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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: July 2021

Mohammad Rafi’s First Duet Song With The Music Director: 1944-1946

To commemorate the memory of Mohammad Rafi on his birth anniversary, December 24, 1924, @ Kotla Sultan, Sindh and death anniversary, July 31, 1980 @ Mumba, we have had taken up Mohammad Rafi’s first solo song with a music director, from December 2016 till 2020. The present series of Mohammad Rafi’s First Duet Song with the Music Director is the natural follow-on series.

The series is quite simple at its core. Mohammad Rafi’s exceptionally long career is divided in five-year periods, pick up the first ever association with music director(s) in the chronological order in that five-year slot and then pick up the first film which has the first duet song of the music-director – Rafi combination. If the film has more than one duets, then we take up the least heard one for a closer look and take note of the others. The primary focus would be male-female duet, but we will take due note of first male-male duet or even triads from that combination if and as and when they come up in later years. We will limit the scope of the present series till the year 1969.

I do not have any pretense of evaluating influence of different music director on Mohammad Rafi’s singing style or the contribution of each other to the furtherance of each other’s careers Our goal is quite simple: refresh our memories of Mohammad Rafi’s fading-from-the-memory-duet-songs and bring them on one page and enjoy them on the call.

1st Five-Year Period: 1944 -1948

That Mohammad Rafi’s talent was first taken note of in 1937 in public function whereat he sang for K L Saigal, his initial introduction with music director Shyam Sundar are now a matter of folklore. Shyam Sundar recorded the first ever film song of Mohammad Rafi in Punjabi film Gul Baloch (which was released in 1944) in 1942. As is well-known now, that was a duet, with Zeenat Begum – Pardesi…Sohneys Oye Heeriye Oye. The song had become an instant hit, well before the film was released. The records also show that that film had one more duet, composed by Dhani Ram, with Munnavar Sultana – Achhanve – too.  

1944

Once Mohammad Rafi reached Bombay (as it was then known) from Lahore, after Shyam Sundar gave him an introduction letter, the way Mohammad Rafi could meet Naushad are the events very vividly covered in Mohammad Rafi’s biographies. For the purpose of our present series, the story begins after Mohammad Rafi got his first break in Hindi films under Naushad, which happened to be a chorus song – Hindustan Ke Hai Hum, Hai Hindustan Hamara; record # GE3416 – in the company of Shyamkumar, Allauddin Naved and B. M. Vyas in the film Pahele Aap.

The year 1944 has one more landmark in Mohammad Rafi’s personal life- his marriage with Bilquis Bano.

Naushad’s association with Mohammad Rafi took some time before it turned into a Fevicol bond. Naushad–Mohammad Rafi combination has yielded around 149 songs to the Hindi film industry.

Tum Dilli Main Agre, Mere Dil Se Nikale Haye Fasla Sau Kos Ka, Humane Sawan Bito Jaaye – Pahle Aap– with Shyam Kumar – Lyrics: D N Madhok – Music: Naushad Ali [Record # GE3419]

A close listening to the lyrics indicates that Mohammad Rafi seems to be singing for an actor who plays a female role in this nautanki song.

We will make an exception here and listen to another duet from this film –

Ek Bar Unhein Mila De, Phir Meri Tauba Maula… Ab To Lagi Booja De, Phir Meri Tauba Maula – Pahele Aap– with Shyam Kumar – Lyrics: D N Madhok – Music: Naushad Ali [Record # GE3417/19]

Mohammad Rafi seems to have been given a second fiddle in comparison to more experience Shyam Kumar, but that has not deterred the budding singer a bit.

1945

We have four music directors opening their relationships of duets with Mohammad Rafi in the year 1945.

Shyam Sundar is always remembered for his meticulous choices of instruments (Kis Tarah Bhoolega Dil; Gaon Ki Gori, 1945), wonderful composition (Mausam Aaya Hai Rangeen; Dholak, 1951) and choice of singers (Saajan Ki GaliyaN Chhod Chale; Bazar, 1949).

Jab Dil Ho Kaabu Mein to Dildar Ki Aisi Taisi… Tauba Tauba Husn Ke Sarkar Ki Aisi Taisi.. – Gaon Ki Gori, a.k.a. Village Girl – with G M Durrani, an unknown male singer – Lyrics:  – Wali Sahab – Music: Shyam Sundar

This song is on record number GE3596, i.e. later in then the Pahle Aap songs here above,  but is widely considered as Mohammad Rafi’s first Hindi film song.

Incidentally, during his very initial years, G M Durrani was Mohammad Rafi’s role model for singing. As fate would have it, it was Mohammad Rafi who played back to GM Durrani  in Unke Khayal Aaye To Aate Chale Gaye (Lal Paththar, 1971; Lyrics:  Hasrat Jaipuri; Music – Shanker Jaikishan)!

H P Das (1905 – 1989) was one of the leading Bangla music directors who was successful in Hindi films as well.

Dil Diye Chalein… Hum Jiye Chalein Aise – Begum – with Mohantara Ajinkya – Lyrics: G S Nepali – Music – H P Das

We have a very pleasant, fast-paced song. Mohammad Rafi sounds so young.

Gobind Ram was a versatile music director of 40s. He is considered to have great influence in shaping the Hindi film music of 40s.

Chhoti Si Ek Banaayenge Naiyya… Khud Hi Banenge Us Ke Khewaiya – Hamara Sansar – with Shamshad Begum, Zohrabai – Lyrics: Ramesh Gupta – Music: Govind Ram

Mohammad Rafi sings in lower scale to begin with then raises the scale to higher octave.

Asides: Mohammad Rafi acted in a cameo role in Laila Majnu song Tera Jalwa Jisne Dekha (with S D Batish and chorus; Lyrics: Tanvir Naqvi- Music: Gobind Ram)

Alla Rakha (a.k.a. A R Qureshi) would need any introduction to those who have even rudimentary exposure to the classical music. He was basically the famous tabla player, who composed music for around 30 films between 1943 and 1958.

Topi Wale Babu Ne Dil Chheena Re Mora Man – Kul Kalank – with Amirbai Karnataki – Lyrics: Roopbani – Music: A R Qureshi

For relatively new entrant, Mohammad Rafi exudes fair amount of confidence.

1946

Mohammad Rafi’s career wagon seems to be picking up the momentum, wih 8 muisc directors using his voice for the duets.

Firoz Nizami was the first music director who gave Rafi popularity in Lahore by offering him a chance to sing for AIR at its Lahore radio station.

Main Jab Chhedun Prem Tarana Naache Mere Saath Jhamana– Amar Raj – with Mohantara Ajinkya – Lyrics: Pandit Fani – Music : Firoz Nizami

Interestingly HFGK mentions ‘other singer’ to accompany Mohantara Ajinkya.  Shri Sudhir Kapur explored the matter in details and what comes out is truly unbelievable. The details can be read@ Main jab gaaun geet suhaanaa

Asides: It would be opportune to enlist the song on the side 2 of that fateful record GE3795 – a solo by Mohammad Rafi

S Quereshi is not a familiar name among the music directors.

