised patriarchal themes. Sanjeev Kumar’s character, despite its faults, is a subtle reaffirmation of the ‘boys will be boys’ sentiment. The film is still enjoyable because of Sanjeev Kumar’s acting.

The Charismatic Ashok Kumar Upstaged Raj Kapoor At His Own Wedding – This story is from The Quint’s archives and was first published on 10 December 2015 to mark Ashok Kumar’s death anniversary. It is now being republished to mark Dadamoni’s 108th birth anniversary.

Remembering V Shantaram: 76 Years On, a Look at His Iconic Studio – Mumbai’s Rajkamal Kalamandir studio – which has spawned over 2,000 films – still lives on amidst the twisty lanes of the once exclusive industrial belt of the city.

The entrance to the studio. – Photo: Khalid Mohammed

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

Documentary ‘Starring Sharmila Tagore’ is an incomplete portrait of a life less ordinary – When Sharmila Tagore was cast in Satyajit Ray’s Apur Sansar in 1957, she was just 13. She went on to star in some of Ray’s greatest movies, including Devi, Nayak and Aranyer Din Ratri.

In our series Manna Dey and his contemporary lead actors, the November, 2019 episode remembers his songs with Dharmendra, Shahsi Kapoor, Manoj Kumar, Pran and Joy Mukherjee. We have covered Manna Dey’s songs with main stream lead actors Dilip Kumar, Dev Anand, Raj Kapoor, Ashok Kumar, Balraj Sahni, David Abraham, Bharat Bhushan and Kishore Kumar, Shammi Kapoor and Guru Dutt, Raaj Kumar and Rajendra Kumar, Prem Nath, Pradeep Kumar and Sunil Dutt till now.

Ravi: Booster rocket for Mahendra Kapoor – Mahendra Kapoor’s career dated back to 1953 as a singer in Madmast (1953), composed by V Balsara, in a duet with Ghan Indorewala, Kisi ke zulm ki tasveer hai majdoor ki basti. The biggest boost for him came from Ravi who became a regular for BR Chopra Films, after their initial collaboration with various other music directors

November, 2019 episode of Fading Memories, Unforgettable Songs takes up Salil Chowdhury and Shailendra’s Songs Fading From the Memory – 1956 in continuation to their songs for the years 1953 to 1955 and those of film Awaz last year...

And, now commence the posts on other subjects.

I Never Questioned My Father Kishore Kumar About His 4 Marriages: Amit Kumar – Amit Kumar reminisces about his father.

Image Source: learning and creativity

By the Sea Shore – 2 is a follow though article of pre-1970 song list picturised on a seashore. The present list presents songs of the 1980s and the 1990s.

Ten of my favourite Songs of Nature are the songs that celebrate nature, songs that appreciate the beauty of nature, e.g. Pighla hai sona door gagan pe (Jaal, 1952)

How Vijay Anand’s classic film ‘Guide’ tackles the delicate subject of adultery, but two years earlier, in the 1963 film, Yeh Rastey Hain Pyar Ke, the married woman’s lover was demonised and killed.

 

Journey of a Song from Karbala to Guide, immortalised by Dada Burman is a collection of various versions of the original song adopted by Burman Da from a Bengali folk singer Abbasuddin Ahmed’s song.

It’s Lakshmibai Mania! – After the 1953 film, there was not another movie made about Lakshmibai for a long, long time. But now that situation has completely changed. By the end of the present year, 2019, we will have had two highly visible and much-anticipated films about the Queen of Jhansi released on the international market. On top of that, we find two substantial novels on the subject that came out within the past dozen years, and one can also notice that on YouTube a Lakshmibai serial and Lakshmibai cartoons and all kinds of documentary works. The post is a review of the scenario…

In the second concluding article, Best songs of 1946: Wrap Up 2, of the on-going series of Best songs of 1946: And the winners are?, Noor Jehan is adjudged Jawan Hai Muhabbat Hasen Hai Jamana. In the meanwhile we have concluded The Micro View of Duets with My Top Duets and that of music directors with My Top Music Directors. All the episodes of The Micro View of Best Songs of 1946 can be read / downloaded from one file, by clicking on the hyper link.

We end the post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post, we have picked up:.

Gajab Hua Ram Sitam Hua Ram – Agra Road (1957) – with Geeta Dutt – Roshan – Prem Dhawan

Ja Ja Tujhe Ham Jaan Gaye – Sehra (1963) – with Lata Mangeshkar – Ramlal – Hasrat Jaipuri

Kaisi Haseen Aaj Baharon Ki Raat Hai – Aadmi (1968) – with Mahendra Kapoor – Naushad – Shakeel Badayuni

Mera Man Tera Pyasa – Gambler (1971) – S D Burman – Neeraj

I earnestly solicit your inputs for further broad-basing our cache for the content for our carnival of blogs on the Golden Era of Hindi film music.

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.

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

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

Lata Mangeshkar’s birthday has had a very extensive coverage this moth. We have picked up the representative articles here:

The Mangeshkar siblings – #Meena, #Lata, #Hridaynath, #Asha and #Usha with their mother #Shevanti.

