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Remembering Mukesh

Duets(+) of Mukesh: With Male Singers

A tribute to Mukesh on his 99th Birth Anniversary (b. July 22, 1923 – d.  August 27, 1976)

Films in India, by and large, revolve around different themes of love between a boy and a girl. As such, songs come in very handy as a very strong and direct, easy-to-comprehend, medium to express the different shades of feelings of love. Traditionally, the solo songs occupied the space of prime importance. During vintage era this was more a necessity because the singers were generally actors themselves. Moreover, the recording technology also was in the development stage, which made recording a duet song with two vastly different musical qualities of pitch and timbre of a male and female voice was quite difficult in comparison to the recording of a solo song.

With the playback singers taking over the onus of singing, and advances in the filmmaking and song-recording technologies, the duets started gaining more importance in the film production considerations. Music directors also started taking this genre seriously and started creating duets that stood, almost, at par with solo songs.

Essentially, the duets are categorised as male-female duets, male-male duets, and female-female duets. As can be expected, the bulk of the duets in the films remain male-female duets. Male-male and female-female duets normally remained as duet songs that friends would sing together. However, the traditions of patriotic songs, devotional songs, or dance songs in the greater arena of music also inspired similar male-male and /or female-female songs. The subjects used to vary from manifestation of friendly affection – either positive or negative (jealousy), celebrating the festivities together, sharing of mutual concerns or one teasing/advising/counselling the other. As such, once the choice of subjects and practices of narrating the story evolved over 40s, male-male duets genre also started getting prominence. In the 60s and onwards, with more films being produced with more than one hero, the male-male genre further got more weightage. However, essentially, the core subjects have not changed as materially as that of solos.

In so far as Hindi film songs are concerned, duets of Mukesh constitute roughly 20 % share of his total film songs. Mukesh Geet Kosh also includes duet songs that have some element of chorus in the song, while taking care that these are separately identified. The male-male duets of Mukesh, including those with chorus element, constitute again around 15% of the duets of Mukesh. The male-male duets of Mukesh offer fairly wide-spread range, in terms of subjects of the songs, co-singers, year of the song, and of course, the popularity, to lead me to zero in on this subject for the post to commemorate the 99th birth anniversary of Mukesh.

Under the broader category of duets, Mukesh Geet Kosh also has separately identified songs that have some actor /actress chipping with Mukesh a line here or there in the song. I have not included such songs here. Mukesh has more than one duet with Mohammad Rafi or Kishore Kumar. I have chosen the one which I like more than other Rafi or Kishore duets. In some cases, I have included a few triads or quartets (with all male or male-female combination), where the context of the narration, or paucity of a right duet, or the need for variety of different subjects or styles or music directors so necessitated. In one particular instance of duet with Talat Mahmood, I have included, rather had to include, an NFS as well.

So here are Duets(+) of Mukesh with Male Singers, generally, in the chronological order of year of the release of the film.

With Shailesh (Mukharjee)

Rab Mere Araj Sun Meri Sharan Ab Teri – Aag (1948) – Lyrics: Saraswati Kumar Dipak – Music: Ram Ganguli

Ram Ganguli has certainly come up with a very different style of composition for a song that is essentially a devotional song.

If we would have strictly followed the chronological sequence of the release of the films, one of the two Mukesh – Mohammad Rafi duets from Chilman (1949) or Thes (1949) would have appeared here. But from the seven Mukesh-Mohammad Rafi duets, the song that liked most happens to be a duet from the film of the year 1958, So that will have to wait for a while.

With G M Durrani

Aise Mein Koi Chham Se Jo Aa Jaye To Kya Ho – Hanste Aansoo (1950) – Lyrics: Shewan Rizvi – Music: Ghulam Mohammad

Here is an exchange of arguments for pros and cons between two friends of locating the bed if a house is built on a given location – one wants to set up his bed at that very doorstep so that when some (a much awaited) beauty comes up suddenly he would not miss it. His friend warns of another extreme possibility of a high-heeled slipper to be awaiting a welcome instead.

