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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: August 2021

Shailendra’s Songs with Sardul Kwatra and Mukul Roy

Shailendra’s – a.k.a. Shankardas Kesarilal (B: 30-8-1923/ D: 14-12-1966) body of work beyond Shankar-Jaikishan and the other two music directors S D Burman and Salil Chaudhuri remains quite varied and interesting. There have been films where he has just one or two songs too.

We started taking a look at Shailendra’s songs with “other” music directors form the year 2017. Till now we have covered

In 2018, songs with Roshan

In 2019, songs with Hemant Kumar, Ravi and KalyanjiAnandji

In 2020, songs with SN Tripathi, Anil BIswas and C Ramchandra

Presently we will take up Shailendra’s songs with Sardul Kwatra and Mukul Roy, with who he had two films each.

Shailendra – Sardul (Singh) Kwatra

Sardul (Singh) Kwatra – 1928|2005 – was a master of Punjabi folk songs. His maiden Hindi film Ek Teri Nishani-49. That film failed at the box office. However, Sardul Kwatra composed music for 22 Hindi and 15 Punjabi films during his active career. Sardul Kwatra’s music in Mirza  Sahiban (1957) had caught attention of the cinegoers.

Pipili Saheb (1954)

The film had 9 songs of which had three lyricists – Hasrat Jaipuri – 6, Verma Malik -1 and Shailendra 2

Sapnon Ki Duniya Mein Naye Rang Laya O Man Bhaya Fagun Aaya – Usha Mangeshkar, Meena Mangeshkar, Shaminder Pal

A folk tune-based dance song that is set to a very pleasing tune and simple orchestration.

Chand Sitaro Mein Kaun Bulaye Re …. Pahalu Se Dil Uda Jaaye Re – Lata Mangeshkar, Shaminder Pal

Shaminder hailed from a well-to-do agriculturist family of Punjab. After Sardul Kwatra gave him the break, he did get to sing with a few other music directors as well.

When he came to Bombay, it was Shaminder’s dream to sing a song with Lata Mangeshkar. This is Shaminder’s dream come true.

Tees Maar Khan (1955)

The film had 10 songs. Prem Dhawan penned all other songs.

Jinki Nigahon Ne Chheena Hai Dil Mera Dekhoji Unka Nishana KahiN Aur Hai – Lata Mangeshkar

The protagonist happily mulls her love. The song has verve that catches the mood of the lyrics so vividly.

I could not find the other song Dhoondhati Hai Tujhko Nigahein (Asha Bhosle) on YT.

Shailendra – Mukul Roy

Mukul Roy (B: 16-8-1926 to 8-11-2009) was the elder brother of Geeta Roy (Dutt). He composed music in only 3 Hindi films, 2 Bangla films (Grihpravesh and Kay hiner kahini). He also gave music to one Gujarati film.

Sailaab (1956)

Mukul Roy produced the film and Guru Dutt was the director. The other lyricists for the film were Majrooh Sultanpuri (4), Hasrat Jaipuri (2) and Madhukar Rajasthani (1).

Yeh Rut Yeh Raat Jawaan Bekal Dil Ke ArmaaN Aise Mein Tu Kaha Mere Dibar Aa – Geeta Dutt

The song appears to a club dance song, with Geeta Dutt at her usual mellifluous intoxicating mood.

Aa Gayi … Re Raat Rangbhari Aa Gayi…. Bachpan Ka Hath Chhoota – Geeta Dutt

Geeta Dutt comes up with a very different tonal variation.

Detective (1958)

Shailendra was the sole lyricist for this mystery thriller genre film. Shakti Samanta was the director.

Aankhon Pe Bharosa Mat Kar Duniya Jadu Ka Khel Hai – Mohammad Rafi, Sudha Malhotra

Protagonists play tricks to please the lady.

Mohammad Rafi sings for Pradeep Kumar whereas Sudha Malhotra sings for the child artist Daisy Irani.

Kal Talak Hum Thik Tha Aaj Hamien Kya Ho Gaya – Mohammad Rafi, Geeta Dutt

The song is filmed on Johnny Walker and Bimla Kumari (not to be confused with Hawa Mein Udata Jaye Bimala Kumari).

Shailendra has deftly weaved in the colloquial Anglo-Indian diction for the lyrics enacted by Bimla Kumari, befitting her role in the film.

Chhodiye Gussa Huzoor Aisi Narazagi Bhi Kya – Mohammad Rafi

Here is a the then popular roothana-manana genre song.

Aaja Kar Le Muqabla Ye Baji Pyar Ki – Mohammad Rafi, Geeta Dutt

Johnny Walker masquerades as a matador and Bimla Kumari as bull in the stage play as the mystery seems to deepen in the background.

Mujhko Tum Jo Mile, Ye Jahan Mil Gaya – Hemant Kumar, Geeta Dutt

The song comes up as a mandatory duet.

Hindi Geetmala mentions of solo in Geeta Dutt’s coice, too, which may be a small piece used in the film.

Raahi Chal Sambhal Sambhal Ke Bada Katheen Hai Rasta – Asha Bhosle

On the face of it, this is a street song, but the lyrics are laded with meaning for the ‘The Detective’ to remain guarded against the machination of the villains. Visuals of furtive movements by the villains makes it easier  for the lay public in the cinema hall to appreciate this ‘between the lines’ message.

Do Chamakti Ankhon Mein Kal Khwaab Suhana Tha Jinka – Geeta Dutt

The beloved is whittling out time in clubs and the poor heroine is shedding tears at home. The formula-drama of a Hindi cinema, irrespective of the theme of the screen play is ploy to create a space for a female song of pathos!

Geeta Dutt is her at most expressive best in this song, which is enshrined in the front-row of her top songs.

With curtain call for the present episode, please remember that our journey of the memory lanes of Shailendra’s song for “other” music directors continue…..

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: November 2020

Salil Chowdhury and Shailendra’s Songs Fading From the Memory: 1957

Salil Chowdhury (10 November 1922 – 5 September 1995) was undoubtedly a versatile music personality – writer, lyricist, script writer, activist and of course one of the most respected music composers. His music was rooted as much in the folk music of Bengal and Assam as it was in the Western symphonies. His compositions and orchestrations had a very district style. Most of his compositions would be incredibly challenging to sing. And yet, the sheer melody that it offered made many of his difficult tunes are also his immensely popular songs. His lyricists for a good many films, Shailendra (B: 30-8-1923/ D: 14-12-1966), too, was a person rooted to the basic of life. Shailendra may not be considered a poet in the traditional literary parlance, but his simple lyrics had had profound impact on his listeners. His command of delivering an immensely powerful idealistic message or describing a complex feeling in the simple words was unparalleled.

Even when they had fundamentally very similar sociopolitical mindsets, the chemistry of apparently two different music personalities created very unique set of Hindi film songs. In terms of ratio of memorable songs to total songs or variety of moods represented, qualitatively quite comparable to Shailendra-Shankar Jaikishan or Shailendra -S D Burman, Salil Chowdhury and Shailendra quantitatively have composed songs only next to these two combinations.

To commemorate the memory of Salil Chowdhury, we have been devoting our November episode to Salil Chowdhury’s compositions receding from our memory. We had remembered Salil Chowdhury’s Hindi Film Songs in Other Languages in 2017. We then commenced a series of Salil Chowdhury and Shailendra’s Songs Fading From the Memory, wherein we took up their films together in the chronological order of release for remembering the songs receding from the memory from these films.  Till now we have covered the years

1953-1955 in 2018, and

1956 in 2019.

Presently, we will take up Salil Chowdhury and Shailendra’s songs receding frm the memory form the three films – Ek Gaon Ki Kahani and Musafir for the year 1957. Salil Chowdhury had composed music for Apradhi Kaun and Laal Batti (with Majrooh Sultanpuri) and Zamana (with Indeevar and Prem Dhawan; the film had two songs composed by Anil Biswas, too).