Macha Di Dhoom Duniya Mein Islaam Ke Deewanon Ne – Arab Ka Sitara – with Ameerbai Karanataki – Lyrics: Shewan Rizvi – Music: S Quereshi

HFGK does not have names of the singers identified for the songs of the film. I have selected the song from one of the highly authentic-considered spreadsheet compilations of Mohammad Rafi’s filmography by Mauveen. However, when we listen to the song, female voice is accompanying in mukhada and then is part of the chorus, only. So, for all practical purposes, the song is a Mohammad Rafi solo only.

Shankar Rao Vyas was a classically trained vocalist and musician. He had 35 Hindi, 5 Marathi and 3 Gujarati films to his credit in the career spanning 1937 to 1955.

Naino Se Mad Madira Pilaakar Tumne Humein Deewana – Ghunghat – with Nirmala – Lyrics: Ramesh Gupta – Music: Shankar Rao Vyas 

We have here a romantic song that begins in form of exchange of dialogue that is acceptance of mutual love.

S N Tripathi[1] who worked under the baton of legendary Saraswati Devi was a versatile artist a music director, director, and actor.

Jai Hind…Ye Hind Ki Kahaniyan… Sansar Ke Itihas Ki Ye Hai Amar Kahaniya – Mansarovar – with Geeta Dutt, Binapani Mukhrjee – Lyrics: Saraswati Kumar Dipak – Music: SA N Tripathi

HFGK lists the singers as ‘Chorus’ only. However, Geetadutt.com and other reliable sites mention Geeta Dutt and Beenapani Mukherjee as co-singers along with chorus.

Premnath has had formal training of music in his formative years. Rangbhoomi is his maiden film as an independent music director. He has given four songs to Mohammad Rafi, one with chorus and three duets with Shamshad Begum.

Khud Samajh Lo Iletajha Kya Hai, Hum Hi Keh De To Phir Maza Kya Hai – Rangbhoomi – with Shamshad Begum – Lyrics: Arzoo  Lakhanavi – Music Premnath

Mohammad Rafi sings in a typical vintage era style here.

Other duets are: Aag Lagi Tan Man Dhan Sab Mein Narak Bhayo Sansaar (with Shamshad Begum – Lyrics: Arzoo Lakhanvi) does not seem to be available on YT and Jo Aage Badhe Use Peechhe Hata Do with Shamshad Begum – Lyrics: Pandit Fani) – a second part of the Rafi and Chorus song Sue Manzil Badhaye Chala Chal. – is available together in one clip@ https://youtu.be/KHAk87nu8w8

Hanuman Prasad is known mostly for the discovery of Geeta Roy, when she was 16, and gave her few lines in foiur songs of film Bhakta Prahlad (1946). He is also director of the present film, Raseeli.

Dil Mujhko Jalaata Hai Main Dil Ko Jalaati Hun – Raseeli – with Shamshad Begum- Lyrics: Hanuman Prasad – Music: Hanuman Prasad

Here is the song that is inherently poignant, as Rafi and Shamashad render it in low octaves. It must have been quite an experience to the budding Rafi!

The film has another Shamshad – Rafi duet, Yah Nayan Kyun Sharma Gaye (Lyrics: Gaafil Harnaalvi) where Rafi can be heard in early raw tone.

Bulo C Rani is a leading vintage era music director.

Jaao Jaao Na Bolungi Main Accha Ji Hato Hato – Saalgirah – with Kaumudini Deekshit , an unknow female singer – Lyrics: Wali Sahab – Music: Bulo C Rani

This a mischievous mood romantic song, where Mohammad Rafi indulges in music-director guided ‘harkats’ of interrupting with Aisa Kya and all. In the later years, Mohammad Rafi was known to do so spontaneously to make the songs lively.

Taufil Farooqi (1916-1988) is fondly recalled as creator of the original Zumka Gira Re (Dekhoji, 1947 – Shamsahd Begum).

Baithe Hain Tere Dar Par Kuchh Karke Uthenge – Sona Chandi – with Shamshad Begum – Wali Sahab – Music: Taufil Farooqui

This can be considered maiden Chhed Chaad song for Mohammad Rafi.

We will make an exception to include another duet –

Man Ki Suni Nagariya Suhani Bani – Sona Chandi – with Amirbai Karnataki – Lyrics: Khawar JamaN – Music: Taufil Farooqui

Here we have a totally romantic duet. Mohammad Rafi quite easily matches sur-by-sur with experienced Amirbai.

We will take up Mohammad Rafi’s First Duet with a Music Director for the years 1947 and 1948, of the First Five-Year Period: 1944-1948, in our December 2021 episode.


[1] S N Tripathi’s Unremembered Songs from 1941 to 1968

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: March 2020

S N Tripathi: Unremembered music director of remembered songs: 1961 – 1968

S N Tripathi (a.k.a. Sri Nath Tripathi) – B: 14-3-1913 / D: 28-3-1988 – though primarily concentrated on music direction, he has several films to his credits as actor, director and scriptwriter. His active career spanned over five decades, form 1930s to ‘80s. Thus, he remained witness to changes in the tastes of the public and corresponding changes in the various elements of film making. His music always remained based on blend of classical and (Rajasthani) folk music styles. In spite of sky-soaring successes of his music, many of the B grade mythological films hit the box-office collection records. However, those successes were not enough to place him in the league of big-banner A grade films. His assistants Chitragupt and Datta Davjekar went on to become music composers as well.

We have been following the career of S N Tripathi, on this platform, every March since 2017. We have covered S N Tripathi’s unremembered songs

from 1941 to 1950 in 2017,

from 1951 to 1956 in 2018, and,

from 1957 to 1960 in 2019.

Presently, we would focus on selecting the songs from the films that he also directed, during the years 1961 to 1976. Even as we have cast our net wide enough to catch as many singers as possible, the songs of Mohammad Rafi are placed together, towards the end of the post.

Chhum Chhanana Chuum Chhanana Payaliya Boli – Amrit Manthan (1961) – Asha Bhosle – Lyrics: B D Mishra

S N Tripathi has used Asha Bhosle for this fast-paced dance song.

Gham Chhodo.. Ye Sare Jamane Ka – Piya Milan Ki Aas (1961) – Mubarak Begum – Lyrics: Bharat Vyas

Set to a flowing rhythm, Mubarak Begum comes up very sweetly in the mujra song.

Sakhi Kaise Dharun Main Dheer – Sangeet Samrat Tansen (1962) – Lata Mangeshkar – Lyrics: Shailendra

The composition remains truly melodious even though set to not-so-easy style.

A good many of songs, like Jhoomti Chali Hawa (Mukesh), Sapt Suran Teen Gram (Manna Dey) Sudh Bisar Gayi Aaj fromm the film (Sangeet Samrat Tansen had successfully reached masses and were approved by critics.

