Fading Memories…. Unforgettable Songs: November 2022

Salil Chowdhury and Shailendra’s Songs Fading From the Memory: Char Diwari (1961)

If Salil Chowdhury – 10 November 1922 – 5 September 1995 – is said to have created his music is not design but to express himself in his own way, then Shailendra (B: 30-8-1923/ D: 14-12-1966) lyrics for Hindi films truly reflected his grasp of the context of situation which was expressed in lyrics that flowed out naturally.

Shailendra’s association with Shankar Jaikishan can be considered as an accident that the destiny had planned for the benefit of Hindi Film Songs. However, the association of Salil Chowdhury and Shailendra can be said to be more a meeting of two artists who were molded in a similar template – of originality, creativity and imagination. That Shailendra knew Bangla and had the knack of creating original feelings in the lyrics that were set into a pre-cast tune further cemented the bond between the two.

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,

1956 in 2019, and

1957 in 2020

1958 to 1960 in 2021

Presently we will take up Salil Chowdhury- Shailendra’s films for the year 1961. Salil Chowdhury had had six films – Char Diwari; Chhaya; Kabuliwala; Maya; Mem Didi and Sapan Suhaane – in the year 1961. Shailendra had penned songs for three of these – Char Diwari, Mem Didi and Sapan Suhane – films. Quite a few of the songs from these films had caught the attention of the general listening audience. However, when we look at these songs today, we find that each of the song has some or other signature impression of either Salil Chowdhury, or Shailendra or, even both. As such we will dedicate ne episode to each of these three films.

Char Diwari (1961)

Char Diwari was old-fashioned social melodrama, based on the theme of traditional role of the Indian women in the Indian society – be totally dedicated to the domestic duties of her husband’s household, even in the face of all kinds of hardships. It is the maiden movie for Shashi Kapoor as the lead actor as well as the first among many subsequent hits for the leading pair of Shashi Kapoor and Nanda

Gori Babul Ka Gharwa Ab Hai Bideshwa, Saajan Ke CharanoN Mein Hai Ghar Tera – Lata Mangeshkar and chorus

The opening line of the farewell song for the daughter (now a bride, and then a wife) sets up the tone of role of an Indian woman in the Indian society. Shailendra then immediately embeds the title of the film in the next line while further defining the aim of the woman in that life –

ho gori chaar deewaari angana atari
yehi teri duniya ye jag hai tera

Kaise Manaoon Piyawa Goon Ek Hu Mere NahiN, Ayi Milan Ki Bela GabarauN Man Maanhi – Mukesh

Shailendra once again draws up the picture of a woman’s mind as he readies herself to step into the home and life of her husband.

However, the poet at the core of Shailendra also does not miss the opportunity of vividly narrating any woman as she readies herself to the new phase of a married life –

saajan mere aaye
dhadkan badhti jaaye
naina jhukte jaayen
ghoonghat dhalta jaaye
tujhse kyun sharmaaye
aaj teri parchhaayi

Salil Chowdhury indeed has so exceedingly weaved in the tenseness and eagerness of that woman’s feelings in this background songs composition, and in the process has given Mukesh one of his best songs.

Aside Trivia:

Salil Chowdhury has used this tune and composed a NFS – Beete Dino Ke Sapne Hamein Yaad Aane Lage Hai ( Lyrics: Yogesh) that he used to compose for Door Darshan and conduct the orchestra himself live on the TV, during his tenure with DD, Delhi, screen in sometime in ‘80s in the voice of Arundhti Holme-Chowdhury

Jhuk Jhuk Jhuk Jhoom Ghata Aye Re, Man Mora Lehraye Pihu Pihu Pihu Papeeha Gaaye – Lata Mangeshkar

Salil Chowdhury is as scintillating mood as the Indian housewife who enjoys the onset of monsoon. The song’s fast pace is so effectively accentuated by all round use of flute – Salil Chowdhury’s preferred instrument –

Akela Tujhe Jaane Na Doongi … Banke Chhaiyan … Main Sang Sang Chaloongi – Lata Mangeshkar

The young girl, be it from any society or region, sees dreams of being with her love always. The girl who will transform into a dutiful wife after her marriage can not be expectation from having similar feelings. Shailendra’s lyrics ably reflect these effervescent feelings duly composed and orchestrated by Salil Chowdhury

Neend Pari Lori Gaaye MaaN Julaye Paalana, So Ja Soja Mere Laalnaa…. Meethe Meethe SapnoN Mein Kho Ja Mere Laalna – Lata Mangeshkar

Lullaby was a very popular genre in Hindi film songs. Most of te music directors have grabbed he opportunity to compose a lullaby by fully deploying the creative skills they had had at their command.

