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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: August, 2018

Shailendra and Roshan

Shankardas Kesarilal, born on 30 August 1923, popularly known as Shailendra, was known to conjure up songs on a spark after waiting for days on end to write the first line. These songs were always full of meaning, sentiments and yet were never too difficult to comprehend.

Roshanlal Nagrath (14 July 1917 – 16 November 1967), better known by his first name Roshan for the sheer melody of his tunes.

We pay our tribute to these two most cherished names of HFM today, by recalling their less remembered songs. These songs belong to a period when Shailendra had just attained the fame, but Roshan was still in the process of carving out a space for himself.

It may not therefore be a matter of sheer (commercial) chance that films for which Shailendra wrote songs to Roshan’s compositions number just after Shanker Jaikishan, S D Burman and Salil Chaudhary.

Last year, in our article in the present series, we had a Roshan – Shailendra song  Mere Dil Ki Dhadkhan Kya Bole [Anhonee (1952); Talat Mahmod, Lata Mangeshkar]. We take over our journey of Roshan+Shailendra songs from that point of their co-work. For our present article, I have chosen those songs for which I could not recollect the song by just reading the initial words of the song. I have also tried to include as many playback singers as possible while applying the first filter.

Kajraari Matwari Madhbhari Do Ankiyan – Naubahar (1952) – Rajkumari

The song has been placed in the film to convey the real negative feeling which the protagonist (Kuldeep Kaur) had when she was presented to meet a very bright, but a blind, son of a rich man. The song has been set to a mujra dance, which has all the external forms of a very expressive art, but socially carries a negative connotation.

Preet Nibhani Balma Tum Kya Jano O Sajana– Sanskar (1952) – Meena Kapoor

We have only an audio clip available here.

Mil Jhul Ke Kaaton Logon Gareebe Ke Fande – Aagosh (1953) – Hemant Kumar, Indra Meerchandani, chorus

The song gives a call to the people to unitedly fight the poverty and usher in the poverty. The lyrics of the song have been closely aligned with the work of log cutting being carried out by teams of the workers.

Jhilmil Taare Kare Ishaare – Maashuqua (1953) – Mukesh, Suraiya

This is lullaby duet, which is a rather uncommon format for the genre. The song has interwoven the touch of pathos about the ways of the world.

Dil Ki Shiyakat Nazar Ke Shiqve Ek Jhubaan Aur Lakh Bayaan, Chhupa Na Sakun Dikha Na Sakun Mere Dil Ke Dard Bhi Hue Jawan – Chandani Chowk (1954) – Lata Mangeshkar

This song belongs to letter (‘chitthi’) genre of songs. The song has an ebullient, very young, pre-tragedy queen Meena Kumari in the process of writing down her thousands of tales (‘bayaan’) through one pen….

Jawan Ye Zindagi Pyaar Ka Sama – Coffee House(1957) – Asha Bhosle

This is the only song written by Shailendra for this film. In fact Hasrat Jaipuri has written one more and all other were written by Prem Dhawan

Ho-Ho Hone Laga Ye Dil Mein Dard Kaisa…Mitha Mitha Kisi Ke Pyar Jaisa – Aji Bas Shukriya(1958)  – Asha Bhosle

The vivacious Geeta Bali is her at effervescent best, well-supported by rollicking lyrics composed to a very unorthodox tune..

Ik Din Ye Aansoo Banenge Sitare, Kabhi Na Kabhi Din Aayenge Hamare – Heera Moti (1959) – Lata Mangeshkar

Shailendra translates the dream of the adolescent girl of realizing a day that would be her own. Roshan has finely woven the cautious optimism in the composition of the song.

Bata Do Koi Kaun Gali Gaye Shyam – Madhu (1959) – Lata Mangeshkar ║Manna Dey
A very well-known bhajan, cast in a twin song style.

Jaise Court Mein Haakim Ki Chale Re Kalam, Ter Sang Mein, Ho Tere Sang Mein Chaloongi Chaloongi Baalam – Soorat Aur Seerat (1962) – Asha Bhosle

The song is lady’s promise to be a fully-involved co-traveler on the roads of the life. Why Shailendra would have chosen a mundane metaphor of a judge’s pen delivering a judgement for so sentimental a commitment being conveyed remains unfathomed.

To end our present episode with a Mohammad Rafi song we have one more very unique experiment by Shailendra – Roshan combination –

Na Ro Bhai Na Ro,. Main Tera Banadar Dug Dug Naachu –Deep Jalte Rahe(1959) – Mohammad Rafi, Vijaya

The song brings in the essential philosophy of moving on among all the negative circumstances. The song has used metaphor of the servants of the home baby-sitting the toddler who then goes up into a young boy.

When we look back these ’pieces’ of choices of the song, we see a totally new Roshan emerging from the lyrics of Shailendra.  The pattern obviously not conducive to being commercially successful, but nonetheless provides a fine insight into the deep creativity of both, Roshan as well as Shailendra.

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, 2017

Shailendra and “Other” Music Directors

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Asides:

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

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

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

by  Ashwini Bhide

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

Here are two representative classical pieces of Raag  Janasammohini:

Pt. Mani Prasad of the Kirana Gharana:

Ustad Aamir Khan Saheb :

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

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

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

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

Their next association is 1965’s Chhoti Chhoti Batein.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[i]   Virasat – Lyricist ‘Shailendra’