We also poignantly take note of passing away of Viju Khote –

Remembering Kaalia – Following the success of Sholay, Viju Khote became a regular in Hindi films. Viju Khote is also remembered for his stint on TV, with Zabaan Sambhal Ke. He passed away on 30-9-2019, at the age of 77, due to multiple organ failure in his Mumbai home.

We pick up other tributes and memories:

SD Burman: ‘The Courage of His Convictions’ – Moti Lalwani  –

Raah Bani Khud Manzil – The Lingering Effect of Hemant Kumar Part 1  explores the talent and work of Hemant Kumar and Part 2 explores some of his compositions of merit and his opus as a music director in Hindi films.-  His music spelt class and showcased quality. His deep, resonant, sonorous and haunting voice cast a spell on his listeners. Vasanti Limaye pays a tribute to Hemant Kumar, singer and composer.

“Maajhi Naiya Dhoondhe Kinara” – Yunus Parvez was a familiar face in Hindi cinema over three decades from 1970s to 1990s. In stark contrast to his screen image, Yunus Parvez was a highly educated and extremely intelligent personality who was also active for a short period in the field of politics.

Shammi Kapoor: The Charisma of the Original Dancing Hero – Peeyush Sharma– Revelling in the song, its emotion, the fine movements of the orchestra, the feelings that the lyrics carry, the message, the rhythm and gelling with it in celebration with complete physicality was what Shammi Kapoor was all about. For example –

Tasveerein banti hain kirnein-si chhanti hain  (Jeevan Jyoti, 1953) SD Burman/ Sahir/ Asha and Shammi Kapoor(for the last line).

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

Before Walt Disney, There Was Lotte Reiniger and the World’s First Animated Feature – The oldest surviving animated feature was not made by Walt Disney, but by a German puppeteer named Lotte Reiniger who escaped Nazi persecution to move to London and make adverts for the British Post Office. Her film, The Adventures of Prince Achmed (1926), was a creative and technical masterstroke that would have a huge influence on the generation of animators that followed, including those working in the United States.

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

And, now commence the posts on other subjects.

Hato Kaahe Ko Jhoothi – Manzil – All That Fuss narrates the bitter sweet bickering and all that fuss about loving someone else and giving all the attention to that someone else.

The ‘Professional’ Songs are the songs that describe one’s profession or occupation. The list mandates stage performances and audio clips not to be includes in the post.

‘Saaransh’ revisited: ‘The ‘watershed’ that set Anupam Kher on the road to success – Sanjeev Kumar was almost cast as BV Pradhan in Mahesh Bhatt’s movie, Anupam Kher  recalls in recently published autobiography Lessons Life Taught Me, Unknowingly.

Shabana Azmi: Playing the Formidable Rukmini Bai in Mandi – From smiling chutzpah to high power kinetic outbursts, Shabana Azmi makes the formidable character of Rukmini Bai come alive in Shyam Benegal’s Mandi. Bubla Basu explores Shabana Azmi’s unbeatable oomph in this acclaimed film.

Following the overview article, Best songs of 1946: And the winners are?, we have taken up micro view of Duet Songs for 1946  We have covered Male- Female duets this month in four episodes – those of Mohammad Rafi, G M Durrani, Mukesh, Chitalkar, Ashiok Kumar, Surendra and Other male Singers in Part 1 and Part 2.. We plan to take up female-female duests and Traiads, Triads + in the last episode of this month.

To end the present post with a few duet songs of Mohammad Rafi with Lata Mangeshkar, each one of which basically has a link with the topics discussed in the present post, we have picked up:.

Dekho Rutha Na Karo, Bat Dil Ki Suno – Tere Ghar Ke Samne (1963) – S D Burman – Hasrat Jaipuri

Tum Lakh Chuupana Chahoge – Singapore (1960) – Shankar Jaikishan – Hasrat Jaipuri

Tumhare Bin Guzare Hai – Atmaram (1979) – Shankar Jaikishan – Vishweshar Sharma

Luska Luska Luska Lui Lui Sa….Tu Mera Copyright, Main Tera Copyright – Shararat (1959) – Shankar Jaikishan – Shailendra

I earnestly solicit your inputs for further broad-basing our cache for the content for our carnival of blogs on the Golden Era of Hindi film music.

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.

Carnival of Blogs on Golden Era of Hindi Film Music, October, 2018

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

Just as the world had seemed to come around to the public announcement of planned demise of RK studios, that we  too had focused in  September, 2018, Krishna Kapoor, the most charming and respected ‘outsider’ ‘wife’ in  the film world, and of course, the axis around which Raj Kapoor created his showman business, passed away on 1st October, 2018.

Krishna Raj Kapoor: the grand matriarch – Madhu Jain – Impeccably turned out in her white, embroidered organdy saris, pearl strings and well-coiffed hair, she was a picture of poise to the outside world, no matter how difficult things might have been at home….Raj Kapoor once famously said that he was happy with his Ambassador car; the Mercedes was for his wife. Just as he equally famously and not very generously said that his wife was the mother of his children and Nargis was the mother of his films.