Salil Chowdhury has so imaginatively reused the tune he had first used in Bengali NFS Praantarer Gaan Amar [1] (Utpala Sen, 1953 / The Song of wilderness is mine) to recreate one of the most haunting lullaby.

Humko Samaj Baithi Ye Duniya Deewana …. Par Main Agar Pagal HuN to Ye Duniya Pagalkhana – Mukesh

Apparently, a drunkard song that Salil Chowdhury has transformed into a wonderfully melodic composition. Shailendra also has not missed capitalizing the opportunity to spell out his core philosophy of an egalitarian utopian world

We will take up Salil Chowdhury- Shailendra’s songs for Meme Didi (1961) in our next episode.

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.

[1] The song ‘Prantarero gaan amaar’ made immortal by Utpala Sen was originally recorded by Kanika Banerjee, the famous Rabindrasangeet singer. However, as Salil writes in his book ‘Jibon Ujjibon’, Biswa Bharoti didn’t allow Kanika to sing non-Rabindrasangeet and as a result Kanika’s record was never released.Utpala Sen recorded it later. Rumour has it that Kanika’s record, although never released, is still in existence. So, who knows. May be one day some fanatic collector may find it. – Other Singers @ World of Salil Chowdhury

Fading Memories…. Unforgettable Songs: October 2022

Shankar (Jaikishan) and Shailendra’s Songs Fading From the Memory: 1956 (Part II)

Shankar (Singh Raghuvanshi) – B: 25 October 1922 | D: 26 April 1987) of Shankar Jaikishan music director duo and Shailendra (a.k.a. Shankardas Kesarilal, B: 30 August 1923 – D: 14 December 1966) of their Shailendra-Hasrat seamless pair of lyricists formed two adjacent sides of the SJ-Shailendra-Hasrat quartet.

The typical model of the films in 50s had an average of 5 to 8 songs. Where as most of the then successful music directors were able to give two to three hit songs in each film, Shankar Jaikishan had that very unique knack which created almost all songs of each film a great hit. As a result, whereas other music directors generally handled one or two films a year, S-J started getting three to five films a year, even when they went on jacking up their fees. In the beginning, as can be expected, Shankar and Jaikishan used to devote a good time together for the conception of the music composition for each film.

Several historians have recorded that with the mounting pressure of ever increasing workload, Shankar and Jaikishan had to compose the tunes for the songs that each one had pre-selected for a given film independently. That division of labor also lead to each partner working more with a lyricist with whom each one was naturally more comfortable with. As is very widely believed, and accepted, Shailendra mostly worked with Shankar and Hasrat Jaipuri with Jaikishan. After his marriage, it is said that Jaikishan had started composing music more from his home whereas Shankar used to work from their music studio.

The film historians also do take note of the fact that all through the 50s, even after their clear division of work there still was that great camaraderie between the two, each one improvising the other’s tune or orchestration. There have been notable instances when it is said that two had worked even with other than their normal lyricist partner.

It has been so much of personal pleasure for me to commemorate the birth anniversary of Shankar Singh Raghuvanshi, of this great S-J team, through the present series of Shankar (Jaikishan) and Shailendra’s Songs Fading From the Memory from October 2018. That pleasure gets multiplied several times while recalling their more famous numbers and listening to 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.

1954 in 2020

1955 and 1956 (Part I) in 2021

After an avalanche of as many as 6 Hindi films in 1953 and 5 in 1954, there was some lull during 1955, But the year 1956 had 7 films under the belt of S-J pair. Of these seven, we have covered Halaku, Kismat Ka Khel and Basant Bahar in the Part 1 of the SJ songs of 1956 in 2021. Presently, we will take up three more films of SJ duo in the year 1956, viz. Chori Chori, New Delhi and Rajhath,

Chori Chori (1956)

As may be observed from the poster of the film, Chori Chori was romantic film (with the then most coveted lead pair of Raj Kapoor and Nargis) fairly mixed with comedy (with two big guns – Johnny Walker and Bhagwan – playing comically grey roles).

Chori Chori had nine songs, of which Hasrat Jaipuri penned 5 and Shailendra penned four, of which Yeh Raat Bheegi Bheegi (Manna Dey, Lata Mangeshkar) remains one of the most iconoic romantic songs of Hindi cinema and another sweet duet Jahan Mein Jaati Hoon (Manna Dey, Lata Mangeshkar) is my one the most favorite one.