Ek Gaon Ki Kahani (1957)

Ek Gaon Ki Kahani is a film directed by Dulal Guha, wherein Talat Mahmood has also acted as the lead actor. The films had two of Talat Mahmood’s all-time-great songs – Jhoome Re Neela Ambar Jhhome Re and Raat Ne Kya Kya Khwab Dikhaye – and a Lata Mangeshkar solo – Boley Pihoo Pihoo Pee Papihara – which as sweet and playful as is a difficult tune.

Kana Kubda Langda Loola Budha Doctor Aayega – Asha Bhosle

Salil Chowdhury and Shailendra have produced a light-mood, thoroughly enjoyable, song.

O Haay Koi Dekh Lega – Talat Mahmood, Lata Mangeshkar

The song opens with a very lilting prelude. The duet, though extremely sweet, is indeed a difficult composition.

Chale Thhumak Thhumak Taare Meethe Sapno Ke Dware – Lata Mangeshkar

This is a lullaby. Salil Chowdhury has used relatively easier composition Use of soft sounds of ensemble of violins. The main song as well as the interlude orchestration has Salil Chowdhury’s signature flute pieces

Din Holi Ka Aa Gaya Rang Dalo Hoji Ho – Manna Dey, Lata Mangeshkar. Chorus

The occasions of festivals like Holi have provided ideal situation for songs in Hindi films. Different directors have used the situation for different purposes – sometimes the song just comes in as a filler or sometimes as an important element of the story.  Lyricists compose the lyrics accordingly. Different directors also have adopted very different approaches in composing the song, even if they have stuck to the normal Holi song tunes of North India. Salil Chowdhury has provided ample improvisations in the songs to make it sound very realistic composition.

Musafir (1957)

Based on the Ritvik Ghatak story of three families’ ’traveler’ stay at a house, Musafir was the maiden directorial venture of Hrishikesh Mukherjee. In effect, it connects up three stories with a common link of a house. Every time the family leaves the house, like a traveler on the move, at least one member of the family will state that she will always remember this house. The film was awarded a  Certificate of Merit for Third Best Feature Film in Hindi for the year 1957.

Man Re Hari Gun Gaa, Un Sang Preet Lagaa – Lata Mangeshkar

Filmed on Suchitra Sen, the lead actress of the first of the three episodes, is a simple bhajan, in terms of the song genres. The song has a special important place in the narrative of the episode.

Munna Bada Pyaara, Ammi Ka Dulara, Koi Kahe Chand Koi Ankh Ka Taara – Kishore Kumar

This is a song pertaining to the second story in the film. Shailendra has weaved in wonderful dreams of the middle-class people in each stanza. Salil Chowdhury has composed a very pleasant tune, and Kishore Kumar is at his usual maverick improvisation best.

Tedhi Tedhi Humse Phire Saari Duniya… Har Koi Najar Bacha Chala Jaye Dekho…Jaane Kahe Hamse Kaatey  Saari Duniya – Manna Dey, Shamshad Begum, chorus

The song have several unique features.

First, Shailendra has made a cameo appearance of street song performer, with a harmonium strung on. This is second such on-screen performance. The first one was in the song Chali Kaun Se Desh Gujariya Tu Saj Dhaj Ke (Boot Polish, 1954).

Second, is Keshto Mukherjee’s maiden appearance on Hindi cinema. Her he comes up in the role of a autistic handicapped person, a very routine feature of such travelling street performers so as to encash some human pity into more alms catch. At the end of the song ,just watch him approaching Kishore Kumar to part with some cash, all in sign language !! What a pity that such a wonderful comedy actor remained typecast as THE drunkard in the films!

Third, of course, is use of Shamshad Begum by Salil Chowdhury. Shamshad Begum plays back to Heera Sawant, the dance performer of the troupe.

Shailendra is at his usual egalitarian best mood at every word of the song!

Laagi Nahi Choote Rama Chahe Jiya Jaye – Dilip Kumar, Lata Mangeshkar

First, of course, the most novel feature of the song – Dilip Kumar singing his own song. The songs, for a non-regular singer like him, is not that easy to sing. But, Dilip Kumar has done such a marvelous job of it.

Hrishikesh Mukherjee has filmed the Lata Mangeshkar part as a memory recall running at the back of mind of Usha Kiran. As such, the voice seems to come from deep within!

Ek Aaye Ek Jaaye Musafir  -Shyamal Mitra

The title and theme song that carries the message of the film, is filmed on Mohan Choti (a.k.a. Mohan Goraskar).

The song comes up once more in the film. The clip here has both versions.

We normally take up one Mohammad Rafi song to end the episode. However, in the present case, we do not have any Mohammad Rafi song in either of these films. So, we will take a small detour, and import one song from Salil Chowdhury’s 1957 films with other lyricist.

Naiya Ka Meri Tu Hi Khewaiya – Zamana (1957) = Lyrics: Indeevar

Salil Chowdhury has used chorus both as chorus accompaniment and as counter music support.

Our journey of Salil Chowdhury and Shailendra’s receding from the memory songs on this platform.

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: October 2020

Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory: 1954

Shankar (Singh Raghuvanshi) – B: 25 October 1922 | D:  26 April 1987 – is generally known to be less glamorous that his film music composition partner Jaikishan. However, barring some hiccups in the later part of their active association, their professional bond was so seamless that may knowledgeable musicologists of those days used find it difficult to recognize who has composed which song. It was said that Shankar would compose Shailendra’s songs and Jaikishan would compose Hasrat Jaipuri’s songs. The division of the songs was based on what would suit the situation. However, from the stage the song is being readied for recording, both would be seen working hands in gloves to ensure that the song is no less than their best.

Selection of only Shailendra’s songs in this series is, thus, the outcome of the then popular thumb rule of cross-paring of Shankar Jaikishan with Shailendra and Hasrat Jaipuri. We have commenced the present series of Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory from October 2018 and have been covering their less familiar songs from the films released in chronological order of year.

Till now, we have covered the years

1949 – 1953 in 2018

1953 (Continued) in 2019.

Presently, we would listen to Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory for the year 1954..

We have three films in 1954 – Badshah, Mayurpankh and Pooja. A cursory look at the list of Shankar- (Jaikishan) and Shailendra’s Songs shows that even as SJ – along with Shailendra and Hasrat Jaipuri as lyricists – had some outstanding successes under their bet, by 1954, they were still in the process of setting a wide base of banners, film subjects, even the actor-actresses for which the songs on the screen will be filmed etc. As such the songs for the year 1954 show a definitive stamp of SJ – Shailendra-Hasrat combination, we have relative larger share of songs (per album) that remained less familiar than the later years creations.

Badshaah (1954)

The film had eight songs of which Shailendra has penned two songs. Of the two Rula Kar Chal Diye Ek Din HaseN Ban Kar Jo Aaye The is enshrined as one of the all-time Hemant Kumar song.

Gul Muskara Utha, Bul Bul Ye Ga Utha, Bago Mein Aayi Bahar – Lata Mangeshkar, chorus

We have here a very rarely heard song. The song composition has primarily mid-western culture influence. Prominence of male singers in the chorus also attracts listener’s attention.

Mayur Pankh (1954)

The story and screenplay of the film revolve round the infatuation of Ranjit (Kishore Sahu) for an English novelist Joan (Odette Fergusson) and the tragic aspect of the love affair from both their points of view and that of Shanti (Sumitra Devi), Ranjit’s wife. The story moves around from jungle scenes to village melas against the backdrops of historic places, providing thereby the avenues for situations for the songs as well. Shankar Jaikishan have also accepted the challenge for providing music for such songs quite successfully.