Krishna and Raj Kapoor – at two milestone stages of life – (L) marriage, 1946 / (R) Dada Saheb Award function, 1987

Krishnaji, very richly, was profusely eulogized in the front-line press and media: Here are just two links: Krishna Raj Kapoor passes away at 87; remembering her unique love story with RK and  Krishna Raj Kapoor: A Life In Pictures

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

Annapurna Devi – The Pink Star Lost To The World –was born as Roshanara Khan, she was one of the daughters (the other 2 being – Jahanara and Sharija and brother Ustad Ali Akbar Khan) of Ustad Alauddin Khan. She was maestro of classical vocal music, Sitar, and Surbahar. She herself created musicians like Pandit Hariprasad Chaurasia, Nityanand Haldipur, Nikhil Banerjee, Amit Roy, Basant Kabra and many more who were her students. Her music remained hidden to the world.

The Faint Echoes of the October Revolution: A Centenary of the Capricious Philosophy in the Socio-political life! – The (Guest) author, Shalan Lal, has very deftly woven the history of the October (Russian) Revolution with the fall out effect on Hindi Films in the process of commemorating the completion of 101st year of the Revolution.

Dina Pathak – The Multifaceted Doyenne Of Hindi Cinema – was arguably the Doyen of character roles in Indian Cinema, who has performed the most powerful and graceful character roles in Indian Cinema, starting from late 60s to early 2000s. Har Din To Bita Sham Hui (Kitaab, 1977; R D Burman; Gulzar) is probably the only solo song picturized on her, with a soothing voice of Raajkumari

Manto, movie buffs, time machines in Nandita Das’s Manto – which intersperses vignettes from Saadat Hasan Manto’s life with scenes from his short stories.

Zindagi kaisi hai paheli haaye – Vijay Kumar remembering Hrishikesh Mukherjee and his Anand, on his birth anniversary on 2nd October.

Mehfil Celebrates ‘S D Burman’ Month + S D Burman – Early Days + S D Burman – The 50s is a series of posts that travereses S D Burman’s journey of the Hindi Films, in the 112th year of his month of birth.

Relishing The Combination Of S D Burman And Majrooh Sultanpuri  is a treat for music lovers.

In Tandem: SD Burman – Majrooh Sultanpuri are the ‘songs picturised on Dev Anand’ and their ‘songs for other actors’ because it so happened that many of the songs on this list were picturised on the actor.

Meet the Kishore Kumar fans behind new film: ‘People are still looking for the quality of his voice’ – Kaushik Ganguly’s Bengali film ‘Kishore Kumar Junior’, starring Prosenjit Chatterjee, is dedicated to the people who have devoted their lives to the singer.

‘Main Dhoondhta Hoon Jinko Raaton Ko Khayalon Mein’ – Shiv Kumar – Hindi cinema has had many actors like Sudesh Kumar, Shailesh Kumar, Rakesh Pandey and Vikram who gained good recognition among the audience in a short time but were lost to oblivion soon after. In the list of such actors, is the name of Shiv Kumar Pathak, known to cinema goers as Shiv Kumar. He made his debut with the movie ‘Poonam Ki Raat’ in 1965 and became a star with the release of the movie Mahua in 1969, and Thokar(1974).

‘Unsung hero, Pope of sound’: A documentary resurrects legendary mixing engineer Mangesh Desai, who worked on more than 300 films over nearly four decades.  – Nandini Ramnath – In The Sound Man – Mangesh Desai, Sahoo provides a comprehensive and engrossing examination of Desai’s achievements, his work ethic and his personal side.  The 112-minute film is filled with anecdotes related by a huge cast of luminaries.

A drawing by Ram Mohan that features in The Sound Man Mangesh Desai.

Shammi Kapoor – The hero who never needed a choreographer –  Vijay Anand who directed him in Teesri Manzil once told that Shammi did not regard himself as a dancer, nor had he ever learnt dancing. But you played a song to him and tell him: “Go wild!” He would because he had such a tremendous sense of rhythm.

On the first death anniversary of Vinod Khanna, here is a Quiz: How much do you know about Vinod Khanna’s key roles?

Born on 10th Oct 1954, Rekha -The Much Maligned and Misunderstood Woman, as she describes her in her autobiography. Rekha, -The Untold Story, as told to Khalid Mohamed. She has said in the book that I do not invite people into my house. In fact, my privacy’s worked better than any screenplay. Anything connected with my work, the producers meet me in my office, and no one comes into my house except family.  

‘Shakespeare Wallah’, original ‘Suspiria’ among restored classics at Mumbai Film Festival  Also on the list are ‘Pixote’ and ‘Hyenas’.

The Top Sad Songs of Dev Anand are philosophical songs as well.

October, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory 1949 – 1953.

The Great Composer Duo of the Golden Era of Bollywood commenced working as team from Barsaat (1949) till Jaikishan’s death in 1971. Shankar continued composing films even after that under the banner of Shankar Jaikishan.