Badli Badli Duniya Hai Meri – Sangeet Samrat Tansen (1962) – Mahendra Kapoor, Lata Mangeshkar – Lyrics: Shailendra

This should rank as one of the front ranking Mahendra Kapoor song, wherein Mahendra Kappor starts on a high scale, but then slips into a lower scale with humming that follows. Each stanza also begins on higher notes, signifying the tinge of pain of separation and then song reverses to a pensive romantic mood.

The video clip includes second version of the song too.

Dirna Dirna .. Tan Di Dirana .. More Naina Laage Re Laaage Kisi Se Nain – Shiv Parvati (1962)- Geeta Dutt, Asha Bhosle – Lyrics: Shailendra

S N Tripathi has used damru, the preferred music instrument of Lord Shiv, and matched the scale of base rhythm instrument Tabla, to the same sound level in this fast-paced dance song.

Piya Milan Ko Janewali, Sambhal Sambhal Ke Chal – Dev Kanya (1963) – Amirbai Karnataki – Lyrics: B D Mishra

S N Tripath has suddenly conjured up Amirbai Karantaki’s vintage voice here.

Maane Na Maane Na Mora Bichhua Bole – Maharaja Vikram (1965) – Suman Kalyanpur – Lyrics: B D Mishra

Probably, in deference to the budget limitations of such B grade mythological film, S N Tripathi has chosen Suman Kalyanpur., without compromising any bit melody of the song.

Pyar Ke Pal Chhin Bite Hue Din, Ham To Na Bhule Tum Bhule Gaye – Kunwari (1966) – Talat Mahmood – Lyrics: Shailendra

Simple reading of the lyrics may not sound bells of recognition, but the moment one listens to the song, core Talat fans will easily recall the song. The second part of the clip has a twin Lata Mangeshkar version, presented as piano – party genre song.

Chandi Ka Gol Gol Chanda – Piya Milan Ki Aas (1961) – Mohammad Rafi, Lata Mangeshkar – Lyrics: Bharat Vyas

If the song would have been filmed in a well-placed film, the song may have been far more popular then it probably became at that time.

Haay Chhal Kiya Tune Chhal Kiya – Piya Milan Ki Aas (1961) – Mohammad Rafi, Lata Mangeshkar – Lyrics: Bharat Vyas

Here is another duet, set to very signature SN Tripathi style, that does not deserve to be consigned to a forgotten song category.

Deepak Jalao Jyoti Jagao – Sangeet Samrat Tansen (1962) – Mohammad Rafi – Lyrics: Shailendra

The song comes in for a very direct compassion with one of the most iconic K L Saigal songs, Diya Jalao Jagamag Jagmag (Tansen, 1943; Music director – Khemchand Prakash)

Muhammad Shah Rangeeley Re – Nadirshah (1968) Singers-Suman Kalyanpur, Mohammad Rafi, Lyrics- Majrooh Sultanpuri

S N Tripathi creates the majesty of a dance song played in the courts of Mughal Emperor.

Knowledgeable blog writers note that the song is credited to Lata Mangeshkar and Mohammad Rafi in HFGK. As such the song must have been recorded afresh for the records.

S N Tripathi still has some more films like Lahu Pukarega (1968),  Sati Sulochana (1969), Naag Champa (1976) as director. He also continued to compose songs for films like Sati Sulochana (1969), Koi Ghulaam Nahin (1970), Shri Krishn Leela (1970), Veer Chhatrasaal (1971), Maha Shivratri (1972) , Naag Champa (1976). He remained active enough, in his mythological genre typecast till 1987, with a stray film here or there.

However, we would call here curtains to our memories of the unremembered music director of very remembered song.

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

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

P.S. : S N Tripathi’s Unremembered Songs from 1941 to 1968 can be viewed / downloaded from one file by clicking on the hyperlink.

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: April, 2019

Hasrat Jaipuri – Beyond Shanker Jaikishan: 1956 -1957

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

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

1956

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

Music Director: S N Tripathi

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

Music Director: Mukul Roy

Film: Sailaab

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

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

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

Jiyara Baat Naahi Maane Re Kisi Ki – Geeta Dutt

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

Music Director: Chitragupta

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

Music Director: Ramlal

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

Music Director: Vasant Desai

Fim: Toofan Aur Diya

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

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

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

1957

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

Music Director: Dattaram

Film: Ab Dilli Door Nahi

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

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

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

Aside:

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

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

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

Music Director: Roshan

Film: Coffee House

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

Tod Diya Dil Tune Sanwariya – Asha Bhosle

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

Music Director: Basant Prakash

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

Film: Neelofar

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

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

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

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

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

Music Director : Vinod

Film: Mumtaz Mahal

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

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

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

Music Director: N Dutta

Film: Mohini

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

Nainon Mein Jhoome Hai Pyar Savariya – Asha Bhosle

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

Film: Mr. X

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

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

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

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

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

Music Director: O P Nayyar

Film: Johnny Walker

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

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

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

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

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

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

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

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

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

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: March, 2019

S N Tripathi: Unremembered music director of remembered songs :1957 – 1960

S N Tripathi (a.k.a. Sri Nath Tripathi) – B: 14-3-1913 / D: 28-3-1988 – after having toiled in the initial years, broke the glass ceiling in 1957 by taking up the Top Post in Binaca Geetmala in 1957. The song was Zara Samne To Aa Challiye, Chhup Chhup Chhalane Mein Kya Raz Hai (Janam Janam Ke Phere). If it sounds not so astounding, look at what was the coemption like: Naya Daur, Hum Sab Chor Hain (OP Nayyar), Pyaasa, Nau Do Gyaarah, Funtoosh, Paying Guest (SD Burman), Miss Mary, Champakali (Hemant Kumar), Chori Chori, Begunah, Basant Bahar, New Delhi (Shankar-Jaikishen) and Asha (C Ramchandra).

The roaring success of songs from a mythlogical film Hatimtai (1956) – Pavardiagr-e – Alam Tera Hi Hai Sahara and Jhoomati Hai Nazar Jhuumata Hai Pyar, followed by Janam Janam Ke Phere did not really lift the position of S N Tripathi to the A-grade elites.  In an industry that thrives on its mercurial values, talent has never been a password for opening the vault of success, this has been the rule of averages that ruled the roost.

We have been following the career of S N Tripathi, on this platform, every March since 2017. We have covered S N Tripathi’s unremembered songs from 1941 to 1950 in 2017 and then, from 1951 to 1956 in 2018.  In this episode we will listen to S N Tripathi’s unremembered songs from the films that we may or may not remember for the years 1957 to 1960.

1957

S N Tripathi created music for all C – grade films, Khuda Ka Banda, Paristan, Ram Hanuman Yudhdh and Janam Janam Ke Phere in 1957. Of these, Janam Janam Ke Phere got fame because of Zara Samane To Aao Chaaliye (a Mohammad Rafi and Lata Mangeshkar duet)and Ye Hai Janam Janam Ke Phere.(a Mohammad Rafi and chorus title song).