Ye Barkha Bahar Sautaniya Ke Dwar – Lata Mangeshkar, Asha Bhosle

A signature mujra song, opening with note of Sarangi and a enticing alaap by the singers.

Aside Trivia: The song is rendered on the screen by the then famous Wajifdar sisters.

Atul’s Song A Day post on this song has addressed the details of the song at great length.

Main Chalu Paschim, Purab Chale Duniya – Lata Mangeshkar

This is a fast-paced dance song, performed on stage by Cuckoo.

Tandana….Mushkil Hai Pyar Chhupana Tandana… Preet Nayi Dard Purana – Lata Mangeshkar, Chorus

Hindi films have the knack of third-party singers sing songs that exactly reflect the feelings or thoughts of relevant protagonists! Shailendra has smartly rhymed the local phrase Tandanna, used normally to lend punch to the rhythm, with Chhupana, Purana etc.

Pooja (1954)

The film had Bharat Bhushan, along with Poornima in the lead. But this should be pre-Bharat Bhushan golden hand-shake period film. My first exposure to the songs happened during Multiple version songs series on SoY with two songs – Jo Ek Baar Keh Do (happy and sad versions). Other than these , all other songs belong to not-so-known territory.  The film had 10 songs, of which 8 are penned by Shailendra.

Mori Bipada Aan Haro, Prabhu Kahe Der Karo – Lata Mangeshkar

Shankar Jaikishan comes up with a minimal orchestration ‘bhajan’ genre song. Use of dholak as the rhythm instrument.

Holi Ayi Pyari Pyari, Bhar Pichkari Rang De Chunariya Hamari – Mohammad Rafi, Lata Mangeshkar

A holi genre song, with SJ improvising with the use of chorus as second interlude to change the song delivery in the second stanza, with song becoming a softly-higher-scale Rafi, chorus song.

Rang Khelo Rasiya Suratiya Pahechan – Mohammad Rafi, Lata Mangeshkar, chorus

This is the second part of the preceding song.

Main Muralidhar Ki Murali Lai, Murlidhar Ne Lai Meri Mala – Lata Mangeshkar

Shankar Jaikishan present this dance song with their trademark large sized orchestration support in the song composition.

Soch Na Manwa.. Teri Taqdeer Bananewala Sochega – Mohammad Rafi

The prelude opens with a stroke of violin ensemble, followed a solo violin piece supported piano expanse as Mohammad Rafi opens the first line with a higher note. Interlude pieces comprise of violin ensemble with flute support.

Room Jhoom Ke Bajao Bansuri Murari – Mohammad Rafi, Krishnarao Chonkar

We have a classical based MM duet. Shankar Jaikishan has roped in services of Krishnarao Chonkar to lend authenticity to the song.

Chal Chal Re Musafir Chal Tu Us Duniya Mein Chal – Mohammad Rafi

The orchestration id predominantly flute based, with a very subtle obbligato support. Short violin ensemble, more as counter melody support to the interlude music is perhaps the only tell-tale indicator of a Shankar Jaikishan composition, However, even this is presented in much different form than what we normally associate with SJ orchestration.

Shailendra is at his usual poetic mood when he thinks about the ‘the other’ world and links up his egalitarian view of ‘that’ world with these lyrics –

jaha pyaar kaa rasta koyi naa roke,
koyi naa kahe sambhal

… …. … .. .. …..
… …. … .. .. …..

jahan ujade naa singaar kisi kaa
phaile naa kaajal

We will continue our journey of Shankar Jaikishan’s songs in Shailendra’s lyrics in our future episodes.

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: August 2020

Shailendra with S N Tripathi, Anil Biswas and C Ramchandra

Shailendra – a.k.a. Shankardas Kesarilal (B: 30-8-1923/ D: 14-12-1966)’s association – and for that matter of that of Hasrat Jaipuri, too) with Shankar – Jaikishan is so strong that almost 30 to 40 % of his work with other music directors largely remains unnoticed, except for some of his exceptionally well-known films with S D Burman or Salil Chowdhury. Quantitatively, Shailendra’s songs with other music directors may have around 30-40% of Shailendra’s work, but qualitatively, be it in terms of the range of subjects, or moods, or song-genres, Shailendra’s songs with other music directors remains equally noteworthy.

We have taken up Shailendra’s songs with Other Music Directors on this platform every August , w.e.f. 2017, in the memory of Shailendra’s birthday. Till now we have covered

2017 – Shailendra and “Other” Music Directors

2018 – Shailendra and Roshan

2019 – Shailendra with Hemant Kumar, Ravi and Kalayanji (Anandji)

We have also undertaken a separate series of Salil Chowdhury and Shailendra’s Songs Fading From the Memory in our November episodes.

Presently, we will recall Shailendra’s songs with S N Tripathi, Anil Biswas and C Ramchandra.

With S N (Shri Nath) Tripathi

S N Tripathi and Shailendra have worked for together for five films spread over a decade. Dilli Darbar (1956) was history-period film in which Hasrat Jaipuri was in the company of Shailendra. Ram Hanuman Yudh (1957) is a mythological film, where too Shailendra shared lyricist-writer space with Ramesh Chander Pandey. Sangeet Samrat Tansen (1962) is again a period-biopic. Shailendra was the sole lyricist for the film to write as many as   songs. Incidentally, S N Tripathi has directed this film as well. Shiv Paravati (1952) is again a mythological film. Kunwari (1966) is a social drama, where again Shailendra had 7 songs and B D Mishra had 2 songs.

Mehfil Mein Kaisi Chaam Chaam….Kiska Hai Ye Tarana – Dilli Darbar (1956) – Lata Mangeshkar

Somehow the song sounds much closer to Shanker Jaikshan style. That may be because the song is based on Arabian dance song composition.

Balma O Balma Chanda Hamare … Taras Gayi Akhiyan Daras Ko Tihare – Ram Hanuman Yudh (1957) – Lata Mangeshkar

Shailendra pens feelings of pathos in the heart of the protagonist who is yearning to meet her beloved. S N Tripathi has used strains of shehnai in the interlude and short pieces of flute in countermelody to reflect the mood of the lyrics.

Suna Tu Man KI Bin Par… Ye Ansu Ki Ragini – Ram Hanuman Yudh (1957) – Lata Mangeshkar

We have here a fast beat song that is steeped in deep pathos. Shailendra has used very pure Hindi in his composition.

Toot Gayi Toot Gayi Mere Man Ki Beena  – Sangeet Samrat Tansen (1962) – Poorna Seth, Pandarinath Kolhapure

Shailendra and SN Tripathi has weaved n two contrasting moods in one song.

Kantadha Kantadha Kantdha – Sangeet Samrat Tansen (1962) – Manna Dey

S Ntripathi has conjured up a difficult dance tune. One simply wonders how Shailendra would have fitted in the lyrics in such a dance form –

e.g.

Tanan Tanan Tan Tang Naar Dil Ko,

or

Chit Pit Fit Fit Chhanan Chhanan Chhayi Ghata
Chit Pit Fit Fit Chhanan Chhanan Chhayi Ghata
Dhinak Dhinak Rumjhum Bundan Barsayi Ghata
Dhinak Dhinak Rumjhum Bundan Barsayi Ghata
Sagan Kunj Ali Gunj Sang Ali Kunj Manohar
Sagan Kunj Ali Gunj Sang Ali Kunj Manohar

The second line being repeated is by an unidentified female voice.

Dirna Ho Dirna Tana Dir Dirna…. More Laage Re Kisi Se Naina – Shiv Parvati (1962) – Geeta Dutt, Asha Bhosle

This is only song by Shailendra in the film. Sarasawti Kumar Dipak also had one song. All other 9 songs were written by Prem Dhawan

Kehta Hai Mera Dil Ki Sanam Ke Tum Bhi Kahoge – Kunwari (1966) – Mukesh, Asha Bhosle

We have here a duet wherein the lovebirds express their love for each other. Shailendra uses simple metaphors like – Indrani Mukherejee saying that one look at you told me who you will be in my life, to which Ravindra Kapoor acknowledges that even though this was new tune on their flute.