And, now the posts on other subjects:

Women in Proper Noun Roles – In a study conducted in 2017 that scanned roughly the last 50 years and found that in Bollywood, women-centric films have risen from just 7% during 1970-1975 to a still-small 12% today.. It’s easiest for the male ego if it’s a woman-centric film but the title itself is a neutral concept. Examples are Adalat (1958), Sadhana (1958), Inteqaam (1969), Aandhi (1975) and Bazaar (1982). One step more difficult is eponymous titles of the common noun kind, like Anpadh (1962), Ardhangini (1959), and Badi Bahu (1951). In such films, the titles are named after women, but that accent remains somewhat weak. It is at the really upper end, where the title of the film is a proper noun, named after the female protagonist, which makes it hardest for the male actor. Examples of these would be films like Anuradha (1960), Purnima (1965), and Razia Sultan (1982). The post goes on list the songs, all performed by actresses in ‘Proper Noun Country’, their names finding a mention after the movie titles:

The Male Advantage – Most weather-people are men, so till recently they named hurricanes after women! With an increasingly-just society, this unkind naming has had to be given up, so that now hurricanes are named alternately, in a man-woman-man-woman way. We turn our attention to the powerful world of our cinema, where too it’s the men who have always been in the driver’s seat. However, some actors like Ashok Kumar, Balraj Sahani , Dharmendra  have manfully played roles in woman-centric films. The post is about films who bear  the name of a male character and the songs that the male actor who sang on the screen is named in brackets.

Introducing Food and Food Movie Month on Dustedoff is a celebration of a different type, on the occasion of World Food Day on 16th October. As part of preparing herself for this celebration, Madhulika Liddle, the author of the blog, watched as many movies she could watch on food, wrote mini reviews of films she watched, made notes on the food she cooked based on these films. So we will have four post-length courses of this fare from her…. Part 1, Part 2  and Part 3 discuss the dishes or meals she cooked, and the films that triggered those meals. ‘Ten of my favourite food songs’ is the very interesting list of songs not only in praise of food (and drink), but which just mention food, in some context or the other. The songs are of pre’70s period and mention food (drink) in the first two lines and / or in refrain. And of course, the drink should not be liquor, because there has been posted a daaru songs list. I have listed these songs here once again:

  1. Ek roz hamaari bhi daal galegi (Bandi, 1957)
  2. Suraj zara paas aa (Ujala, 1959)
  3. Tu mera jo nahin (Bheegi Raat, 1965): (With Pee cola pee cola being the refrain)
  4. Mera naam Abdul Rehman pistawallah main hoon Pathan (Bhai-Bhai, 1956)
  5. Paan khaaye saiyyaan hamaaro (Teesri Kasam, 1966)
  6. Chana jor garam main laaya (Naya Andaaz, 1956
  7. Maine kaha thha aana Sunday ko (Ustaadon ke Ustaad, 1963
  8. Ichak daana bichak daana (Shree 420, 1955)
  9. Chanda mama door ke pooye pakaayein boor ke (Vachan, 1955)
  10. Jaiyo jaiyo sipahiya bazaar daal meri chulhe chadhi (Nishaan, 1949)

The discussion on the post has added many more food songs.

The Audio Pole Star – The tanpura (tambura in Carnatic classical music) is a 4-string music instrument whose job it is to lend a continuous, low-humming sound to a vocalist, Modern technology is trying to dismiss it off the stage. The post lists songs that featured Taanpura on the screen.

My own taste got developed by listening to radio in 60s. However, later in the seventies, other media took over that space. So I relish Radio – My Constant Song Companion with the fond memories.

Knifing the Body – Depiction of Maiming in Cinema – Filmmakers have often relied on gore as a mode to make the audience uncomfortable with our very own physiology. Amitava Nag and Shiladitya Sarkar dig deeper into this genre.

Chehre pe khushi chha jaati hai – Lata Jagtiani – The three sides of a love triangle around a grand piano – beautiful and charming Sadhana, dapper-looking Sunil Dutt and inimitable Rajkumar – forming the backdrop of Sahir Ludhyanavi’s words, Ravi’s composition and Asha’s effusive rendition makes it really difficult to find who is the real scene-stealer here!

Iss Nadi Ko Mera Aaina – Chashme Buddoor – Reflections Of Love – Simple food, simple clothes, simple words, simple ways of expressions, simple living and of course simple cinema never fade. Even in a romantic song (singers: Haimanti Shukla, Shailendra Singh / Music – Raj Kamal / Lyics: Indi Jain) like this, Sai Paranjpe has kept the comedy quotient alive.

Story Behind The Making Of Jao Re Jogi Tum Jao Re – Amrapali in the words of film’s director, Lekh Tandon.

Naked invisible men I have known: Mr India and his forebears elaborates how old Hindi cinema dealt with the invisibility theme in its own special way.