We will listen to Tann Ke Tamboore Mein Do Saanson Ke Taar Bole Jay Radheshyam – Janam Janam Ke Phere, (1957)  – Manna Dey – Lyrics :Bharat Vyas

S N Tripathi has chosen Manna Dey for this bhajan-styled song. The song is set to a not-easy-to-sing tune, but Manna Dey easily does full justice.

Falak Bola Khuda Ke Noor Ka Mai Aashiyaana Hoon – Khuda Ka Banda (1957) – Mohammad Rafi – Lyrics: Shewan Rizvi

This is also a prayer song, so it is set to a qawwalli style tune. Qawwalli, in essence, is Sufi Islamic devotional songs.

Aside: The song seems to have been strongly influenced by a Nashad composition Badi Mushkil Se Dil Ki Beqaraari Ko Qaraar Aaya (Naghma, 1953, Shamshad Begum, Lyrics: Naqshab Jharavchi). This song has gone onto become one of Shamshad Begum’s all-time-great, whereas Khuda Ka Banda song has sunk into a bottomless pit, along with the film.

 

S N Tripathi did not compose music for any film in 1958.

1959

S N Tripathi composed music for Jagaa Daku, Pakshiraj, Kavi Kalidas and Rani Rupmati in the year 1959.

Kavi Kalidas had 10 songs. Of these, Unpar Kaun Kare Jee Vishwaas (Mohammad Rafi, Lata Mangeshkar duet) and Shaam Bhayi Ghanshayam Na Aaye (Lata Mangeshkar solot) had become very popular. S N Tripathi has also directed this film. We will listen to Naye Naye Rango Se Likhati Dharati Nayi Kahani (Manna Dey- Lyrics: Bharat Vyas) from this film.

The song is filmed as the poet recounts the lyrics of his poem form the dream-like sequence running in his mind. The pensive depth and dreamy softness of Manna Dey’s voice fully convey the mood of the song.

The year 1959 had another period film, Rani Rupmati. AA Laut Ke Aa Ja Mere Meet (Mukesh and Lata Mangeshkar’s solo twin versions), Baat Chalat Nayi Chnari Rang Dari (Mohammad Rafi, Pt. Krishnarao Chonkar classical duet), Ud Jaa Bhanwar Maayaa Ka Pinjara Tod Ke (A Manna Dey Claasic solo) are remembered as hugely popular songs. We have picked up Aankhon Mein Surma Dal Kar Jab Aayegi Dulhaniya (Usha Mangeshkar, Lyrics: Bharat Vyas), for which an audio version is available.

There is a very short video version too, which confirms that song has been filmed in a mujra style in the film.

1960

The year 1960 also has mixed bag in so far as popularity of the songs is concerned. S N Tripathi composed music for Chandramukhi, Do Aadami, Laal Quilla, Rani Chandravati (UR),  Sinahldeep Ki Sundari. And Veer Durgadas.

Mukesh solo Nain Ka Chain Chura Kar Le Gayi (Chandramukhi), two of Mohammad Rafi’s all-time-great solos, Lagata Nahin Hai Dil Mera Ujade  Dayaar Mein and Na Kisi Ka Aankha Ka Noot Hoon (Laal Quilla) and A Rajasthani folk-styled Lata Mangeshkar – Mukesh duet Thaane Kaajaraiyo Bana Loon (Veer Durgadas) remain very high landmarks of S N Tripathi’s career.

Chaandni Jhilmil Kare Taaron Bhari Ye Raat Hai – Chandramukhi (1960) – Sudha Malhotra, Lata Mangeshkar – Lyrics-Bharat Vyas

The suet song has been creatively used to manifest two opposing moods. Sudha Malhotra sings to an ebullient dancing mood to which Lata Mangeshkar reflects in a mood of pathos/

Piye Jaa Jaam e Ulfat Zindagi Mushqil Se Milti Hai -Veer Durgadas(1960) – Sudha Malhotra, Mubarak Begam – Lyrics-Bharat Vyas

This is a traditional courtesan dance wherein two courtesans try to please the king.

To explore the depth of variety in S N Tripathi’s compositions we have picked up two more songs from not-so-known films of 1960:

Bheegi Bheegi Mehki Mehki Raat Hai – Do Aadmi (1960)  – Geeta Dutt – Lyrics-Prem Dhawan

The song is set to a playful Mid-west-Asian tune. S N Tripathi has used five different female playback singers for five songs in the film. This song has Geeta Dutt, possibly because this  a song of seduction.

Ho Beenwaale Teen Sur Tere Been Ke Le Gaye Dil Mera Chheen Ke – Sinhaldweep ki Sundari (1960) – Lata Mangeshkar, Mukesh – Lyrics: Bharat Vyas

What would have been the context in which this song which has a pungi / been and a beenwala in the center is not known, but the song does have a distinct folk effect in the composition.

We have picked one more song from the year 1957 and two from 1960 that fits into our tradition of ending each of the episode with Mohammad Rafi Song.

Dunia Mein Sab Kuch Paisa Hai Sab Paise Hi Ka Jalwa Hai – Khuda Ka Banda (1957) – with Amirbai Karnataki – Lyrics: Shewan Jarvchi

The official records do not positively confirm that singers are Mohammad Rafi and Amirbai, so I have relied on the information available with the uploaded version.

Nadi Kinare Koi Pukare … Pas Hamare Aa – Chandramukhi (1960) – with Geeta Dutt – Lyrics: Nharat Vyas

This is a beautiful folk-tune based duet, which I have heard for the first time.

San Sanan San San Sanan Chale Pawan, Jan Janana Jan Janana Zoome Pawan – Chandramukhi (1960)  – with Suman Kalyanpur– Lyrics: Bharat Vyas

I remember the song from my radio-listening days.

We will end our present episode here, to continue with listening to some more of unremembered songs of S N Tripathi next this month.

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

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

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Carnival of Blogs on Golden Era of Hindi Film Music

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

And, now the posts on other subjects:

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

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

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

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

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

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

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

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

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

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

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

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: March, 2018

S N Tripathi: Unremembered music director of remembered songs:: 1951 – 1956

Many of the 50s-60s generation fans of Hindi Film Music would agree with me that S N Tripathi (14 March, 1913 – 28 March, 1988) is not all that unremembered music director as the title suggests. The fact that, in his fairly eventful career, he composed songs for over 250 films, acted in around 200 films, wrote screenplays for 37 films and directed 39 films as well. His being remembered as music director of B/C grade mythological / historical films may also be statistically correct. What is perhaps not being remembered is that the quality of the music that he always presented never was governed by the (so-called) classification of the film. He did extract the best from the singers, whatever may the budget or the story of the film.  In fact many of his most remembered songs were from these class of films only.

It is also true that there are more songs that have slipped back into the memory of his fans then the ones that re universally remembered now. So, we try to bring up those unremembered songs on one page.

We had covered some songs from 1941 to1950 in our March, 2017 issue. Presently, we will cover his films from 1951 to 1956. We have aimed to cast our net as wide as possible in so far as the range of playback singers in selecting the songs from the films of this period.