Dhaani Chunari Meri Dhani Dhani Ho Chundari Meri  – Kunwari (1966) – Mahendra Kapoor, Meenu Puroshattam, Chorus

The song, and the lyrics, basically are set to a rural folk song style. Of course, Indarni Mukherjee and Ravindra Kapoor easily seem to be able to relate their own feelings with the words of the song.

With Anil Biswas

Shailendra teamed up with Anil Biswas for the last two films in the latter’s career. Sautela Bhai (1962) was film based on Bengali locale of Saratchandra’s story, Baikunther Will (1920). Chhoti Chhoti Baatein (1965) – the first and the last directorial and production venture of Motilal – was based on an extremely sensitive subject of friendly relationship between two grown up people, form opposite sexes, outside their own families.

Maiya Maiya….. Bole Baal Kanhaiya, Chalat Chalt Pag Dukhan Aaye, Ab To Ghodi Utha Le Maiya – Sautela Bhai (1962) – Pankaj Mitra, Meena Kapoor

As the newly married bride steps in to her ‘new’ home, an infant form the earlier marriage of the bride-groom(!) awaits her. She takes him up in her care. The song is composed in Bengali folk Baul style and uses Krishna and Yashoda, who is the mother who brings him up as his own son.

Bhai Bhai Ka Nata Dekho Re Logo Bhai Bhai Ka Naata  – Sautela Bhai(1962) – Manna Dey, Anil Biswas, Pankaj Mitra

This is song played in a rural drama in the film. The song runs around the story of Ram and Bharat, the stepbrothers, in Ramayana. The main family of the story is there to watch the drama.  Shailendra has constructed the entire sequence in his poem.

Phul Ban Bagiya Khili Kali Kali Aai Dekho Ritu Albeli – Sautela Bhai (1962) – Manna Dey, Meena Kapoor

A precisely orchestrated, public dance song that is now an almost home play for Manna Dey. Meena Kapoor easily complements Manna Dey in the song. Anil Biswas has very creatively a folk tune from the Eastern States. Shailendra had had, perhaps, a difficult task to set lyrics to this predominantly rhythm-oriented song.

Zindagi Khwab Hai Tha Hamein Pata, Par Hamein Zindagi Se Bahut Pyar Tha – Chhoto Chhoti Batein (1965) – Mukesh

This is all the way a Shailendra song where he weaves in the philosophy of life., right from the word go. In the retrospect, we have generally observed that, in his last few years, Shailendra’s such philosophical songs have foreseen the future events. ‘Alvida’ (Farewell for ever) in this song did turn out to be the farewell by Motilal from this world, by the time the film was completed.

Andhi Hai Duniya Matlab Ki Duniya, Dil Ka Kare Na Koi Mol Pyare – Chhoti Chhoti Batein (1965) = Manna Dey

Anil Biswas, Shailendra and Manna Dey are at their individual and collective best in the song.

With C Ramchandra

Shailendra’s association with C Ramchandra in Chhatrapati Shivaji (1952) was on the exclusive basis whereas that for Anarkali was for only two songs.

Desh Ki Dharti Ne Pukara Gunja Azadi Ka Naara – Chhatrapati Shivaji (1952) – Chitalker, chorus

We have here a marching song. One would wonder how would a song like this would have remained sidetracked even in the periods of when the nation had seen the sea of patriotism at its full tide in the periods of 1962 or 1965 or 1971 wars !

Mujhpe Bhi Reham Mere Maherban Kijiye – – Chhatrapati Shivaji (1952) – Rangnath Jadhav, chorus

In a film on the subject of Chhatrapati Shivaji, a qawwali has also been squeezed in !

I have not been able to locate any information on Raghunath Yadav

Aaja Ab To Aaja Mere Kismat Ke Kharidar Ab To Aaja – Anarkali (1953) – Lata Mangeshkar

Shailendra has freely used Farsi words aa can be expected in those days.

Dua Kar Gam-E-Dil Dua Kar, Wafaon Majboor Daman Beechha Kar Khuda Se Dua Kar – Anarkali (1953) – Lata Mangeshkar

Shailendra is at his simple best in the song.

Examples:

jo bijli chamakti hai unke mahal par
wo kar le tasalli, meraa ghar jalaa kar

… …. …. ….

salaamat rahe tu, meri jaan jaaye
mujhe is bahaane se hi maut aaye
karoongi main kyaa chand saansen bachaa kar

… …. …. ….

main kyaa doon tujhe meraa sab lut chukaa hai
duaa ke siwaa mere paas aur kyaa hai

… …… ……… …  … 

magar meri tujhse yahi iltijaa hai
na dil todnaa dil ki duniyaa basaa kar

C Ramchaandra, of course, is at his melodious best in both songs, as he was will all other songs of Anarkali.

In order to traditionally end our post with Mohammad Rafi song, we will have to track back to Sangeet Samrat Tansen (1962) –

Sudh Beesar Gayi Aaj Apne Gunan Ki…Aa Hi Gayi Baat Beete Dinan Ki – Mohammad Rafi, Manna Dey

Manna Dey and Mohammad Rafi so seamlessly complement each other in the song.

Our journey of Shailendra’s songs for Other Music Director continues….

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 – February 2020

Welcome to February 2020 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

The first post that we take celebrates the Republic Day of India. Shri N Venkatraman pays the tribute through ‘Vandya Vande Mataram’: The story of a Song Perennial.

Anand Math is the anti-establishment film to watch and learn fromMadhavi Pothukuchi – While the nature of the actual rebellion is disputed — some historians say it was an all-Hindu uprising, while some say it was simply an anti-imperialist movement, and still others dispute its authenticity — the film and the book show it as an all-Hindu, anti-imperialist, nationalist movement.

Happy Valentine’s Day! has been celebrated on the HFM Weblog world too with Hindi Film Songs, albeit from the post-2000 years.

We pick up other tributes and memories:

Returning to “Hum Dekhenge” (and a Happy Upcoming Birthday to Faiz Ahmed Faiz!) – Noor Jehan performed “Mujh Se Pehli Si Muhabbat” in defiance of a ban of Faiz by one military ruler of Pakistan – Muhammad Ayub Khan – and Iqbal Bano performed “Hum Dkehenge” in defiance of a ban by another – the notorious Muhammad Zia-ul-Haq

Mehfil celebrates ‘C Ramchandra’ Month! is carried forward with C Ramchandra – 60s & 70s and Marathi songs by C Ramchandra

The Masters: OP Nayyar – Here is a song remembered in the post – Dekho jadoo bhare more nainAasmaan (1952) – Geeta Dutt – Lyrics Prem Dhawan

OP Nayyar’s music turned Howrah Bridge from a movie to a whole moodMadhavi Pothukuchi – Lyricist Qamar Jalalabadi ascended to the height of his career with the lyrics. They were playful, fun, and enticing and went with the mood Nayyar was intending to set with the music.

Savere Ka Suraj – An Invaluable Art Piece – OPN and Kishore Kumar, deliver a composition which was absolutely classical by theory and amazingly melodious in terms of output. Here is a tune which is having disjointed structure.

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

Arth may have been based on Mahesh Bhatt’s life, but Jagjit Singh played a starring roleSamira SoodArth was the first movie for which Jagjit Singh and his wife, Chitra, composed the music together, and he sang every song in it. It is, perhaps, the best movie by which to remember him in the week of his birth anniversary.