We continue Micro View of Best songs of 1947: And the winners are? with female solo songs, wherein moved to Duets of 1947. After having covered the duets of Mukesh with other female playback singers, we have also covered duets of Mohammad Rafi, those of G M Durrani and those of ‘other male singers’ in Part I, Part II and Part III. While we continue with our micro view, SoY has published its concluding piece on duets of 1947 – Best songs of 1947: Wrap Up 3 and adjudged Humko tumhara hi aasra (Saajan, C Ramchandra) and Yahan badla wafa ka bewafai ke siwa kya hai (Jugnu, Firoz Nizami), jointly as the Best Duets for 1947.

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.

Saathi Na Koi Manzil, Diya Hai Na Koi Mahefil – Bombai KA Babu (1960 ) –  S D Burman – Majrooh Sultanpuri

Solah Singar Kar Ke Jo Aayi Suhag Raat .. Jalwe Tumhare Laayi Suhag Raat – Gaban (1967) – Shankar Jaikishan – Hasrat Japuri

Raahi Mil Gaye Raaho Mein, Baate Hui Nigaho Mein – Dil Deke Dekho  (1959) – Usha Khanna – Majrooh Sultanpuri

Sadque Heer Tujhe Pe Hum Faqueer Sadqe – Mera Naam Joker (1970) – Shankar Jaikishan – Prem Dhawan

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

S D Burman and “Other” Male Playback Singers :: [3]

We are now in the last leg of our series of S D Burman composed songs in the voices of ‘Other’ Male Singers. In the first part, we had covered S D Buman’s Other Male Songs for the initial years – 1946-1949 – of his career. In the second part, we had covered the years 1950 to 1960, when S D Burman had begun to rise to the peak of his career.

Presently, we will cover the years from 1960 till the end of S D Burman’s active career in Hindi Film Music world. From ‘Pyasa’ (1957) S D Burman had predominantly shifted to Mohammad Rafi as the lead singer till he started tiling towards Kishore Kumar, beginning with ‘Teen Deviyan’ (1965), barring a few exceptions. Therefore, one can easily expect that S D Burman would have used ‘Other’ Male Singers for the non-lead protagonists in the songs that we will get to listen in this third part. And, yet, the choice of a particular ‘Other’ Male Singer still presents an interesting insight into S D Burman’s process of selecting a singer for his tunes.

S D Burman – Mahendra Kapoor

Mahendra Kapoor had to remain under the shadow of Mohammad Rafi’s dazzling success. He had had quite close association with Mohammad Rafi and did execute Rafi’s advice of creating his own style of singing, which helped him to carve out his own respectable space within the Rafi-dominated era.

Piya…Piya Bin Nahin…Aavat Chain…Mil Gaye Milnewale ..Ab Ghar Mein Baithe Kazi, Keh Do Ji Keh Do, Hai Miya Bibi Razi….. – Miya Bibi Raazi (1960) – with Asha Bhosle – Lyrics: Shailendra

The song is filmed on three pairs of actors on the screen – Mehmood and Seema Saraf (a.k.a Seema Deo);  Shrikant Guarav – who, according to Shri Arunkumar Deshmukh, is Shailesh Mukherjee, the music director of films like Suhag Sindoor (1953), Parichay (1954), Saavera(1958) and a singer (Dekha Chand Ki Aur –Aag [1949] – and Kamini Kadam and third not-known-names pair, who initiate the performance of the song in what is known as street performance style. S D Burman had used Rafi for Mehmood as well as Shailesh Mukherjee in this film, and yet, he has chosen Mahendra Kapoor for this song !

Mera Kya Sanam Meri Khushi Hai Tumhari,Are Haste Ho Jab Muskarati Hu Main – Talaash (1969) – with Asha Bhosle – Lyrics: Majrooh Sultanpuri

We have jumped from 1960 to 1969 for a second of S D Burman – Mahendra Kapoor song. By this time Mahendra Kapoor had already established himself a successful lead male singer and had had sewed up strong tie-ups with B R Chopra- Ravi or with Manoj Kumar, and in fact was to replace Rafi when O P Nayyar had a tiff with Rafi. It is said that he was chosen here because of insistence of the producer, O P Ralhan, on whom this song is filmed on the screen.  Mahendra Kapoor has even been given enough space in the delivery of the song to freely practice his by-now—well-known playful style for such jazzy song.

S D Burman – S D Batish

S D (Shiv Dayal) Batish was a trained classical singer. He commenced his career in early Hindi Films as a music director, who would sing too.  He migrated to UK in 1964 where he regular recorded songs with BBC. S D Burman has used S D Batish, in two songs, in the role of the music teacher.

Poochho Na Kaise Maine Rain Bitaayee – Meri Soorat Teri Ankhen (1963) – with Manna Dey and an unknown female singer – Lyrics: Shailendra

Perhaps more known version of this song is the solo version by Manna Dey, but in this version S D Batish has played his role of a teacher quite comfortably and effortlessly.

Man Mohan Man Mein Ho Tumhi….More Ang Mein Tumhi Samaye, Jaano Na Jaano Ho Yumhi – Kaise Kahoon  (1964) – with Mohammad Rafi and SumanKalyanpur – Lyrics:  Shakeel Badayuni

This triad also remains a very well-known classical raag- based song.