Tum AraboN Ka Her Pher Karanewale Ramji, Sava Lakh Ki Lattery Bhejo Apne Bhi Naam Jii – Mohammad Rafi, Lata Mangeshkar

Essentially a mandatory comedy song always assigned to Bhagwan Dada in any film, stands out because very effective lyrics and equally pleasing composition by Shankar (Jaikishan). Just note how tastefully orchestration for both interludes has been composed.

https://youtu.be/0S8YH8gPbwE

Manbhavan Ke Ghar Jaaye Gori Ghunghat Mein Sharmaye Gori Bandhi Rahe Ye Pyar Ki Dori Hamein Na Bhulana – Lata Mangeshkar, Asha Bhosle

The opportunity of entertainment stage show as part of the marriage ceremony has been converted by the music director and lyricist to weave in a traditional farewell song for the brides. Shailendra comes up with lyrics that has mix of pleasure of the friend getting married and sorrow of being away once she settles at the in-laws’ place. However Shankar(Jaikishan) uses the dance sequence to present their signature dance composition style – multiple rhythm instruments backed up multi-instruments interlude and counter-melody orchestration.

New Delhi (1956)

The story of the film moves around a newly graduated north Indian young man’s search for a rented premises to settle in his new job in New Delhi, which lands him at the doors of tradition bound South Indian family – both for home as well as his love. Kishore Kumar in the male lead and Vyjaintimala in the female lead naturally provide music directors a templated platform for light mood male songs and classical dance based female songs. Zone would certainly expect dance-based songs to be Composed by Shankar, but even majority of Kishore Kumar songs also have been composed by Shailendra-Shankar composition.

One would very easily recall Arre Bhai Nikal Ke Aa Ghar Se, Nakhrewali Dekhne Mein Dekh Lo Kitani Bholi Bhali, Milte Hi Nazar Aap Mere Dil Mein Sama Gaye (all by Kishore Kumar) Tum Sang Preet Lagayi Rasiya (Lata Mangeshkar, Choru).

Zindagi Bahar Hai Mohabbat Ki Bahar Hai – Lata Mangeshkar

One more fine example of Shankar (Jaikishan)’s own signature style composition for a dance song – rhythm by traditional Indian-rhythm instruments but orchestration of interlude music scores by multiple western instruments.

The song is filmed back-to-back with Nakharewali…

Baari Barssi Khattan Gaya Te Khat Ke Le Aaya Sotti – Lata Mangeshkar, chorus

Essentially this a traditional Punjabi folk dance. But just see how Shankar has given it a very different treatment by first listening to a song from Punjabi film

then listening to the Shankar (Jaikishan) composition.

Gori Tere Sapno Ke Sajna Aye Ter Angana Kar Le Solah Singaar Hoja Jaane Ko Ab Taiyaar Leke Doli Khade Hai Kahaar – Lata Mangeshkar, chorus

We have one more bride farewell song that will go on to demonstrate the wide range of tunes and compositions that Shankar Jaikishan could commandeer for the same theme.

Rajhath(1956)

Rajhath was Sohrab Modi’s romantic fantasy drama based on a historical plot. The story, revolving the animosity being perpetrated through the generations between two empires gave Sohrab Modi to lay the plot for a costume-drama and the two children of each state falling in love provided Shankar Jaikishan a wide freedom to compose songs that would help create one more hit album. Shailendra’s songs like Chale Sipaahi Dhool Udaate (Manna Dey, chorus) Mere Sapne Mein Aana Re (Lata Mangeshkar) Naache Ang Ang Ang Tere Aage (Lata Mangeshkar, chorus) went on to big hits at the box-office.

Aa Ja Aa Ja Nadiya Kinare TaaroN Ki Chhaiya Tujhe Kab Se Pukare – Lata Mangeshkar, chorus
The prelude to the dance song gives faint hint of tune that Shankar Jaikishan used as a full-fledged song in (possibly) in Kanhaiya (1959), which I am not able to precisely remember at this stage..

If only all the tunes the duo had composed during teir music room had been well documented, the Hindi Film music would have been far richer than what the tunes that went on to be converted in to songs or background pieces.

Kahaan Se Milte Moti Ansoo Mein Meri Taqdeer Mein – Lata Mangeshkar

A love story in a Hindi film has to mandatorily have a phase wherein the there are roadblocks to the road of love of the two protagonists, which would provide the opportunity for a couple of pathos songs to be composed by the music director.

Pyare Babul Se Bichad Ke … Ghar Ka Angana Suna Kar Ke Gori KahaN Chali Ghunghat Mein – Lata Mangeshkar, chorus

If one needed any validation test for Shankar Jaikishan’s vast range of tunes, here is one more bridal farewell song.

One more aspect of Shankar Jaikishan’s unique style that should be noted here is their use of very fast rhythms where normally other music directors would have used a slow rhythm in lower octave scale.