In our Manna Dey birth centenary series, after Manna Dey and his contemporary lead actors, we have taken up Manna Dey’s Comedy Songs. February, 2020 episode covers Manna Dey- Mehmood combination songs till 1966 starting with Manna Dey’s songs for Mehmood in the January 2020 episode from the beginning of Mehmood’s acting career, till Ziddi (1964)

Madhubala and K Asif’s grandeur is what makes Mughal-e-Azam an epicMadhavi Pothukuchi – A film with one of the highest production costs and the biggest collections, Mughal-e-Azam’s success can be put down to Madhubala’s grace and beauty.

February 2020  episode of Fading Memories, Unforgettable Songs takes up Part 1 of Talat Mahmood duets with Geeta Dutt. In our series on Talat Mahmood’s rare duets, we have covered –

2017: Some of the Talat Mahmood Duets receding from the memory

2018:  Talat Mahmood’s Duet Combinations with Rare Co-singers

2019: Talat Mahmood Duets with Mubarak Begum and Madhubala Jhaveri

We will now take up the articles on other subjects:

How Sridevi gave Yash Chopra’s career a fresh lease of life with ChandniSridevi – The Eternal Screen Goddess, by author and screenwriter Satyarth Nayak, charts the actress’s five-decade-long journey from a child star to India’s First Female Superstar.

Film Songs Based on Classical Ragas (13) – An afternoon with ragas: Bhimpalasi and her Sisters – I have picked up  are some of the less known songs based on this raag from Shri Subodh Agarwal’s’ comeback post.

FFSI Initiates Campaign to Save the Ancestral Houses of Ray, Ghatak and Sen – Buoyed by the human chains formed in Rajsahi, Dhaka and Toronto to demand restoration of the decaying ancestral houses of the legendary filmmakers Satyajit Ray, Ritwik Ghatak and Mrinal Sen, the FFSI has decided to initiate an international campaign.

Dinesh Shailendra Narrates Story Behind The Anari Song – Shailendra was woken up… He went out…. As soon as RK saw him, he jumped out of the car and rushed to embrace Shailendra….. RK muttered ” Mainey abhi Anari ka gaana sunaa…. jeeyo mere Pushkin…” !.. Years later, it will be discovered that Shailendra has, in this song, actually predicted the pattern his life will follow…. This song is one that we all identify with at certain times in our lives…It has been quoted in the Indian Parliament by Atal Bihari Vajpayee and incidentally, even in the Pakistan Parliament by Nawaz Sharif !!!

Film Songs From Firmament – songs which were not picturised on any actor, but they still played an important role in either conveying a message to the actors on the screen, or just depicting the situation on the screen for the viewers.

Cinemaazi: Chronicling Indian Film Heritage and Its Unscripted Stories – Cinemaazi, an initiative to chronicle, archive, curate, preserve and exhibit the mammoth cinema heritage of India, by far the world’s biggest and most varied film industry, was launched in New Delhi on January 31.

On Nandita Das’s Manto & I – A single, very particular voice runs through this coffee-table book by Nandita Das, the voice of a reader, writer and director who became deeply interested in Saadat Hasan Manto and eventually realised her dream of making a film about him. An earlier post about Manto the film is here.

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:

Na Tajshahi, Na Badshahi – Shirin Farhad (1956) – S Mohinder – Tanvir Naqvi

Duniya Kya Hai – Sarhad (1960) – C Ramchandra – Majrooh Sutanpuri

Pani Hota To Doob Hi Jaate – Mian Bibi Razi (1960) – with Kamla Sista – S D Burman – Shailendra

Wah Wah Re Teri Chaal – Do Dilon Ki Dastan (1967) – O P Nayyar – Raja Mehdi Ali Khan)

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

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

 

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Carnival of Blogs on Golden Era of Hindi Film Music

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

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

First, the major events in December 2019:

Shriram Lagoo (1927-2019): Acting legend and rationalist leaves behind a rich and complex legacyDamini Kulkarni – The legend of the stage and the screen died in Pune at the age of 92 on 17-12-2019

We also take an opportunity to revisit – The Legend of Dr Shriram Lagoo | Tabassum Talkies

A boy called Yusuf – What would Dilip Kumar, who turned 97 on 11-12-2019, say on the identity debate today?

Ten of my favourite Naushad Songs is a tribute to the memory of Naushad who was born on 25 December 1919.

Dharmendra and Sharmila Tagore: Exploring the silver screen journey of two beautiful stars – The two share their birthdays besides having shared a wonderful on-screen chemistry.

Happy Birthday Dharmendra and Sharmila Tagore! – Here are films featuring the pair – Subhash K Jha recounts, Anupama (1966), Devar (1966), Satyakam (1969), Yakeen (1969), Mere Hamdam Mere Dost (1968), Chupke Chupke (1975), Ek Mahal Ho Sapno Ka (1975), Sunny (1984)  as the 8 films the duo have done together.

Also read:

We pick up other tributes and memories:

Shailendra — the Leftist poet and Dalit genius whose lyrics define beauty of simplicity – 14 December marks the 53rd death anniversary of the artist who died at the young age of 43. Regardless of his fame, Shailendra fundamentally remained a “people’s poet” .

From Hindi film music to raga-based symphonies, the remarkable journey of Anthony GonsalvesNaresh Fernandes – The renowned musician, whose fifth death anniversary is on January 18, merged the Western classical music of his Goan heritage with Hindustani melodies. (Reposting of an Jan 18, 2017 article)

Geeta Dutt – The Artist and Her Art – Geeta Dutt identified artistic “inspiration as the cause of divine fires in the creator, fires which result in his frenzied seeking after artistic perfection”. Sounak Gupta pays tribute to the artist and her art that went way beyond the limits of technique.

The Legends: Geeta Dutt presents a bare handful of songs that showcase Geeta Roy/Dutt’s immense talent,, with as many of the music directors she worked with as possible. A small representative sample form the list –

I have added Kareeb Aao Na Tadapao – Love Marriage (1959) – Shankar Jaikishan – Shailendra to the list.

The Legends: Geeta Dutt – Part 2 lists Geeta Dutt’s duets with as many singers as can be possible. Let us recall a few rarely heard duets form this list:

Raah Bani Khud Manzil – The Lingering Effect of Hemant Kumar Part 1  – 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. In Part II, the author explores some of his compositions of merit and his opus as a music director in Hindi films.

Hemant Kumar and Geeta Dutt rehearse with Rahul Dev Burman, then the youngest music director in 1961 (Pic: SMM Ausaja)[1]
Shailendra Sharma @ Golden Era of Bollywood has posted following memorial tribute posts:

In our series Manna Dey and his contemporary lead actors, the December 2019 episode remembers his songs with Sanjeev Kumar and Rajesh Khanna. 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; with Dharmendra, Shashi Kapoor, Manoj Kumar, Pran and Joy Mukherjee till now.

[N.B. – All seven episodes of the series ‘Manna Dey and His Contemporary Lead Actors’ can be viewed / downloaded as one file by clicking on the hyperlink.]

In a series on Ravi, SoY has two more articles: Ravi’s ‘other’ female playback singer: Lata Mangeshkar and Ravi’s many-splendoured genius with the ‘other’ singers

Bollywood stars who died penniless – The list includes such stars as Chandra Mohan, Mater Bhagwan, Bharat Bhushan, A K Hangal, Sulochana (Ruby Myers), Cukoo (Moray), Achala Sachdev, Vimi, Nalini Jaywant, Meena Kumari, Parveen Babi. Of course, the list can run into several pages

“Yeh Chaman Hamara Apna Hai” – Sulochna Latkar who recently turned 90 in July stays away from the limelight in the Prabhadevi area which is near Mumbai’s famous Siddhi Vinayak Temple. Film ‘Ab Dilli Door Nahin’s famous song ‘Ye Chaman Hamara Apna Hai …’ was picturised on Sulochna and Master Romi.