S D Burman and Bhupinder

As is well-known, Bhupinder Singh debuted with playback singing in Haqeequat (1964), but it may not be equally known that he was also an accomplished guitarist. As a guitarist, he was an integral part of R D Burman’s orchestra team. That connection seems to have made the opening up a space for Bhupinder to sing for a couple of S D Burman’s songs.

Hothon Pe Aisi Baat – Jewel Thief (1967) – (mainly) Lata Mangeshakr, and chorus – Lyrics: Majrooh Sultanpuri

Bhupinder’s maiden association with SD Burman is simply as a piece of orchestra, a la RDB style. Film director Vijay Anand has very deftly used Bhupinder’s piece filmed on Dev Anand and lent a very different meaning to the song picturizatiion.

Yaaron Nilam Karo Susti, Hamse Udhar Le Lo Masti – Prem Pujari (1970) – with Kishore Kumar – Lyrics : Neeraj

This is what can be classified as a Jeep-genre song. Bhupinder playback sings for Anup Kumar.

S D Burman and Danny Denzongpa

Again it may be well-known that Danny Denzongpa (born Tshering Phintso Denzongpa) was a highly talented actor. But that he was a good singer is not so known. He has even directed a film, and was a good painter, writer and sculptor too.

Mera Naam Yaao, Mere Paas Aao – Yeh Gulistan Hamara (1972) – with Lata Mangeshkar – Lyrics: Anand Bakshi

S D Burman has made a very surprising choice of Danny to playback for Jonny Walker. The song had shot to good popularity in those days, and had reached 14th position in Binaca Geetmala in that year.

S D Burman and Manhar

Manhar Udhas, though qualified in mechanical engineering, was keen to make a career in music. He did succeed in the pursuit of his life goal.

Loote Koi Man Ka Nagar Ban Ke Mera Saathi – Abhimaan (1973) – with Lata Mangeshkar – Lyrics: Majrooh Sultanpuri

Probably, the choice of Manhar to playback for Amitabh Bachchan was to clearly demonstrate the quality of singing of the two protagonists in the film. Nonetheless, the song did stand its ground against all other songs of Abhimaan.

S D Burman – Sunil Kumar, R S Bedi

Of these two singers, I could not get any information about Sunil Kumar. R S Bedi should obviously be Rajinder Singh Bedi, a well-known writer and film director as well.

Laali Mere Laal Ki Jit Dekhoo Tit Laal, Phir Raat Hui Ek Baat Hui – Phagun (1973) – with Kishore Kumar, Pankaj Mitra – Lyrics: Majrooh Sultanpuri

The song is predominantly a typical Kishore Kumar tantrum-style songs.

S D Burman – Pankaj Mitra

Pankaj Mitra has had earlier recorded an triad song  and a duet for ‘Sautela Bhai”(1962, Music: Anil Biswas) . He later on, also, has few more films like ‘Grih Pravesh (1979) or ‘Ab Ayega Maza’(1984) to his credit. He obviously has a far better and respectable track-record in Bengali films.

Saala Main To Sahab Ban Gaya – Sagina (1974) – with Kishore Kumar – Lyrics: Majrooh Sultanpuri

Pankaj Mitra plays back for Om Prakash in the song. This is too loud a song, at least under S D Burman’s baton. Of course, Dilip Kumar had acted in a similar loud manner earlier in ‘Gopi’ (1970) too, for a song in a similar situation.

S D Burman – Dilip Kumar

Dilip Kumar had recorded only one song in his own voice till now – Laagi Nahi Chhoote Ram – Musafir, 1957, with Lata Mangeshkar; Music – Salil Chaudhary).

Uparwala Dukhiyon Ki Nahin Sunata Re – Sagina (1974) – With Kishore Kumar – Lyrics: Majrooh Sultnapuri.

S D Burman has used Dilip Kumar’s voice to recite a few lines in the song.

The records do show that S D Burman has used voice of Johnny Walker and R D Burman too for a song each. But these would not be more than either speaking a line or two or as orchestration filler, respectively.

That brings the end of S D Burman’s tryst with ‘Other’ Male Singers. One may conclude that he has mostly used these voices quite creatively, in a somewhat descending order in each of the three phases that we have reviewed in this series. With that it also needs to acknowledge that except in the first phase, most of these songs were at the fringe of the main body of his work in the respective film.

N.B.

All three episodes of S D Burman and “Other” Male Playback Singers can be read in one place by clicking on the hyperlinked title.

All said and done, we are not here to pass any judgement on the songs. Our sole aim was to bring these songs on the same page for the effective documentation.

P.S. For easy access and documentation, all the three episodes are available in one file on  S D Burman and “Other” Male Playback Singers

S D Burman and “Other” Male Playback Singers :: 2

The previous episode of the three-part article of S D Burman and Other Male Playback Singers, we had covered the period from the beginning of his career in 1946 till 1949. This was the period when S D Burman was still striving to create his own firm space in the field of Hindi Film Music world.

Presently, we take up the second set of S D Burman’s songs of ‘Other” Male Playback Singers chronologically can be set to the period 1950 to 1955.