Ghulam Mohammad has come up with so lovely enough orchestration for this composition to induce revisits to the song. If we would have seen the film, we may also have come to know what will have happened after the song is over.

I have picked up a triad next because that provides us with a new combination of singers.

With Khan Mastana

KyuN Shikwa Karein KyuN Aah Bharein – Pagle (1950) – with Talat Mahmood – Lyrics: Anjum Rehmani – Music: V G (Snehal) Bhatkar

The friends have gathered to vent their frustration of non-result bearing efforts of their pursuit to get someone to love them.

Pagle had one more triad, with G M Durrani as the third player –

Ye Aaj Kal Ke Laila Aur Majnu Pagle (1950) – with G M Durrani – Lyrics: Anjum Rehmani – Music: V G (Snehal) Bhatkar

Another song of the youthful frustration when all efforts to woo the ‘fair sex’ fail, which leads to this deep sigh, in the form of

Ye aaj kal ke Laila or Majnu
.. … …
ik haath se dil ko thamate haiN
ik hath se tata kahate haiN

It would be interesting note that Mukesh Geet Kosh has clearly identified the singers for these songs, but HFGK mentions Jagirdar, Agha and Sheri as the singers, who in fact are the actors singing the songs on screen.

With S D Batish

Jaao Sidharo Hey Radha Ke Shyam – Aarzoo (1950) – with Shamshad Begum, chorus – Lyrics: Majrooh Sultanpuri / Jan Nissar Akhtar – Music: Anil Biswas

Mukesh and S D Batish do not actually get connected through a triad here. What is treated as triad in the credits on the record N 38386, is in fact a three-piece stage show story wherein the first (penned by Majrooh Sutmapuri) and third part (penned by Jan Nissar Akhtar) are S D Batish-Shamshad Begum duets with chorus and the second part (also penned by Jan Nissar Akhtar) is a Mukesh-Shamshad Begum duet with chorus.

With Kishore Kumar

The Kishore Kumar – Mukesh combination has an interesting aspect too. Except for one triad in 1953, they did not have a proper duet during the pre-Aradhana, what is generally called as, Kishore Kumar 1.0 career phase. Then they had a triad-chorus in Satyakam (1969) the transition year. They had first proper duet in 1971, in what can be considered as Kishore Kumar 2.0. Since then, Kishore Kumar has had one more duet with Mukesh, in 1976. The duo further had one triad each with Sushma Shreshtha (Dharam Karam, 1975) and Dilraj Raj Kaur (Chor Mandali, 1983) as well as a quartet with Mohammad Rafi and Lata Mangeshkar (Amar Akbar Anthony, 1977)

Lo Mil Gayi Degree Pyar Ki – Maalkin (1953) – with Ram Kamlani – Lyrics: Rajendra Krishna – Music: Roshan

This must rank as the only song where Roshan has used Mukesh in a comedy situation.

However, the real irony of the song being treated as a Mukesh triad comes up only when we listen the full song and find that Mukesh just gets two words – first time just ‘KahaaN Bhai?’ after the first line, Din mein sau sau chakkar kate, in the first interlude stanza and then just ‘Kis ki?’ after the first line, Baithe baithe kismet khul gayi’ of the third interlude stanza!

Haal Chaal Thhik Thhaak Hai – Mere Apne (1971) – with chorus – Lyrics: Gulzar – Music: Salil Chowdhury

I have a very sweet connection with this song.

In our BITS Pilani days, we would have one, just-released, film screened every weekend. Mere Apne was one such film. Since the story is about the restlessness of students (particularly because of paucity of jobs even after proper college education), the film had been obviously very well received in the campus. When you pass near any of hostel block, particularly after dinner time, you will invariably get to listen the whistling used in the song. Also, the cleverly split first line had tremendous popularly as an informal greetings exchange among friends – Question: ‘Haal chaal? Answer: ‘Thik Thaak Hai.’ – obviously, in the lyrical mimic of the song!