December, 2019 episode of Fading Memories, Unforgettable Songs takes up Mohammad Rafi’s First Solo Song With The Music Director: 1961

This was followed up by the third part of the years 1962 & 1963 of the 4th Five Year Period of Mohammad Rafi’s maiden solo song with a music director

[N.B. – All three episodes of the 4th Five Year Period of Mohammad Rafi’s First solo with a Music director : 1959 – 1963 can be downloaded as one file by clicking on the link.

We will now take up the articles on other subjects:

Shades of The Moon in the songs wherein direct help from the moon is sought for different tasks, e.g. Chandrama Ja Unse Keh De – Bharat Milap (1965) – Lata Mangeshkar & Mahendra Kapoor / Vasant Desai – Bharat Vyas  | Chanda Ja Chanda Ja Re Ja – Man Mauji (1964) Lata Mangeshkar / Madan Mohan – Rajendra Krishan

Short review – F-Rated: Being a Woman Filmmaker in India is a wide-ranging publication, by   Nandita Dutta, that tells individual stories while also probing cinematic tropes, trends and viewer demographics. The book comprises of interviews with and profiles of important Indian filmmakers, from veterans Aparna Sen and Mira Nair to Alankrita Srivastava and Nandita Das. In the process, the book presents the preferred themes and working styles of these artists, about the challenges they face as they balance profession with home life or the demands of parenthood – or cope with extra scrutiny, condescension and even sexual harassment.

Ten of my favourite ‘recording studio’ songs on radio, for albums, and so on, in which the ‘singer’ (the actor or actress lip-syncing to the song) is shown singing in a recording studio. Here are a few of the less heard songs from this list –

In the third concluding article, Best songs of 1946: Wrap Up 3, of the on-going series of Best songs of 1946: And the winners are?, Aawaz de kahan hai – Surendra and Noorjehan (Anmol Ghadi, Naushad), and Ek yaad kisi ki yaad rahi – GM Durrani and Shamshad Begum (Shama, Ghulam Haider) have been adjudged joint winners in the duets category.

[N.B. : All the episodes of The Micro View of Best Songs of 1946: Duets can be read / downloaded from one file, by clicking on the hyper link.]

In the final wrap-up article, Best songs of 1946: Final Wrap Up 4, the SoY Award for the Best Music Director of 1946 goes to Naushad.  And, special mention is made of Ghulam Haider and Hansraj Bahal for their outstanding music in the year.

[N.B. – 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:.

Lagi Hai Aag Dil Mein – Hulchul (1951) – with Lata Mangeshkar – Mohammad Safi – Khumar Barabanqvi

Main Bhi Jawan Hu Tu Bhi Jawan – Do Dulhe (1955) – with Geeta Dutt – B S Kalla  – Pt. Indra

Zara Si Baat Pyar Ki Zubaan Se Nikal Gayi – Salaam Memsaab (1961) – with Suman Kalyanpur  – Ravi – Asad Bhopali

Sudh Bisar Gayee Aaj – Sangeet Samrat Tansen (1962) – with Manna Dey – S N Tripathi – Shailendra

Ghar Tum Bhula Na Doge, Sapne Yeh Sach Hoge – Yakeen (1969) – Shankar Jaikishan – Hasrat Jaipuri [and its Lata Mangeshkar twin version]

Till we met again in 2020, here is wishing all a great, eventful and fruitful 2020.

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.

[1] Additional reference: Geeta Dutt with newer generation of composers @ end of the article

P.S. – All episodes of Carnival of Blogs on Golden Era of Hindi Film Music  for 2019 can be viewed / downloaded as a single file by clicking on the hyper link.

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: November, 2019

Salil Chowdhury and Shailendra’s Songs Fading From the Memory – 1956

Salil Chowdhury (B: 19 -11-1925 / D: 5-9-1995) and Shailendra (B: 30-8-1923/ D: 14-12-1966), both very creative in their own fields had their own originality. Moreover Shailendra was easily able maintain his own style even he was given a tune first, for a given situation. Shailendra had an additional advantage of good knowledge of Bangla language. Resultantly, Shailendra could add life to the beautiful, melodious content that Salil Chowdhury conceived. It is perhaps no coincidence that Shailendra first shot to fame with Utha hai toofan zamana badal raha (set to music by Salil Chowdhury) for IPTA (Indian People’s Theatre Association), the cultural arm of the Communist Party of India.[1]

We have commenced an annual series on Salil Chowdhury and Shailendra’s Songs Fading From the Memory w.e.f. November, 2018. We listened to their songs for the years 1953 to 1955 and those of film Awaz last year.. For the present episode we will cover their two more films for the year 1956. Both these films have Bengali background.

Parivaar (1956):-


The two duets from the film – Ja Tose Nahin Bolun Kanhaiya (Manna Dey, Lata Mangeshkar) and Jhir Jhir Badarwa Barse Ho Kare Kare (Hemant Kumar, Lata  Mangeshkar) – are two of the most memorable duets of the Hindi Films. The other songs from the film also present a much needed variety to the Salil Chowdhury – Shailendra combination.

Baawali Bana Ke Chhoda  – Asha Bhosle

This is one of the rarest gem of an Asha Bhosle songs.

Ek Do Teen Chaar Paanch  – Hemant Kumar, Asha Bhosle, chorus)

As noted on World of Salil Chowdhury, Salil Chowdhury shows his love and respect to one of his mentors, Beethoven in this song. Here one can hear how he used a small part from Beethoven’s “Pastoral” 6th Symphony.

Kuven Mein Dub Ke Mar Jaana Yaar Tum Shaadi Mat Karna – Kishore Kumar

Kishore Kumar has used at least five different voices and that too flawlessly. On the whole, the song has been a classic vintage Kishore Kumar gem.

Jaagte Raho (1956):-

Jaagte Raho was brilliantly transformed into a Bengali version Ek Din Ratre. Most of the songs have been used in the same situation.

Zindagi Khwab Hai (Mukesh) has been filmed as Ei Duniyay Bhai Shob Hi Hoy in Ek Din Ratre – Manna Dey – (Lyrics: Salil Chowdhury)

The song is filmed on Chhabi Biswas. The perfect synchronization of lyricisists in both version provides us ample testimony of the bonding of Salil Chowdhury and Shailendra.

Manna Dey has as well recorded a cover version of the Hindi version of the song, in line with very popular practice of those days.

Thandi Thandi Sawan Ki Phuhar – Asha Bhosle

Asha Bhosle is so natural in this song that the pathos of the song roots deeply in our mind. Sandhya Mukherjee’s portrayal of the song in the Bengali version is as melancholic too, even as both compositions are totally different.

Lo She Vai Vai  Maine Jo Li Angadai – Sandhya Mukherjee, chorus

The song has been used as it is in Ek Din Ratre.

Jago Mohan Pyaare Jago  (Lata Mangeshkar, chorus) remains the centerpiece in both versions, and the Bengali version of the song remains equally well-crafted piece.

We do not have any directly related song of Mohammad Rafi for our present episode. So I have veered slightly away, and have picked up –

Teki Mein Jhooth BoliyaN – Jagte Raho (1956) – Lyrics Prem Dhawan – Mohammad Rafi with S Balbir

Bengali version – Ek Din Ratre- has retained the song as it is..

In one of the interviews Salil Chowdhury gave all credit to Prem Dhawan for this song.

This song also helps in the beginning of the end of our episode, in continuing with our tradition of listening to Mohammad Rafi song(s) relevant to the subject.

As we do not have any more directly related song of Mohammad Rafi, I have gone back in to the previous years of Salil Chowdhury’s filmography and have found two songs written by Prem Dhawan.:

Suno Ki Seeta Ki Kahani – Biraj Bahu (1954) – Lyrics: Prem Dhawan .

This a classic background song.