Our period begins with two films, Mashal and Afsar, which were to become the key thrust engines that were to provide the much needed escape velocity to S D Burman’s career to attain e respectable orbit space among the front-ranking music directors of the Golden Era of Hindi Films.

Once having attained an assured specific space, S D Burman went on to use the established male playback singers like Mohammad Rafi and Kishore Kumar for most of the major male solo and duet songs. He also chose other front-line male singers like Manna Dey, Talat Mahmood, Hemant Kumar and Mukesh as and when so required.  So use of ‘other’ male singers is now more situation-specific, and, perhaps, to a great extent of S D Burman’s choice.

S D Burman – Arun Kumar Mukherjee

‘Upar Gagan Vishal’ of Mashal (1950) is considered to have really breathed a lease of new life into S D Burman’s career. It is said that SDB was so disillusioned that he was on the verge of leaving this Ashok Kumar’s Bombay Talkies banner production incomplete. He was dissuaded from doing so, and as is said the rest was history.

Jab Ham They Tumhare Aur Ham They Tumhare …Wo Thode Se Din They Kitane Pyare – Mashal (1950) – Lyrics: Pradip

Arun Kumar Mukherjee was Ashok Kumar’s cousin. Probably, that may have titled the scale in his favour for playing back to Ashok Kumar on the screen. Arun Kumar Mukherjee does not sound wanting to the demands of the situation.

Mohe Lagaa Solva Saal, Haye Main To Mar Gayi – Mashal (1950) – With Shamshad Begum – Lyrics: Pradip

The song is principally filmed on the Cuckoo, so Shamshad Begum has obviously the lion’s share of the song. Arun Kumar gets to sing just a few lines, but the lines are indeed very catchy.

S D Burman – Man Mohan Krishna

‘Afsar’ (1950) was the maiden film under Dev Anand’s home banner, Navketan Films. The film did not do that well on the box office, but Suraiya’s songs for the film certainly were quite popular. The film went on to build S D Burman’s permanent association with Navketan Films, which have given us quite a few of the very memorable songs under S D Burman’s baton.

Jat Khol De Kiwad Pat Khol De,….Badhaai Dene Ko Aaye Hai Tere Dwar – Afsar (1950) – Lyrics: Vishwamitra Adil

Sadhu Ke Ghar Chhokariyan Do, Ik Patli Ik Bhari – Afsar (1950) – Lyrics: Vishwamitra Adil

Man Mohan Krishna is typically associated with serious character roles. He has rendered quite a few numbers of very popular songs on the screen. S D Burman has sprung a surprise herein by recording quite light-mood songs in Man Mohan Krishna’s voice.

[The clip here below has both these songs clubbed together.]

S D Burman – Hridaynath Mangeshkar

Hridaynath Mangeshkar possibly chose to focus more on music direction over playback singing.  His maiden – Marathi – film as an independent music director was Akash Ganga (1955).

Lehron Ke Saath Naiya Mori Khele – Babla (1953) – Lyrics: Sahir Ludhyanavi

Hridaynath Mangeshkar was around 15 years old when S D Burman has recorded this song. The song recounts adolescent pleasure of launching the paper boats into the rain water streams in the street.  So we can expect that the song may have been performed by an adolescent protagonist on the screen. Hence, probably, the choice of Hridaynath Mangeshkar, with a suitable natural voice, for the playback.

S D Burman – Jagmohan Baxi

Jagmohan Baxi (and his music direction partner Sapan Sengupta) had started his career as chorus singer at Salil Chaudhary’s Bombay Youth Choir. And yet, the Sapan Jagmohan duo are remembered for a handful tunes for 42 films for which they had composed the music  – like, Phir Wo Bhuli Si Yaad Aati Hai (Begana, 1963);  Kho Diye Hai Sanam Kitane Janam Teri Talash Mein (Teri Talash Mein, 1968); Main To Har Mod Pe Tujhko Dunga Sadaa (Chetana, 1970) etc.

Dekho Maane Nahi Roothi Hui Haseena Kya Baat Hai – Taxi Driver (1954) – with Asha Bhosle – Lyrics: Sahir Ludhyanvi

S D Burman has used Talat Mahmood and Kishore Kumar too for playback of Dev Anand in this film. Apart from these singers, S D Burman, as well most of the music directors who have composed Dev Anand songs, have tried several voices of regular playback singers like Mohammad Rafi, Manna Dey, Hemant Kumar as well. Additionally, Salil Chudhary has experimented with Dwijen Mukherjee, Anil Biswas with Shankar Dasgupta and C Ramchandra with his own voice for Dev Anand.

S D Burman – Thakur (Pran)

Pran would hardly be remembered to have acted in lead roles in films like Khandan (1942) during the first phase of career between 1940 -1947. He is most remembered for his roles as villain in his most illustrious second innings and then equally respected for his character roles in the 3rd phase of his career.  Many of his fans will immediately recollect some of the iconic songs that he enacted on the screen when acting as character actor.  But to imagine him in the tick of a very very light-hearted song  and that too trying to sing a few lines too, when cast in the role of a villain,  is something that nobody would ever imagine. S D Burman has so cleverly croaked voice of Thakur (Pran) to create a very unique song.