With Mohammad Rafi

Mukesh and Mohammad Rafi share the maximum number of songs together – 7 duets, 6 duets+chorus, 5 triads – one with Shamshad Begum (Hanste Aansoo, 1950), two with Lata Mangeshkar (Shree 420, 1955 and Ahuti, 1978), two with Suman Kalyanpur (Dil Ne Phir Yaad Kiya, 1966 and Vishwas, 1969), and one with Hemlata (Jaaneman, 1976), and one quartet with Kishore Kumar and Lata Mangeshkar (Amar Akbar Anthony, 1977). More important. perhaps, is that the association spans almost the entire career of both of them, with first duet in 1949 (Chilman and Thes) and the last one in 1978 (Ahuti).

I have selected one duet, which I have always relished to listen to.  Just the memory of the song has helped to me ease out any tension coiled in, any time, in my mind.

Phirate The Jo Bade Hi Sikandar Bane Hue ….. Jo Bor Kare Yaar Ko Us Yaar Se Tauba… Jis Pyar Mein Ye Haal Ho Us Pyaar Se Tauba – Phir Subah Hogi (1958) – Lyrics: Sahir Ludhiyanvi – Music: Khayyam

Mohammad Rafi so lively pulls up his friend’s legs that even the Raj Kapoor’s lady love Mala Sinha cannot hide her smile. Moreover, if you close your eyes, the way Rafi goes with his part you can imagine how Rehman, otherwise an actor who plays serious roles, must be freely acting it out on screen, while lip-synching Mohammad Rafi. Every line Sahir has penned for Rafi’s part is just enough for any friend on the other side to break up the relationship!

With Mahendra Kapoor

For the records, Mukesh and Mahendra Kapoor have three duets, however the third one, from Saathi (1968) – Jo chalaa gayaa use bhul jaa, Naushad has used Mahendra Kapoor  for just a higher-scale line being heard as echo Bhul Jaa… Bhul Jaa, as haunting memory from the past that has to be forgotten.

Of the other two, both composed by N Dutta, one is for Dilli Ka Dada (1962) and the other for Holiday in Bombay (1963). I have selected the latter one.

Ye Hasin Bambai Hamein Jam Gayi …. Holiday Holiday Holiday in Bombay – Holiday in Bombay (1963) – Lyrics: Anjaan – Music: N Dutta.

The reasons I have selected this song will sound quite trivial – one: Mukesh gets to playback for the hero (Shashi Kapoor), two: one gets a virtual tour of Mumbai in the video clip, the third: you get to see a glimpse of now totally forgotten, Lambretta scooter (@4.12) and fourth of course, it has a connection with a 2018 SoY post – Bharat Darshan Songs (2) – Metros.

It would not be out of place to record here that Mukesh and Mahendra Kapoor share a triad with Rajendra Mehta, a famous ghazal singer of 60s/70s.

Mera Rang De Basanti Chola – Shaheed, 1965 Lyrics and Music:  Prem Dhawan

This would rank as one of the best patriotic songs Hindi films have recorded.

With Manna Dey

The proper duet of Mukesh and Manna Dey, very surprisingly, has come up only in 1976 for the film Das Numbri. Even Mukesh, Mohammad Rafi and Manna Dey triad also came up in only 1973, for Teen Chor. As such, I thought it would be patently safe to fall back upon a quartet and a quintet from the earlier years.

Sathi Re…. Kadam Kadam Se Dil Mila Rahein Hai Ham – Char Dil Char Rahein (1959) – with Mahendra Kapoor, Meena Kapoor, chorus – Lyrics: Sahir Ludhiyanvi – Music: Anil Biswas

The song is an inspirational song, wherein multiple singers join to playback for corresponding actor on the screen. It being an Anil Biswas composition, the composition and orchestration are ideal, so are the lyrics of Sahir. It is not surprising that the overall outcome is a song that you would like listen, again and again, for its sheer melody.

I am not able to resist the temptation of including a quintet chorus song, so well-known to me, and almost of all of us for that matter, that came up in different light when I listened to it from the point of view of the present article.