Tere Naino Ne Jadoo Daala – Taangewali (1955) – With Lata Mangeshkar – Lyrics: Prem Dhawan

We have a quintessential Punjabi folk tune-based song.

We will continue our journey of Salil Chowdhury and Shailendra’s Songs in our next episode of November, 2020.

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.

[1] The Most Popular LyricistPartha Chatterjee

 

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Carnival of Blogs on Golden Era of Hindi Film Music

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 HeroPeeyush 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.

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: October 2019

Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory: 1953

Shankar Jaikishan worked as a perfect team, in professional harmony, and as excellent friends. Their synthesis with Shailendra and Hasrat Jaipuri, their permanent lyricists, created a creative team par excellence was an added bonus. The association of composers Shankar-Jaikishan with lyricists Shailendra and Hasrat Jaipuri, went on to give massive downpour of hits, melodies and innovations, year in and year out. One cannot help marveling about how this fabulous foursome could keep their personal and professional bonds in tact over so many years in the challenging and notoriously fickle milieu of Hindi Film Music. The quartet forged a creative partnership which brooked no real parallel. The unique, prolific and successful bonding between the two Masters of Music with two wizards of words remains a golden chapter in the annals of Hindi film music.

October is the month of Shankar’s birthday (25 October 1922 — 26 April 1987). Our today’s episode is dedicated to his memory. To commemorate the Shankar’s birthdays, we commenced the series on Shankar (Jaikishan) and Shailendra’s songs last year. We covered the years from 1949 to1953 last year. 1953 was the first quantitative peak for the SJ duo. They did seven films, 55 songs in that year. We had covered three of them – Aah, Aas and Boot Polish – in the last episode.

Asides:

We have also taken up (Shamker)-Jaikishan’s songs written by Hasrat Jaipuri, which essentially focus on Jaikishan’s compositions.

Aurat (1953)

As the title suggests this being a woman-oriented film, all songs are created for the female lead of the film. Apparently, the film draws inspiration from the famous Western mythical story of Samson and Delailah.

Dard-E-Jigar Thehar Zara…Dum To Mujhe Lene De – Lata Mangeshkar

This seems to be a copy book situation wherein the heroine melodiously weeps her sorrows. Soft strokes of piano, at the very opening of the prelude music, are the tell-tale SJ orchestration style. From the SJ’s standards, the composition is set to a difficult tune.

Dard-E-Ulfat Chupaon Kahan, Dil Ki Duniya BasauN KahaN – Lata Mangeshkar

The heroine dances to her joy of falling into love. Use of harmonium in small bursts adds to the magic of the composition.

Ye Duniya Banai Hai Kis Berahem Ne – Lata Mangeshkar

The song is filmed on the second leading lady of the story. For the records, we note that knowledgeable blog writers identify the singer on the screen as Purnima Razi.

Naya Ghar (1953)

The film has three Lata Mangeshkar solos written by Shailendra. We have picked one solo here, to accompany a very-well known Talat Mahmood solo song.

Jawan Hai Jahan Jhoom Uthi Har Nazar, Main Hoon Ke Hai Zindagi Zahar – Lata Mangeshkar

Unlike a SJ composition song is set to a difficult tune and has far less than usual orchestration support in the counter melody. The song changes the tempo of the rhythm subtly during the second and the last stanza.

Unhein Tu Bhool Ja Aye Dil, Tadapane Se Kya Haasil -Talat Mahmood

The song opens to a very exquisite musical prelude and build on one of the Talat Mahmood all-time classic.

Patita (1953)

Shankar Jaikishan has used Talat Mahmood for Dev Anand’s playback voice in this film. The three Talat songs – Andhe Jahan Ke Andhe Raaste, Tujhe Apne Paas Bulati Hai Teri Duniya and  Hai Sabse Madhur Woh Geet – instantly got etched into the All-Time Best of Talat Mahmood songs. Hasrat Jaipuri wrote only song, a Hemant Kumar- Lata Mangeshkar duet – Yaad Kiya Dil Ne Kaha Ho Tum – for the film, which also has been an all-time hit. The other two Lata Mangeshkar songs were thus destined to remain in the shadow of the brightly shining glory of these four songs, even though each of them remains a very special  Lata Mangeshkar songs.

Kisi Ne Apna Banake Mujhko Muskurana Shikha Diya– Lata Mangeshkar

We have a playful, fully pleasant mood song, set to a very lilting fast-paced tune., which opens with flute-dominated prelude. Interlude music is dominated by very innovative use of violins. Shailendra is also as his poetical best when he says : the dreams that could not  be seen at nights have indeed materialized  in the day.

Mitti Se Khelte Ho Baar Baar Kis Liye – Lata Mangeshkar

Shailendra has used the metaphor of broken toys for the shattered dreams of life, to which Shankar Jaikishan has provided a very heavy, and yet so unobtrusive, countermelody support of violin ensemble orchestra to create the mood of pensive pathos.

Shikast (1953)

 

The film is a Dilip Kumar – Nalini Jaywant starrer, which did not do well during the first run. However, during the  later on re-runs, it always got a wide support from the fans of its songs.

Hum To Hai Kathputhli Kaath Ke Hey Ram – Hemant Kumar

Shankar Jaikishan has so effectively used Hemant Kumar’s soothing voice in this song that lays down the basic philosophy of life for the distressed-from-life ones.

Sapnon Ki Suhani Duniya Ko Aankhon Mein Basana Mushkil Hai – Talat Mahmood

When Naushad had successfully switched over to Mohammad Rafi as Dilip Kumar’s playback voice (Deedar, 1951), Shankar Jaikishan rekindles soft magic of Talat Mahmood for Dilip Kumar.

Jab Jab Phool Khile …. Dekha Akela Hamein Gher Lita Gham Ne – Talat Mahmood, Lata Mangeshkar

Shankar Jaikishan and Shailendra team up to create a Talat-Lata duet that can be as good as a Talat-Lata duet that can ever be.

Gulshan Mein Jal Raha Hai  Ulfat Ka Ashiyana  – Mohamamd Rafi

This happens to be also a snippet with which the film ends.

So too ends our episode with a Mohammad Rafi song.

As may be observed from listening to the songs that seem to recede form our memories, Shankar Jaikishan’s most outstanding work of the 1950s was not as awarded as their relatively less qualitative work of 1960s. We will keep exploring this phenomenon in our future episodes.

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 : August 2019

Shailendra with Hemant Kumar, Ravi and Kalyanji (Anandji)

Shailendra (a.k.a. Shankardas Kesarilal) – B: 30-8-1923 / D: 14-12-1966 – was as much a poet as he was a lyricist. His film songs were easy to sing, easier to understand and even easier to make sense. Most of us remember Shailendra as Shalendra-Hasrat twin and an important angle of Shankar-Jaikishan – Shailndra- Hasrat quadrilateral, Shailendra has very actively paired with several other music directors. Quantitatively, bulk of his 800 songs are composed by Shankar Jaikishan, followed by a fairly large numbers of songs composed by S D Burman and Salil Chaudhary. However, Shailendra’s work with ‘other music directors’ does form a very important ingredient of the whole. For example:

Sabhi Kuchh Lutakar Hue Hum Tumhare is the sole Hindi song in the Bengali film, Indrani (1958, Music: Nachiketa Ghosh)

We have undertaken a series on Shailendra’s songs with other music directors in our episode every August, from 2017. We commenced with ‘Shailendra and “Other” Music Directors’, as an overview and then took up Shailendra and Roshan, the fourth highest combination in terms of number of songs.