Kyun Rooth Gaye Mujhse – Hanuman Paataal Vijay (1951) – Geeta Dutt, – Lyrics-Anjum Jaipuri (to the best available records)

The song easily establishes S N Tripathi’s handling of nuances of various playback singers so well.

BTW, this is the films which would take credit for S N Tripathi playing Hanuman for the first time.

Aaj Achanak Jaag Uthe Kyu In Hotho Par Geet,
Shayad Man Me Jaag Uthi Hai Chanachal Pankh Aur Preet,
Kaise Jaan Gayi Ye Akhiyan Sharmane Ki Reet,
Dheere Dheere Gori Tera Bachpan Raha Hai Beet – Laxmi Narayan  (1951) – Geeta Dutt, Sulochana Kadam, Chorus – Lyrics: B D Mishra

Observe the subtle difference between the singing styles of Geeta Dutt for Meena Kuamri and Sulochana Kadam for her friends. That is the S Ntrpathi’s knack of enlivening the spirit of lyrics of the song. The song has Meena Kumari truly on the threshold of adolescent-youth gateway..

Hai Mera Naam Ramzani – Alibaba Aur Jadui Chirag (1952) – Chitragupta, Shamshad Begum – Lyrics: Shyam Hindi

S N Tripathi seems to have done a large number of ‘Alibaba’ genre films, as did his the then assistant in ‘Sindbad’ series of films.

Chhaai Birhaa Ki Raat Moraa Tadpe Jiyaa, Mose Ruthe Piyaa Koi Man Kaa Sahara Nahi – Nav Durga (1953) – Geeta Dutt – Lyrics: Anjum Jaipuri (To the best available records).

This one can be easily classified as well-remembered song, once you hear the song,

Dekhoji Chand Nikla Picche Khajoor Ke, Basare Ki Hoor Naache Aage Huzoor Ke – Alibaba Aur Chalis Chor (1954) – Asha Bhosle – Lyrics: Raja Mahmedi Ali khan

The songs is all set to recreate the atmosphere of the mid-West Asia era.

Zara Thaharo Mai Haal-e-dil Suna Lun Phir Chale Jana – Inaam (1955) – Suraiya – Lyrics:  Raja Mahendi Ali Khan

The film has one song composed by Sarasvati Devi, with whom S N Tripathi commenced his career in Hindi Film Music world, in 1935.

1956 has as many as 5 films for which S N Tripathi composed music.

Mehfil Me Kaisi Chham Chham, Kiska Hain Ye Tarana, O Bekhabar Tere Siwa Sare Jahan Ne Jana – Dilli Darabar (1956) – Lata Mangeshkar – Lyrics: Shailendra

The songs of the film have been shared between Shailendra and Hasrat Jaipuri. It would be interesting to find out how many times this would have happened if the music direction was other than that of Shanker- Jaikishan!

Nakhre Karti Darti Nakhre Karti Darti Gayi Thi Main Bazaar – Hatimtai (1956) – Mister Sheikh – Lyrics:  Raja Mahendi Ali Khan

The title of the film – “Hatimtai”- may not come to memory of many, but the songs Pavardiagr-e – Alam Tera Hi Hai Sahara and Jhoomati Hai Nazar Jhuumata Hai Pyar would be a matter of instant recall for most of us.

It is said that Nizam of Hyderabad was so taken in by the prayer Parwardigar-e-Alam that he got that reel re-run 14 times when the film was screened for the first time in Hyderabad.

The song that we have selected presents the locale of film’s story in lighter vein.

Dar Kya Hai Toofaan Ka, Leke Naam Bhagwaan Ka, Daanv Lagaa De Jaan Ka – Panna (1956 ) – Suman Kalyanpur, Mohammad Rafi – Lyrics: B D Mishra

The composition and the orchestration leave no doubt that this is a motivational marching song.

Tere Sang Preet Kiye Bada Dukh Hoye – Rajrani Meera (1956) – Lata Mangeshkar – B D Mishra

Set to same Raag Bhairavi, there is another Meera Bhajan: Jo Tum Choodo Piya which is set to different metre, scale and rhythm in Janak Janak Payal Baaje, Meera and Silsila

Vo Dekho Udhar Chand Nikla Gagan Me, Idhar Aa Gayi Chandni Muskurati, Baharo Ki Rangeen Ye Muskurahat, Dilo Mein Umango Ki Duniya Basati – Roop Kumari (1956) – Manna Dey, Geeta Dutt  –  Lyrics: B D Mishra

S N Tripathi seems to have adopted an altogether different approach for this romantic duet. Listen to the subtle use of waltz rhythm as a base to which the song is set.

To end our episode with a Muhammad Rafi song would not have been difficult because S N Tripathi has used Mohammad Rafi in varying situation in his films. Interestingly, we have a song that is quite unique:

Jab Rup Hi Pyasa Hokar Yu, Cchhup Chhup Ke Pani Peeyega, To Rup Ka Pyasa Jo Hoga Wo Phir Kya Peekar Phir Jeeyega – Ratnamanjari (1955) – Mohammad Rafi – Lyrics: B D MishraAn eve-teasing song that is presented in a serene style!

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: December, 2017

Mohammad Rafi’s Solo Song From The FIRST Film With The Music Director: 1950-1951

To commemorate Mohammad Rafi’s anniversaries, we commenced a series of articles on Mohammad Rafi that essentially tried to bring the solo song of Mohammad Rafi with the music director.  We had planned to take up one five-year slot in a chronological order to bring all the first films in which Mohammad Rafi had had a solo song with a music director. The first slot of 1944 to 1948 was covered in Part I and Part II in December, 2016. We have covered the year 1949 of the 2nd five-year-slot of 1949 to 1953.

Presently we will take up years 1950 and 1951 of this 1949-1953 period..

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

1950

Mohammad Rafi had had 29 solos out of 108 songs in 1950. Of the prominent music directors who had now frequenting Rafi more, Hans Raj Behl had 3 Hindi and Punjabi films with Rafi, Husnlal Bhagatram had 5 films and Naushad had 1, which had Mukesh as lead singer. I find only Akele Mein Wo Gabarate To Honge as the only song that is most recognizable solo.

Hum Ishq Mein Barabad Hai – Aankhen – Madan Mohan – Raja Mahendi Ali Khan

Madan Mohan and Mohammad Rafi’s work together which was to open up a class of its own opens the account. The song is filmed on Shekhar.

Saahil Jo Dubo De Kashti Ko.. Saahil Ki Tamanna Kaun Kare – Baawra – Krishna Dayal – Amar N Khanna

Incidentally, this is one of those songs that Mohammad Rafi has lip-synched for Raj Kapoor.

Jalte Deep Bujh Gaye Chha Gaya Andhera – Jalte Deep – Shardul Kwatra + T K Das – M A Taaj

Here is a song that is pleasant to listen to even though cast in sad mood.

Zamana Jo Aankhe Dikhata Hai Zamana Ko Aankhen Dikhata Chale Chal– Man Ka Meet – Shardul Kwatra – Sarshar Shailani

This song is credited to Shardul Kwatra solely, hence taken up in our present list.