Aa Gayee Lo Aa Gayi Main Jhoomti… Ho AkhiyoN ko AkhiyoN Se Chumati – Lata Mangeshkar
The situations seems to be the case where Madhubala has impersonated as a native tribe girl and performs their traditional song with accompaniment of a folk-instrument (if I am not mistaken, it is Sarangi) player as a company.

Shankar (Jaikishan) seem to have game fully tried to recreate the desired effect with relyin more on use multiple flutes as the main instrument accompanying sarangi , but the composition does not come out from the shadow of their signature dance composition style – a fast rhythm with multiple instrument-orchestra.

We have one more film -Patrani – for the year 1956, but that deserves a full-scale post, Hence, we will carry forward the year 1956 to one more episode.

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.

Fading Memories…. Unforgettable Songs : August 2022

Shailendra’s Songs Composed by Kishore Kumar

Shailendra’s – a.k.a. Shankardas Kesarilal (B: 30-8-1923/ D: 14-12-1966), though formally trained as a welding specialist during the course of his study of mechanical and electrical engineering diploma, was a natural poet. Many of his songs have been inspired by small, seemingly insignificant, real-life situations. His deep concern for the basic human values then transformed those sparks of inspiration of the songs that were so meaningful and delivered through the medium of so simple lyrics, that songs of Shailendra not only were liked by the masses but were also appreciated by the critics.

Out of the total songs that Shailendra penned for the Hindi films, obviously Shanker Jaikishan’s compositions have lion’s share. Then, Salil Chowdhury, S D Burman, and Roshan also have had substantial body of work with Shailendra. Equally interesting is Shailendra’s work with ‘other’ music directors with whom he did mostly one or at best two or three films. We started taking a look at Shailendra’s songs with “other” music directors form the year 2017. Till now we have covered Shailendra’s Songs with

Roshan in 2018,

Hemant Kumar, Ravi and Kalyanji-Anandji in 2019

S N Tripathi, Anil Biswas and C Ramchandra in 2020

Shardul Kwatra and Mukul Roy in 2021

Presently, we will take up Shailendra’s songs composed by Kishore Kumar.

The core inner artist in Kishore Kumar can be seen in many incarnations of singer, actor, producer, director, music composer, dialogue writer and even a lyricist in his 1.0 phase of pre-Aradhana (1969) career. Like himself, the films he made, and therefore the songs that he composed wavered around serious, philosophical subjects and moods at one extreme to ‘loony’ clownish light subjects. Kishore Kumar composed around 120 songs for 7 films, of which lyrics for 14 songs (3 films) have been penned by Shailendra.

The songs selected here attempts to present as many varieties of compositions and moods as it tries to include variety of the playback singers.

Door Gagan Ki Chaon Mein (1964): –

Door Gagan Ki Chhaon Mein remains Kishore’s most mature artistic venture- as a filmmaker, as an actor and as a composer. It is therefore no surprise that we find Shailendra also in so natural mood in the songs for the film. If Aa Le Ke Chale Tujhe Us Door Gagan Ke Tale has undercurrent of hope, Jin Raaton Ki Bhor NahiN Hai has forlorn sense of despair.

Albele Din Pyaare Mere …. …. Koi Lauta De Mere Beete Hue Din – Kishore Kumar

It is said that when Kishore Kumar explained the situation of the song to Shailendra it was with so much of pain and pathos that Shailendra simply walked off for a solitary stroll along the seaside. When he returned, he penned out this song. The sakhi of the song has that innate sense of nostalgia that brings up the main body of the song with an undercurrent of hope.

Kishore Kumar presents Asha Bhosle in three moods in the film – the melodious and soothing lullaby-genre Khoya Khoya Chanda Khoye Khoye Taare on one end and Path Bhoola Ek Aaya Musafir of deep pathos at the other end with an erotic mujra dance song at the center

Chhod Meri Baiyan Balam Beiman, Aate Jaate Dekh Lega Koi – Asha Bhosle

It seem that song was finally not included in the film.

O Jag Ke Rakhwale, Humein Tujh Bein Kaun Sambahle – Manna Dey, Kishore Kumar and chorus

Father and son find solace in the soothing words of the devotional song being sung at a nearby temple, and also place themselves at the mercy of that Almighty.

Kishore Kumar has so effectively used chorus in the composition of the song.

Rahi Tu Ruk Mat Jaana, Toofan Se Mat Ghabarana – Hemant Kumar

The song captures the essence of the story of the film, in that it enjoins the traveler that a human being must keep moving on under all types of circumstances.

Spread over three different situations in the film, Kishore Kumar has so rightly chosen Hemant Kumar for this bhatiyali-based composition.