Dil KI Umange Hai Jawan,….Rang Mein Dooba Hai Sama – Munimji (1955) – With Hemant Kumar and Geeta Dutt – Lyrics: Sahir Ludhyanvi

The song will not go down in the record books only for the use of voice of Pran to add to the mockery in the mood of the song, but also possibly for Hemant Kumar being able to match the leg-pulling teasing tone of Geeta Dutt in this song.

S D Burman – S Balbir

Balbir got typed into an accompanying playback singer, but most of the connoisseurs of HFM recognize and appreciate his contribution in that song.

Nigaho Ke Tere Jalwe Ki Aas Raheti Hai, Ha Tere Bagair Tabiyat Udas Raheti Hai, Aa Bhi Ja Ke Tera Intezar Kab Se Hai –Society (1955) – with Mohammad Rafi – Lyrics: Sahir Ludhyanavi

Can you guess whose arrival or appearance is so keenly awaited?

The first half of the period of 1950-1960 was the beginning of the picking up in so far as S D Burman’s career is considered. As a result, we have seen a very different pattern in the types of ‘other’ playback singers which he has used, the corresponding situations in the film, and hence on the composition of the song.

In our next episode, we will take up the concluding phase of  S D Burman’s career and revisit S D Burman’s use of ‘other’ male playback singers in that period.

“The Micro View of the Songs of 1948 @ SoY – MY Top Music Director(s)

Having gone through the exercise of micro-reviewing the songs  for the six years – in this case from 1955 backwards to the present 1948 – I have observed that the task of choosing MY TOP of Music director every year has become more tough as year goes down. That is mainly because older I go into the timeline, less I was found conversant with either the film itself or the context in which the song was played (situational context vs.song composition relevance) or even the popularity /approval of the film’s song as a whole from listeners  / critics respectively.

So, I kept on devising some or other tests to come up with rational judgement to moderate my inherent biases.

The first of such test is the logo picture posted by SoY at the very opening of the overview post, which invariably places six films in the frame. For the present case, ‘Best songs of 1948: And the winners are?’, Naushad has two films – Mela and Anokhi Ada whereas Anil Biswas (Anokha Pyar), C Ramchandra (Nadiya Ke Paar), Ram Ganguli (Aag) and Ghulam Hiader (Shaheed) have one film each.

I then run through posts relating to Male Solos, Female Solos and Duets to make amental note of music directors whose songs continues to strike chord even now. I observe that Naushad’s songs in Anokhi Ada and Mela or Anil Biswas’s songs in Anokha Pyar, Gajre and Veena, those of C Ramchandra in Nadiya Ke Paar and Khidk’ or those of Husnlal-Bhagatram in Pyar Ki Jeet or certainly Ghulam Haider in Shaheed, to a great extent Ram Ganguly in Aag or Khemchand Prakash in Ziddi standout for the everlasting songs. For the year, Ghulam Mohammad in Grihasthi and Pugree, or Shyam Sundar in Actress have also pitched in well.

Then I have out the songs that appeared in the respective category of MY Top listings. The number of songs composed by differenet music directors appears as given herebelow:

Music Director Male Solos Female solos Duets Total SoY

Total
Hansraj Behl 1 1
Husnlal Bhagatram 1 2 3 3
Naushad 1 1 2 4 10
Ram Ganguly 1 1 1 3 2
Anil Biswas 1 3 1 5 1
S D Burman 1 1 1 3 1
Khemchand Prakash 1 1 1 3 2
Ghulam Haider 1 1 2 3
Avinash Vyas 1 1
C Ramchandra 1 1 2 3
Snehal Bhatkar 1 1 1

If we place the results of the Total in the descending order, then Anil Biswas comes at the top, followed by Naushad and then Husnlal Bhagatram, S D Burman, Khemchand Prakasha and Ram Ganguly share the next spot, followed by Ghulam Haider and C Ramchandra.

Apart from the simple quantitative perspective, one of the most noteworthy feature of Ghulam Haider’s songs in Shaheed and those of C Ramchandra in Nadiya Ke Paar is that they have used relatively not very popular singers like Surinder Kaur or Lalita Deulkar for a very popular heroin Kamini Kaushal. And yet the songs did attain very high acceptance- both the by the critics as well as by the listing public in general.

SoY, @ Best songs of 1948: Final Wrap Up 4, also adopted a smilar matric for quantifying the process of evaluating the share of different music directors in the Top lsting of songs under different categories. The last column in the foregoing table reflects the Total score. Based on this evaluation The Songs of Yore Award for the Best Music Director of 1948 has been conferred on Naushad.

How would have you analyzed the Songs of 1948?

I am sure you will certainly join me to take up a similar detailed Micro View when SoY takes up 1947 next in this Best songs of year series.

P.S.

All the posts that have appeared on this subject can now be accessed form one file @ The Songs of 1948 @SoY

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.

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 Generations – What 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 Tune – Karan 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 another – Manish 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 Maand – Rineeta 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