Dekho Dekho Paanv Mein Pahen Ke Paayaliya – Janmashtami – Shyam Babu Pathak – Bharat Vyas

The lyrics do seem playful enough, but difficult to guess how the songs would have been filmed.

Naari Tere Jeevan Ki Ye Karun Kahani – Veer Babruwahan – Chitragupt – Anjum Jaipuri

After a few attempts we get a maiden Chitragupt – Rafi solo combination in this song. Apparently there is not much that would make the song to remember for, except that it is to open one more very fruitful partnership in the years to come.

We end the year with 5 music directors who had had a first solo song recorded for Mohammad Rafi.

1951

Year 1951 has 26 solos from a total of 72 Mohammad Rafi songs. The year had Naushad switching over to Mohammad Rafi for background voice of Dilip Kumar and we have some of the top Mohammad Rafi songs in Deedar. Husnlala Bhagatram also has a twin solo for Mohammad Rafi in Afasana – Duniya Ek Kahani Re Bhaiya – which also was quite popular. Shankar Jaikishan has used Mohammad Rafi for special songs in RK’s Aawara, which is also going to be a very notable trend initself.

Dhanwano Ki Dhan Nagari Ki Sun Lo Ek Kahani – Dashavtar – Avinash Vyas – Sagar Hussain

Avinash Vyas was to use Rafi very selectively in his Hindi and Gujarati film music.

Hey Shankar Hey Pralayankar Rakho Mohe Apni Sharan – Hanuman Patal Vijay – S N Tripathi – B D Mishra

S N Tripathi went onto create a few all-time great of Rafi songs, of which most easily remembered are ghazals of Lal Quila or Ye Hai Janam Janam Ke Phere or a Binaca chartbuster Jara Samane To Aao Chhaliye.or Hatimtai’s Parvar Digar-e-Alam.

Suraj Ghoome Chand Ghoome Ghoome Gagan Sara– Ishwar Bhakti – Sonic – Girdhar – Pt. Narendra Sharma – Trilok Kapoor

1951 seems to be the year of Bhakti Sangeet as far Mohammad Rafi is concerned! Mohammad Rafi was known to deliver his best even for new music directors even when he was at his peak.

Kisiko Iska Pata Ho Na Ho – Jauhri – Pt. Harbans Lal – Tajnath Zaar

For a change, we have a very light song too,

The song has a very interesting second version too:

Poochhiye Na Haal Jee, Palle Nahin Maal Ji – Mukhda – Vinod – Azeez Kashmiri

This is first opportunity when Vinod has been able to use Rafi in a solo (with chorus support) song, that too in a very light situation so tellingly.

Year 1951 also has 5 music directors who scored first solo with Mohammad Rafi. The year, on the whole, seems to be the game turner in the career path of Mohammad Rafi..

We will take up last two years of 2nd Five-Year period of 1949-1953 in the next installment.

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: August, 2017

Shailendra and “Other” Music Directors

Shankardas Kesarilal , born on 30 August 1923, popularly known to all of us Shailendra ,passed away by living a Chhoti Si Yeh Zindagani, like a comet that lit the sky while it lasted, at (just) the age of 43 on 14 December 1966.

Most of the songs that Shailendra wrote under the batons of Shanker Jaikishan or Salil Chaudhary or S D Burman have already been immortal. In a career[i], spanning around 800 released songs for Hindi films, Shailendra had had opportunity to work with several ‘other’ (than these three) music directors as well. Most of these songs also have been equally live in our memory today.

We will dedicate our August, 2017 episode to Shailendra’s songs with the ‘other’ directors. For this episode, special care has been exercised to cover to select chronologically first film with that music director while casting the net wide enough to cover as broad spectrum of singers as is possible. Also, I have intentionally chosen songs that I have either not heard or those that need a refresher push.

The first set of these songs, coincidentally, have Geeta Dutt as (one of) the singer.Geeta Dutt had hardly any occasion to sing Shanker Jiakishan songs. By the time Shailendra teamed up with S D Burman, S D Burman had switched over to Lata Maageshkar. So is the case with Salil Chudhary’s songs too. Therefore, this has turned out to be good incidence where we can hear Shailendra’s songs in Geeta Dutt’s voice.

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

The song apparently is meant to divert the chasing British police, but has an apparent message for the inadvertent hurricane the freedom fight is likely unleash. Geeta Bali sings with gay abandon that may also mean the upsurge from the young hearts.

Ghir Aayi Hey Ghor Ghata, Apni Majbooriyon Se Lipat Ke Pyar Rone Laga – Badnaam (1952) – Geeta Dutt – Basant Prakash

The song is an ideal fit with our image of silken smoothness of Geeta Dutt’s voice.

Teri Chahat Mein Balam, Teri Chahat Mein Sanam Meet Gaye Ham Teri Kasam – Shrimatiji 1952 – Geeta Dutt – Jimmy

This is a dance song that seeks to hoodwink the listeners so as to cover the acts of the partner in the deed. So the lyricist has to not only pack in a meaningful, mind-catching message for the lay listeners and but also has to convey an intended message to the target partner.

Yeh Rut Yeh Raat Jawaan – Sailaab (1956) – Geeta Dutt –Mukul Roy

The film had 4 songs penned Majarooh Sultanpuri, 1 by Madhukar Rajashathani and 2 by Hasrat Jaipuri . All songs are in Geet Dutt’s voice, except one which had Laxmi Roy.

We now move on to songs that have other playback singers.

Mere Dil Ki Dhadkhan Kya Bole – Anhonee (1952) – Talat Mahmod, Lata Mangeshkar – Roshan

After SJ, SDB and Salil Chaudhary, Shailendra has written most number of songs for Roshan in films like Nau Bahar , Sanskaar (both in 1952), Aagosh and Mashuqua in 1953, Chandani Chowk (1954), one song each in Cofee House (1957 and Aji Bas Shukriya (1958), Deep Jalte Rahe, Heera Moti and Madhu in 1959, and Soorat Aur Seerat in 1962.

Desh Ki Dharti NeLalkara Gunja Aazadi Ka Naara – Chhatrapati Shivaji (1952):- Chitalker, chorus – C.Ramchandra

This song adds genre of patriotic songs in the Shailendra’s arsenal.

The other film where Shailendra teamed up with C Ramchandra is Anrakali (1953), which has such immortal songs as Aaja Ab To Aaja Mer Kismat Ke  Kharidar and Dua Kar Gham E Dil Khuda Se Dua Kar.

Dil Ki Lagi Khel Nahin – Bhai Saheb (1954):- C H Atma, Kaumudi Munshi – Ninu Majumdar

Each is piece of the song – singers, music directors – except Shailendra is quite rare.

Badi Mushkil Hai (Lata Mangeshkar) /\ Jiyunga Jab Talak (Talat Mahmood) – Chingari(1955) – Manohar

Down the career, Shailendra has given several meaningful twin songs. Here is the one early one.