Hum Do Daku (1967)

Hum Do Daku is a comedy film

Pag Gungroo Badh Guru Naache Re – Kishore Kumar,chorus)

We have a here a pure parody song, which probably was not released.

Allah Allah Bande Bandagi Mein Allah – Kishore Kumar-Anoop Kumar

It seems that Kishore Kumar and Anoop Kumar have adopted some make-over of two fakirs and then sing this song a s prank.

Ae Haseeno Nazneeno Nazar Chura-Chura – Kishore Kumar, Asha Bhosle, Usha Mangeshkar, chorus

The pranks of two masquerading comedians seems to have landed them in the club.

Door Ka Rahi (1971): –

Door Ka Rahi is in many senses what Kishore Kumar himself was, like an iceberg. Singing which was only its tip. That Kishore Kumar was far to ahead of his most popular face of a singer is evident in the titles of the film, wherein we see him as story and screenplay writer, music composer, producer, and director, and of course the actor over and above as a singer. Shailendra too moved on to his final sojourn into the world where the mortal life ends. That is why he has penned just two songs for the film, all other songs written by A Irshad. As if this was not enough, his second, Madhubbala, breathed her last while making of the film.

Chali Chali Jaaye Zindagi Ki Dagar… Kabhi Khatm Na Ho Ye Safar, Manzil Ki Use Kuchh Bhi Na Khabar, Phir Bhi Chala Jaye, Door Ka Raahi – Hemant Kumar-chorus

As we look at the video clip, we do realize the keen sense that, as a director, Kishore Kumar had to present the mood and message in the right frame. Moreover, what a composition he has been able carve out for those prophetic lyrics of Shailendra!

Ek Din Aur Gaya Haye Roke Na Ruka, Chaayaa Andhiyara Aaj Bhi Naav Na Aaai, Aaya Na Khevan Haaraa, Ek Din Aur Gaya – Manna Dey

Kishore Kumar has used Bengali folk tune to telling effect.

Aside Trivia: The Bengali version of the song was rendered by Kishor Kumar himself.

Wow! What a stunning effect Shailendra and Kishore Kumar have been able to create in seemingly so short association!

On that note, we await what our next episode of Shailendra’s songs composed by ‘other’ music directors has in store for us………….

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

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

Fading Memories…. Unforgettable Songs : November 2021

Salil Chowdhury and Shailendra’s Songs Fading From the Memory: 1958 to 1960

Salil Chowdhury – 10 November 1922 – 5 September 1995 – had had natural attraction towards to folk music and studied inclination towards the Western Classical music. He could also play several musical instruments. In fact, it is said that any instrument that he could lay his hands on he would be able to play it very comfortably. It was the combination of the effect of these music influences that made his compositions always melodious, even when quite complex in the structure. His orchestration was always symphonic with blend of intricate use of the different instruments.

His music never got molded into any pattern. His flair for experimentation always lent his own signature originality to his composition. He was so deeply committed to his personal, social values that he never let his music be driven by the competitive market forces. For him melody was so sacrosanct that strongly believed in composing the tune first and then would want his lyricist to pen lyrics that suit the tune – in metre as well as spirit. Since he was also a poet, he would fine tune his tune with his own (dummy) lyrics. Many a times the official lyricist would love to simply take over Salil Chowdhury’s lyrics as a base to build the lyrics for the song.

It was perhaps the unique skill of Shailendra (B: 30-8-1923/ D: 14-12-1966) to come up with lyrics that fitted the tune and the mood that so easily made Salil Chowdhury comfortable working with him. Coupled with this, it was Shailendra’s knowledge of Bengali language and the earthen-closeness and selection of easy and natural words that Shailendra required to express deep emotions that also would have weighed in building the strong bond between the two. In fact, from the films that Shailendra wrote songs beyond Shankar-Jaikishan quartet team, Salil Chowdhury- Shailendra combination share is almost one third.

1953-1955 in 2018,

1956 in 2019, and

1957 in 2020

Presently we will take up relatively less heard songs from Salil Chowdhury-Shailendra combination for the years 1958 till 1960. 1958 had only one film Madhumati, 1959 had one song from only one film – Heera Moti- and 1960 had 3 films, Honeymoon, Parakh and Usne Kaha Tha.