Today we will listen to the reprehensive songs from the basket of soulful Shailendra with melodious Hemant Kumar. We have also combined Shailendra’s songs composed by Ravi and the his one-only song with Kalyanji Anandji. We have stitched the warp of Shailendra’s songs by these three music directors with a common weft of one Song Man Dole Mera Tan Dole (Nagin, 1954), which was composed by Hemant Kumar, set to music by Ravi, as assistant of Hemant Kumar, for which the been (pungi) was played by Kalyanji (Anandji) Virji Shah on clavioline.[1]

Shailendra with Hemant Kumar

Hemant Kumar (a.k.a. Hemant Kumar Mukherjee) – B: 20-6-1920 – D: 26-9-1989 – commenced his career in Hindi Films, as a singer first, with Irada (1944) song Aaram Se Jo Raaten Kaate, (Lyrics: Aziz Kashmiri), under the baton of Pt. Amarnath and as a music director in Filmistan’s Anand Math (1952).

As sweet as any coincidence can be, Shailendra penned the majority of the songs for this film. Shailendra and Hemant Kumar teamed up for two more films (Chand and Hum Bhi Insaan Hai, both 1959) and one song for Masoom (1960) in the roles of lyricist and music director respectively.

Aside:

Shailendra also combines with Hemant Kumar as a playback singer –  Shankar Jaikishan’s compositions Yaad Kiya Dil Ne Kahan Ho Tum (Patita, 1953) and Rula Kar Chal Diye HasiN Ban Ke Jo Aaye  (Badshah, 1954), in addition to the songs discussed separately in the present post.

Naino Mein Saawan, Man Mere Phagun, Palchhin Jale Aur Jalaye Yaad Aye Bachpan, Yaad Aaye Re – Anand Math (1952) – Geeta Dutt

Geeta Bali reminisces the memory of her journey from her parent’s home to the present times in the Math.  The pathos of the lyrics are so well captured in Geeta Dutt’s soft tone. The composition of the song also reflects the different moods of the song at different stages.

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

On one hand, Geeta Bali successfully attempts to divert attention of the British soldier by carefully modulated initial recital of first set of lyrics, while also challenging her love, Pradipkumar, with the carefree rendition of her part of the song. However, palpable tension, on both counts, is evident in Pradeep Kumar’s response. Geeta Dutt and Talat Mahmmod have captured the mood the song in totality.

Aside:

Pradeep Kumar made a dbut with Anand Math.

Kabhi Aaj Kabhi Kal Kabhi Parso – Chand 1959– Lata Mangeshkar,Suman Kalyanpur

We have here a one of the few rare Lata- Suman duets. Hemant Kumar dexterously presents a fast-paced dance song.

Hai Re Kismat Ka Andher Hai Re Banate Der Lage Na Bigadate – Hum Bhi Insaan Hai (1959) – Hemant Kumar

The opening notes of flute is picked up by Hemant Kumar to express the despair of dark phase of the life.

Oonch Neech Ke Bhed Bhula Ke Gale Milo Saare Insaan – Hum Bhi Insaan Hai (1959) – Hemant Kumar

A bhajan composition that has appropriately Shailendra has used to weave in the socialistic thinking.

Phulva Band Mahake Dekho Laheke Daali Daali – Hum Bhi Insaan Hai (1959) – Geeta Dutt, Suman Kalyanpur

Hemant Kumar resurrects pure melody from Shailendra’s wonderful description of the nature, from the eyes of two young friends. Geeta Dutt and Suman Kalyanpur fully blend each other’s individual style into the melody of the duet.

Pyaar Jatake Lalchaaye Mora – Hum Bhi Insaan Hai (1959) – Shamshad Begum

Without any benefit of the video, one is left in no doubt about the gay mood the singer – on and off the screen.

Nani Teri Morni Ko Mor Le Gaye – Masoom  (1960) – Ranu Mukherjee

Shailendra comes up with gem of child song by using the first line of folk song. Hemant Kumar  also has done an out-of-box trick by using the voice of Ranu Mukherjee, who is his the then very young, daughter.

Shailendra With Ravi

In 1952, Ravi (a.k.a. Ravi Shankar Sharma) – B: 3 March 1926 – D: 7 March 2012 – was discovered by Hemant Kumar who hired him to sing backing vocals in Vande Mataram from the film Anand Math. Ravi assisted Hemant Kumar till Nagin 1954, before he ventured on to his own.

Shailendra and Ravi had four films together, all of them being pre-Chaudhvi Ka Chand (1960). Ravi then went onto work more with Shakeel Badayuni or Sahir Ludhyanavi or Rajendra Krishna, depending upon the film’s production house’s own preference.

Shailendra penned two songs in their first ever joint venture, Dilli Ka Thug (1958) – Chal Ri Ameeren Bhai Chal Re Fakire, A Kishore Kuamr solo and  Ye Raatein Yeh Mausam Nadi Ka Kinara, a Kishore – Asha duet we have covered in our overview article.

They then paired for 3 more films.

Ye Kaisi Rut Aayi – Devar Bhabhi (1958) – Asha Bhosle

As compared to a very distinctive style of O P Nayyar, Ravi lent the essential variety to Asha Bhosle’s style of singing, thereby enabling her to establish her position in the playback singing As compared to field.

Kal Ke Chand Aaj Ke Sapne – Nai Rahen (1959) – Hemant Kumar, Lata Mangeshkar

Ravi has so aptly chosen Hemant Kumar for a male playback voice for a song which so evocatively passionate, for expressing the emotions with a restraint when the the couple share each other’s views outside the public glare.

Kal Ke Chand Aaj Ke Sapne  – Nai Rahen  (1959) – Lata Mangeshkar

A classic twin version which recollects those happy moments when the circumstances have taken an unhappy turn.

Tose Laage Naina  Saiyaan Ho To Se Lage Naiana – Nai Rahen (1959) – Mohammad Rafi, Asha Bhosle

Romantic songs cast in semi-classical mode is also very oft-used genre in Hindi films. Ravi uses his simplicity wand to present the song.

Kaun Jaane Re Baba  Duniya Mein Preet Parayi – Jawani Ki Hawa (1959) – Mohammad Rafi, Asha Bhosle, Geeta Dutt

Ravi deftly does justice to the street-performance genre song here. Getta Dutt, very sparingly ever used by Ravi, sings for the younger of the girl members of the performance troupe.

Shailendra with Kalyanji (Anandji)

In a very rare occurrence, a lyricist writes songs for a senior music director as well as for two of his erstwhile juniors, in two different cases. Shailendra has done this in this case of Hemant Kumar, Ravi and Kalyanji(Anandji) as well as in case of S D Burman, Jaidev and R D burman. Shailendra himself has penned songs for two such pairs, more than once – Shankar Jaikishan and Dattaram, S N Tripathi and Chitragupt.

Ja Ja Na Chhed Maan Bhi Ja – Satta Bazar (1959) – Mohammad Rafi, Suman Kalyanpur

Shailendra, incidentally, has penned, only one song in this film.

As it happens, the last few songs in the post have Mohammad Rafi as the singer. So we will take up one more song, this time composed by Hemant Kumar, to traditionally our posts with Mohamad Rafi song

Pyaari Bole Bulbul Padosan Bole Kauwa – Hum Bhi Insaan Hai (1959) – i

An absolutely carefree mood song. You don’t get many such song from Hemant Kumar’s stable.

We will continue our quest of Shailendra with other music director in this series in our next episode, next year.

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.


[1]  A tickling trivia on the making of Man Dole, Mera Tan Dole –

There has been a lot of discussion on who created that piece. The cover of the record released by HMV gives credit to Ravi and Kalyanji, who were part of Hemant Kumar’s the then team. Shyamanuja provides some essential, and one very interesting, inputs in his article   Who created the classic been music in Man Dole, Mera Tan Dole?.

It was in the year 1954 that Kalyanjibhai’s son Dinesh Shah was born, who has shared Nagin 1954 – Been Music on Clavioline played by Kalyanji Virji Shah for its nostalgic and documentary value.