Sapnon Ki Duniya Mein Naye Rang Laya O Man Bhaya Sawan Aaya – Pipili Saheb (1954) – Usha Mangeshkar, Meena Mangeshkar, Shaminder – Sardul Kwatra

Here is the song that has the basic flavor of a very rustic setting that is presented with in its natural simplest form.

Mehfil Mein Kaisi Chaam Chaam – Dilli Darbaar (1956) – Lata Mangeshkar – S N Tripathi

Shailendra has teamed up with S N Tripathi for more than one film – like mythological Ram Hanuman Yudh (1957) or Shiv Parvati (1962) to a period film Sangeet Samtrat Tansen (1962) to a social film Kunwari (1966).

Chal Ri Ameeren Bhai Chal Re Fakire – Dilli Ka Thug (1958):- Kishore, chorus – Ravi

This is one more example of Shailendra’s comfort in dealing with unusual situations. Here is the song that is a traditional dance song attributed to street-performances of a monkey trainer with his pet monkey. Compare this song with another song of the film, a Kishore- Asha duet – Ye Raatein Yeh Mausam Nadi Ka Kinara.

Chhupa Chhupi O Chhupi Agad bBagad Jai Re, Chuhe Mama O Mama Bhag Billi Ai Re – Savera (1958) – Manna Dey, Lata Mangeshkar – Shailesh  Mukherjee

The lead protagonists become young children in the company of the children and so does Shailendra.

Ho Choonva Moonva…. Deke Daam Lele Maati Ka Khilauna Kaisa Khel Khele Ye Maati Kholauna – Naya Kadam (1958) – Shailesh Mukherjee – Shivram–Narayan

Shailendra deftly uses a traditional street performance to deliver a strong philosophical message. I am not sure that singer of the song, Shailesh Mukherjee, is the same person as music director Shailesh Mukherjee.

Nani Teri Morni Ko Mor Le Gaye, Baaki Jo Bacha Tha Kaale Chor Le Gaye–  Masoom (1960) – Ranu Mukherjee – Robin Banerjee

The film had 5 more songs – 4 by Raja Mahendi Ali Khan and one by Sahir Ludhyanvi. So, obviously Shailendra has been allotted this situation wherein the child artistes perform the song on the screen. The song had been quite popular.

Hai Re Woh Din Kyon Na Aaye, Ja Ja Ke Ritu Laut Aaye Re – Anuradha (1960) – Lata Mangeshkar – Pt Ravi Shankar

In an otherwise an experimental social film, the songs filmed on the heroine, Anuradha (lela Naidu) help strongly develop the characterization of the role. Here is a song that is coposed on a fairly difficult Carnataki Classical Raag – Jansammohini, also known as Shiv Kalyan or Madh Kalyan.

Asides:

The piece that is considered to have inspired the song is  Ganpat Vighanharan  :

शुक्लाम्बरधरं  विष्णुं  शशिवर्णं चतुर्भुजं । 
प्रसन्नवदनं  ध्यायेत्   सर्वविघ्नोपशान्तयेत्  ।
अभीप्सितार्थसिध्यर्थम्  पूजितो  यस्सुरासुरैः  । सर्वविघ्नहरस्तस्मै  गणाधिपतये  नमः ।।

गणपत  विघ्न  गण  गजानन ।  विराजती  चन्द्रमा  भाल ।  गणपत  विघ्न  गण  गजानन  ।।

by  Ashwini Bhide

Pandit Ravi Shankar also later on used this raag for the hymn of Asiad Games 1982 – Swaagatam

Here are two representative classical pieces of Raag  Janasammohini:

Pt. Mani Prasad of the Kirana Gharana:

Ustad Aamir Khan Saheb :

https://www.youtube.com/watch?v=k-jWtjlZNiw

Jhoomte Sharabhi Zara Hosh Mein Aa– Kaanch Ki Gudiya (1961) – Asha Bhosle – Suhrid Kar

KaanchKi Gudiya invaribaly would conjure a Mukesh and Asha Bhosle duet – Saath Ho Tum Raat Jawan. However, the song that we have selected presents a very different Asha Bhosle to us.

Paisa Nahin Hota Jo Kuchch Nahin Hota – Sautela Bhai (1962) – Anil Biswas, Manna Dey – Anil Biswas
In an otherwise a very serious social subject, Anil Biswas teams with Shailendra to come up with a satirical song.

Their next association is 1965’s Chhoti Chhoti Batein.

Daaton Ka Zamana Pyare Dant Bachana – Begana (1963) – Mahendra Kapoor – Sapan Jagmohan

The obvious reason for picking this song for the present episode is it has Mahendra Kapoor. In the process, we also get the benefit of listening to a very light-hearted song from Shailendra.

Chand Tale Jhoom Jhoom Thirak Rahi Hain Ghoongherwaliyan, Mastiyon Ki Aaj Dhun Baja Rahi Hai Taaliyaan – Jab Se Tumhe Dekha Hai (1963):- Subir Sen, Suman Kalyanpur – Dattaram

As we know well, Dattaram was one of the very important links on the Shankar Jaikishan team. The song has very prominent us of what was popularly known as Dattu Theka – a typical stroke that Dattaram would invariably conjure up in his the accompanying base instrumentation.

Rahi Tu Ruk Mat Jaana Toofan Se Mat Ghabharana, Kahin To Milegi Teri Manzil Kahi Door Gagan Ki Chhaon Mein – Door Gagan Ki Chhaon Mein (1964):- Hemant Kumar (in three parts) – Kishore Kumar

One the most respected song- be it from the singer’s perspective or music director’s perspective, from the perspective of a song that includes the film title or from the perspective of the delivery of song writer’s message

I have lined up songs that have Mohammad Rafi in the end of the episode. Incidentally each one represents a very different point of a spectrum of Shailendra’s vast repertoire

Ja Ja Na Ched Maan Bhi Ja – Satta Bazar(1959) – Mohammad Rafi, Suman Kalyanpur  – Kalyanji-Anandji

This is the only song that Shailendra has penned for the film. Hasrat Jaipuri and Indeevar had two songs each, whereas Gulshan Bawra had 3 songs. This also gives us one more of a Johnny Walker song to accompany one of the most illustrious one – Jangal Mein Mor Nacha Kisi Ne Na Dekha

Gham Ki Badli Mein Chamakta Ek Sitara Hai Aaj Apan Ho Na Ho Kal Hamara Hai – Kal Hamara Hai (1959):- Mohammad Rafi, Sudha Malhotra – Chitragupt

As the name of the films suggests, the film essentially would be based on the Patriotism theme. Therefore, it is not quite surprising to see Shailendra being easily able to handle the songs that befit the theme.

Aam Chhum Taam Chhum Haar Ho Ki Jeet Ho Khel Mein Rahe Magana – Chhote Nawab (1961) Mohammad Rafi – R D Burman

Here is the song that depicts the mental state of a grown-up prince.