Madhumati (1958)

Salil Chowdhury created his own space with his maiden Hindi film Do Bigha Jameen (1953). His subsequent forays with Shailendra, Naukari (1954), Jagate Raho (1956) and Musafir (1957) were well received as far as the music of these films was concerned, but the much-respected roaring commercial success of the films that Bolywood Hindi film arena required for a music director to be in demand still eluded him. Madhumati was that proverbial deliverance of the destiny. As can be recollected from a book by Bimal Roy’s daughter, Rinki Roy Bhattacharya, Bimal Roy’s Madhumati: Untold Stories from Behind the Scenes (published by Rupa Publications India Pvt. Ltd) – an excerpt from which can be read here – till Madhumati finally happened as it was, it was not very smooth sailing for the Salil Chowdhury-Shailendra duo. In fact, had it not been Bimal Roy’s closeness with and faith in Salil Chowdhury, destiny would have taken different turn. Well, the grand success of Madhumati and its music, in the face of extremely intense competition with a huge successful music of an exceptionally large number of other films during 1957 and 1958 can be better viewed form the fact that for the year 1958, Filmfare awards for Best Music Director and Female Singer being bagged by Madhumati (Aja Re Pardesi, Main To Kab Se Khadi Is Paar), Shailendra got Best Lyrics award for Ye Mera Diwanapan Hai (Yahudi) even when Suahana Safar Ye Mausam HasiN was also nominated in the category.

I have been able to pick up only two songs for the present episode, since all other songs continue to remain hugely popular even today.

Hum Haal-e-Dil Sunayenge Suniye Ke Na Suniye, Sau Bar Muskarayenge Suniyre Ke Na Suniye – Mubarak Begum

This gem of a mujra song, in the voice of Mubarak Begum, has only sakhi-

tumhaaraa dil mere dil ke baraabar ho nahin saktaa
wo sheeshaa ho nahin saktaa ye patthar ho nahin saktaa

and the above lines of mukhada in the film, before the extremely agitated hero, Dilip Kumar opens the door of the hall where this dance was being performed and the lady on the dance floor stops, so naturally, in her steps, It is to the credit of director Bimal Roy and editor Hrishikesh Mukherjee that songs to comes to a dead stop, much against the well-established tenet of the hero’s entry to take place only after the whole song has been played out.

The full song is available its audio form

Aside Trivia:

The couplet (sher) used as Opening Couplet (Sakhi) in this song is picked up from a Daag Dehlvi ghazal.

Similarly, the lines of the second stanza

“Ajab Hai Aah Meri, Naam ‘Daag’ Hai Mera
Tamaam Shahar Jala DogeE Kya Jala Ke Mujhe’

Is also ‘lifted’ from the last sher of the same ghazal by Daag Dehlvi

Moreover, Shailendra has used lines Rahega Ishq Tera of the first stanza again as sakhi in the song. Aa Aabhi Ja Raat Dhalane Lagi (Teesri Kasam, 1966; singer: Lata Mangeshkar; music – Shankar Jaikishan)

(This information is courtesy a comment on the post on this song @ Atul’s Song A Day)

Kancha Le Kanchi Lai Lajo, Ban Ko Baato Laltin Lai Baalera – Asha Bhosle, Sabita Chowdhury, Ghulam Mohammed

The sakhi and repeated use of the same in song is in Nepali language, which probably Salil Chowdhury would have heard. This is a folksong narrating the tale of a girl who has, in all probabilities, eloped. Shailendra easily takes over from there and weaves in relevant stanzas.

Salil Chowdhury has gleefully set up several experiments in the composition.

Another noteworthy point in this song is use of Ghulam Mohammed, who was a role model of Mohammad Rafi during Rafi’s initial days. Ghulam Mohammed had fallen on bad times by 50s. This song may have been offered to him as gesture of help.

Aside Trivia:

Here is the rough translation of the lyrics of Nepali lyrics, courtesy a comment by Jeta Sankrityayana on this song @Atul’s Song A Day:

(kaanchha ) the young boy took away (kaanchhi) the young girl
(Ban ko baato) along a forest road (laltin lai baalera) after lighting up a lantern…

Heera Moti (1959)

Naach Re Dharti Ke Pyare Tere ArmanoN Ki Dunuya Saamne Hai Tere – Hemant Kumar, Lata Mangeshkar, Chorus

This was the only song composed by Salil Choudhary in this movie, all the other songs were composed by Roshan. As noted by World of Salil Chowdhury, just before recording of the song, Roshan, who was on a cultural mission to Russia was taken ill. He sent a telegram to the director Krishan Chopra to advise him to request Salil Chowdhury to compose the Title music and the opening song.

The song seems to be based on folk tradition. World of Salil Chowdhury notes that It is a great pity that the song “aay re o pousali bataasey (the air of month of Posh is in the winds) “- the original Bengali version of the present song – was never released. This is one of Salil’s earlier compositions from the ’40s during the IPTA days.

Honeymoon (1960)

The film was directed by Lekhraj Bhakri, who is cousin of Manjo Kumar 9 The hero in the film) and brother of well-known lyricist of 40s, Mulkraj Bhakri. He has used Salil Chowdhury in Tongawali (1955) previously.

The film did not seem to have done well at the box office, but all the songs were extremely melodious. Except two songs – Saanj Bhayi Sun Ri Sakhi and Duniya Na Dekhe Zamana Na Jane – all other songs have Bengali version (which can be accessed at Honeymoon (1960) on World of Salil Chowdhury.

Aside Trivia:

Shri Arunkumar Deshmukh notes that this was the last film of Kuldeep Kaur, one of three leading ladies in the film. She died of a tragic death thereafter. Her life story can be read at KULDIP KAUR: A SPOILED RICH PUNJABAN ACTRESS.

Saanj Bhayi Sun Ri Sakhi Man Chhine Kisaki Bansi – Lata Mangeshkar, Usha Mangeshkar

Look at the way Salil Chowdhury has played with flute first in the mukhada and then in the form of dance beat vocals, as well as the opening notes of interlude orchestration, The song has flute as the central instrument, but used as ensemble orchestra pieces.

Aaha Re Magan Mera Chanchal Man Nis Din Gun Gun Kuchh Apni Hi Dhun Mein Gaye – Lata Mangeshkar

On the face of it this a simple stage-show dance song, a situation very frequently used in Hindi films in those days. But with Salil Chowdhury and Shailendra one can expect interesting experimentation. The song composition runs in almost one breath, with Shailendra deftly using the lyrics making that possible for the singer to sing.

Such a composition can perhaps materialize only when melody comes first and the body of lyrics is built around it to result into a piece of beauty.

Mere KhawboN Mein KhayaloN Chhupe Meet Mere Meri Gali Chalein Aayengein – Mukesh, Lata Mangeshkar

Documented as duet, the song, in fact, is a symmetric duet. Sail Chowdhury has used as humming alaap in the interlude pieces. From Salil Chowdhury’s standard, the song is relatively easier one to sing, and as such had gained wide acceptance.

The solo version by Lata Mangeshkar does not seem to have been released on the records, but we have an audio version on YT. Interestingly, the order in which the lyrics have been used in the interludes has been interchanged here. The song was remade by Salil Chowdhury in Bengali for the film Raktaako Bangala (1972), a film produced in Bangladesh.

Duniya Na Dekhe Zamana Na Jane Chalo KahiN Dur Chalein – Dwijen Mukherjee, Lata Mangeshkar

Salil Chowdhury has his own style for the horse-beat Tonga songs. Flute, his favorite instrument, again is the key instrument in the song.

Chhuo Na Chhuo Albele Mere Saiyan Main To Nazuk Badan Chhui-Mui – Mukesh, Sabita Banerjee

In the delight mood duet, the song opens with first line as if the heroine would be in the trot when she sings the line. This line is played in same way across the whole song.

Tum Jo Mile To Khila Hai Gulab… Piya Tum Tod Na Dena, Khwab Ye Mere Dil Ka….- Sabita Banerjee

The heroine playfully acknowledging the bud of love germinating is also frequently used situation for a song in Hindi films. Salil Chowdhury brings out that joy in this difficult composition.

Parakh (1960)

Billed as one of the best films directed by Bimal Roy, Parakh (the test of the identity) brings out lighter and satirical side of Bimal Roy’s film-making art. Not surprisingly, Bimal Roy received the Filmfare award as the best director a hattrick with Madhumati and Sujata being the earlier two. The story of the film is written by Salil Chowdhury and the dialogues by Shailendra. The lead male actor, as paired with the heroine in the Hindi film mold is a Bengali actor Basanta Chowdhury (who also went on to become sheriff of Calcutta), but the real hero is Motilal, in the role of a ‘lame’ postman, who lays the script on the screen. He won the Best Supporting (!?) Actor Filmfare award. Parakh was the in the list of 1-core box-office revenue roll for the year 1960. The film was ahead in time in many ways.

The three solo songs, in the voice of Lata Mangeshkar – O Sajana Barkha Bahar Aayi (Bengali version, an NFS rendered by Lata Mangeshkar), Mila Hai Kisi Ka Jhumka (Bengali version, having the same lyrics in the opening line, in Sabita Chowdhury’s voice), Ye Bansi Kyon Gaaye (Bengali version, also a Lata Mangeshkar rendition NFS, having same opening lyrics) – remain the everlasting highlights from Salil Chowdhury’s baton.

Kya Hawa Chali Re Baba Rut Badli, Shor Hai Gali Gali Sau Sau Chuhe Khake Billi Haz Ko Chali – Manna Dey

The village postmaster, who finds his life change dramatically when he receives a cheque for Rs. 5 lakhs from a certain Sir J.C. Roy. The cheque comes with a rider – the money would go to the most honest man in the village, someone who would use the wealth for the benefit of the people.