Illahi Tu Sun Le Hamali Duva, Hame Sirf Ek Asara Hai Tera. Teri Rahamate Rah Roshan Kare, Salamat Rahe Saya Man-bap Ka – Chhote Nawab (1961):- Mohammad Rafi – R D Burman  The song was the game changer in the film. In his maiden venture, RDB, on one hand succeeds in  providing just the right platform to Mohammad Rafi to fully express the emotions of the song and on the other hand has lived up to the challenge of the Shailendra’s very poignant lyrics.

When we look back now, we see one most glaring association missing at the core career path years of Shailendra – with Madan Mohan. Similarly, if we see the presence of R D Burman from the (so-called) next generation of music directors, one may note absence of Laxmikant Pyarelal.

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

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

[i]   Virasat – Lyricist ‘Shailendra’

 

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: March, 2017

S N Tripathi: Unremembered music director of remembered songs

There would hardly be anyone who may need reminding these songs:

But, perhaps it may need some recalling that these songs were by composed by S N (Shree Nath) Tripathi . That is because, ironically even as the songs are remembered, the films have faded out of memories. So, s-n-tripathiperhaps the name of S N Tripathi -14 March 1913 | 28 March 1988 – who has composed music for almost 250 films, he also acted in some 200 films, directed 39 films and even written screenplays for around 37 films. The destiny in its own weird wisdom chose to keep S N Tripathi in the fringe orbits of the Hindi Film Music world.

He joined the film world as a violinist in 1936. He then was appointed assistant to Sarswati Devi. The first song that he sang was Ae Re Daiya Lachak Lachak Chalo (Jeevan Naiya, 1936) for Ashok Kumar on the screen. This, incidentally, was the maiden film of Ashok Kumar too. S N Tripathi’s maiden film as a music director was Chandan(1936). The film, unfortunately, was released in 1941 only.

Nanha Sa Dil Deti Hoon – Chandan(1941) -Rajkumari, SN Tripathi  – Lyrics: Pt. Indra Chandra

For our present episode we will explore some of the S N Tripathi’s songs up to 1950.

The first film that is said to have given recognition to S N Tripathi was Panghat (1943).

Panghat Ke Ghaayalon Ka Panght Hi Thikana – Panghat (1943) – S N Tripathi – Lyrics: Pt. Indra Chandra

Here is the song that itself should have settled any and all debates about S N Tripathi’s versatility. He has acted, sung and composed this very light ‘bath-room’ song, and done so with great flare and even greater finesse.

Aayi Baloonwaali Aayi Re – Aadhaar (1945) – Geeta Dutt and S N Tripathi – Lyrics: M A Razi

Geeta Dutt was just 14 when she sang this song.

Aise Na Hamein Chhedo, Aise Na Satao, Kuchch Sun Lo Hamari – Ramayani (1945)  –  Rajkumari, Pahari Sanyal –

HFGK has not specified the singers. From the star cast of the film we can deduce that Rajkumari ought to have playedback for Nargis. The film was a social drama. Listening Rajkumari in a very light romantic song is great pleasure.

Laaj Bhare… In Nainan MeinAdhik Sudha Bharo Na.. – Uttara Abhimanyu (1946) – Ashok Kumar – Lyrics:  Roopdas, Saraswati Kumar Deepak (?)

Ashok Kumar association with S N Tripathi seems to bond very strongly. It is said that it was SN Tripathi who trained the novice voices of Ashok Kumar and Devika Rani for the song “Mein Ban Ki Chidiya Ban Ke Ban Ban Doloon Re for ‘Achhoot Kanyaa’ in 1936 under the baton of Saraswati Devi. The present song can also be considered as unique. HFGK records that this song is a pure playback by Ashok Kumar, possibly for Shahu Modak on the screen,.

Sola Singaar Main Sajaaungi.. Piya Ko Rijhaaungi – Panihari (1946) – Shanta Apte – Lyrics: Pt. Indra, Rammurty, Brajendra Gaud (?)

The poster of the film loudly proclaims: “Here she is ! New Shanta in a gay romance!” This song perhaps aptly translates the intention…..

Beet Chali Barkha Rut Site, Sudh Na Mili Tumhaari – Shree Ram Bhakta Hanuman (1948) – Mukesh – Lyrics: B D Mishra

We now seem to see an inadvertent, but unfortunate type-casting of S N Tripathi into mythological films. So was the hero who sings the song on the screen – Trilok Kapoor, who incidentally is the younger brother of Prithviraj Kapoor. Additionally, S N Tripathi also got cast into roles of Hanumaan as well!

Aao Sakhi Mangal Gao Ki Subh Din Aaye Re – Veer Ghatotkach (1949) – Saroj, Shanti Sharma – Lyrics: Ramesh Joshi

Here is playful song, filmed on a very young Meena Kumari.

Ashok Kumar or Meena Kumari did not get typed into mythological B class films, but S N Tripathi did !

Ek Naya Sanasaar Sajao, Aaj Khushi Ka Din Aaya – Veer Ghatotkach (1949)- Rohini Roy, Yahwant Bhatt and Chorus – Lyrics: Moti B. A.

Arun Kumar Deshmukh has narrated some of the history of one the singers – Yashwant Bhatt – of the song in this post.

1950 film Saudamini was a social film. The songs of the film were quite melodious and ought to have caught the attention of the fans at that time.But, perhaps not enough to turn the tide away from the mythology as afar as S N Tripathi was concerned.

Kaali Koyal Bole Matwali Koyal Bole Re – Saudamini (1950) – Mohan Tara Talpade – Lyrics: Anjum Pilibhiti

S N Tripathi has tried every possible trick to infuse variety into his songs in a social-theme film by selecting different playback singers.

Kaali Kaali Badli Chaayi Saawan Ki Ritu Aayi – Saudamini (1950) – Geeta Roy (Dutt)

Geeta Roy is at her usual vintage mellifluous self..

Kaali Ghata Hat Gayi Neel Gagan Mein Nikala Chand Hai – Saudamini (1950) – Chitragupt –

As the adequate information is not available, one may not be able to definitively state whether Chitragupt was assisting S N Tripathi for this film or not. In any case, however, the fact that S N Tripathi has experimented with Chitragupt’s voice speaks for his spirit of experimentation.

Dukh Dard Bhare Dil Ka Kahe Kisko Fasana – Saudamini (1950) – Uma Devi

For a sad song S N Tripathi has so effectively used voice of Uma Devi.

Jawani Chaand Salona Chamake Aur Choop Jaye – Saudamini (1950) – Mohammad Rafi, Zoharabai Ambalewali and chorus

Rafi commences first antara with a different beat than that of Mukhada before Zohra switches to the original tempo at the end of the anatara.

Surya Dev Dinesh Hey Mam Baar Baar Pranaam Ho -Shree Ganesh Mahima (1950)

Records do not amply state whether the song is also sang by S N Tripathi himself, which he certainly acts on the screen. The song is a rare prayer addressed to Surya, The Sun god.

We will end our present episode with the song that has the credit of being the first ever duet of Mohammad Rafi and Geeta Dutt, a wonderfully crafted song using chorus:

Jai Hind Yeh Hind Ki Kahniyan – Manasarovar (1946) – Lyrics: Saraswatikumar Deepak

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

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