The song represents that search. Salil Chowdhury has fallen back on Bowl folk tradition of rural Begal, but Shailendra gets a clear ground to present his core egalitarian philosophy, as can be seen here:

pahle log mar rahe the bhukh se abhaw se
ab kahiN ye mar na jaye apni khaw khaw se
are mithi bat kadwi lage galiyaN bhali

aaj to jahan ki ulti har ek bat hai … …. …
are hum jo kahe din hai bhai log kahe rat hai ….. ….
ret me bhi khil rahi hai pyar ki kali

aam mein uge khazur neem mein fale hai aam
dakuoN ne jog liya chor bake ram nam
hosh ki dawa karo miyaN fazal ali

Mere Man Ke Diye… Yunhi Ghut Ke Jal Tu Mere Ladle – Lata Mangeshkar

Salil Chowdhury and Shailendra weave poignancy in the song, so soulfully rendered by Lata Mangeshkar and presented by Sadhana on the screen. Salil Chowdhury has so skillfully used choir chorus in the counter melody as well as in the interlude orchestration music pieces.

Kamal Bose’s catches the song as a classic in B&W cinematography.

Usne Kaha Tha (1960)

Usne Kaha That was a Bimal Roy Production banner film, directed by his one-time assistant in films like Do Bigha Zameen, Madhumati etc, Moni Bhattacharya. The film was cinematic adaption of Chandradhar Sharma Guleri’s renowned Hindi short story by same name [1]. The film adaption somewhere missed out the perfect characterization and development of story plot of the original story. It is actually the tale of love, valor and sacrifice with an underlying melancholy refrain. Set against the rural background of Amritsar and Ambala, it seems the Bengali production unit could neither catch the earthy flavor of the locale of the story nor its nuances of interwoven into the title Usne Kaha Tha.

However, Salil Chowdhury’s melodious music and Shailendra’s appropriate playful lyrics were the redeeming features of the film. Salil Chowdhury exceptionally came up with compositions with natural Punjabi touch, while maintaining his signature symphonic orchestration style.as can be seen in the popular songs, Machalti Arzoo Khadi Baahein ((Lata Mangeshkar) and Aha Rhimjim Ke Ye Pyare Pyare Geet Liye (Talat Mahmood, Lata Mangeshkar)

Chalte Hi Jana Jahan Tak Aaj Ye Rah Chale… – Mohammad Rafi, Manna Dey, chorus

Salil Chowdhury blends a tonga song with gay abandon of Punajbi youth. Such a song requires not only power of diction while maintaining the speed of rhythm. As such, having once chosen Mohammad Rafi and Manna Dey, Salil Chowdhury takes the full advantage of the range of their singing and each one is given lines that require rendition in base scale of the higher octave. Salil Chowdhury’s mastery over chorus orchestration also is evident when he makes the chorus also to sing in the similar fashion.

Balkhati Sharmati Aaja LehroN Si Lehrati Aaja, Balkhati Sharmati Aaja, – Mohammad Rafi, Lata Mangeshkar, chorus

Here is one song that epitomizes Salil Chowdhury’s versatility. Someone identified as the music director with penchant for Bengali- Assamese folk tunes and Western classical orchestration styles, Salil Chowdhury perfectly creates Punjabi rural atmosphere in the song.

With these songs Salil Chowdhury-Shailendra combination seems to have reached the peak of quality, and range as well as the popularity. On that note, we continue our journey of Salil Chowdhury and Shailendra’s Songs Fading From the Memory….

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.

[1] चंद्रधर शर्मा गुलेरी की कहानी उसने कहा था @ Kahani Suno

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.

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.

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.

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.

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,

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.

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 from – Madhavi 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 nain – Aasmaan (1952) – Geeta Dutt – Lyrics Prem Dhawan

OP Nayyar’s music turned Howrah Bridge from a movie to a whole mood – Madhavi 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 role – Samira Sood – Arth 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 epic – Madhavi 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 Chandni – Sridevi – 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.

Taqdeer banane wale ne kaisi taqdeer banayi hai – Sheesh Mahal (1950) – Pushpa Hans – Vasant Desai – Bahzad Lakhanavi
More mandir ab lau nahin aaye – Mahatma Kabir (1954) – Asha Bhosle – Anil Biswas – Chandra Shekhar Pandey
Lag gayee ankhiyan – Jeevan Jyoti (1953)- Geeta Dutt and Mohammad Rafi – SD Burman – Sahir Ludhianvi

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.

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 legacy – Damini 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.