Hum Bhi Hai Tum Bhi Ho Dono Hai Amane Samane – Jis Desh Mein Ganga Behti Hai (1961) – with Mahendra Kapoor, Lata Mangeshkar, Geeta Dutt and chorus – Lyrics: Shailendra – Music: Shankar Jaikishan

I always admired this song for several stunning features – Shankar Jaikishan and the team for conceiving and executing the rich orchestrion (of particular notice is the violin ensemble piece @ 5.35 -5.52 that so vividly creates the feeling of speed), meticulous details of choreography of Hira Lal, and so creative camera work of Tara Dutt that captures every expression of every actor so lively and the overall direction of Radhu Karamakar – RK’s otherwise default director of photography. Essentially, the song was a chorus song representing dacoits on one side and the reformer (Raju) on the other side.

However, I could now easily see a parallel under-current of a duet too running in the song, beginning with two lines that follow the opening skirmish between Raka and Raju, when Kammo and her friend Bijli charmingly declare Hum bhi haiN (@2.30), to which Raju responds, unwittingly, Dekh lo kya asar kar diya pyar ne. The visuals @0.45 to 0.51, where Kammo longingly eyes Raju, which Raka too does not miss to notice or that fleeting exchange of mutual appreciations @ 1.52 to 2.00 between Kammo and Raju corroborate the implicit germination of soft feelings for each other. The song virtually turns into a duet after the second interlude when Kammo directly intervenes the song with itana sa ye dil tu de de agar sara jag tera ho jaye. (@5.03)

As the songs moves on, the mood of festivity of all so beautifully morphs into acquiescence of love of the two.

We come back to our main track again.

With Talat Mahmood

As we have seen @ #3 here before, Mukesh and Talat Mahmood did get just one triad as early as in 1950. These two may be the only male singers of that period who did not even have one Hindi film duet in their entire career.

Fortunately, three Mukesh – Talat Mahmood NFS duets, composed by Murli Manohar Swaroop, fill up this void. We had had heard one duet, Kisi ko deke dil koi nawa_sanj-e-fughan kyun ho, in the earlier post, Mukesh’s Non-film Hindi Geets and Ghazals.

I have picked up the other one here –

Woh Jo Ruthe To Manana Chahiye …. Zindagi Se Rooth Jaana Chahiye – NFS – lyrics: Jigar Murarabadi + Mirza Ghalib – Music: Murli Manohar Swaroop

To the opening line from Jigar Murarabadi ghazal sung by Mukesh, Talat Mahmood joins by a Mirza Ghalib ghazal line Chahiye achchhoN ko jitana chahiye, ye agar chaahein phir to kya chahiye…  and so forth.

However, we can take consolation that they did have one more song in the Hindi films – an all-male quintet in 1966.

Mujhko Muhabbat Ho Gayi Hai, Bas Muhabbat Ho Gayi Hai …. Anhoni Baat Thi Ho Gayi Hai – Biwi Aur Makaan (1966) – with Joginder, Manna Dey and Hemant Kumar – Lyrics: Gulzar – Music: Hemant Kumar

Normally Mukesh and Talat Mahmood are put at the slow paced, serious film-song-moods spectrum. Another singer, Hemant Kumar also is considered to be the singer of that part of the spectrum. However, Hemant Kumar, the music director, seems to have helped Talat Mahmood switch the role and join him (in the role of the playback singer) in the fast-paced jest-cum-scolding session with that love-infested friend among the ‘five pandav’ friends who have vowed to remain unmarried till everyone gets a job. Talat Mahmood plays back to Keshto Mukhrjee who impersonates a girl along with Biswjeet who lip syncs Hemant Kumar!

I conclude here my part of the choices of Duets(+) of Mukesh with Male singers so as to start pondering over what subject we should take up for the celebration of Mukesh’s 100th birth anniversary post next year…….

Acknowledgement and disclaimer:

  1. Mukesh Geet Kosh, 2020 edition – Harish Raghuvanshi: For the basic data and the information of the songs selected in the present article.
  2. The song links have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog claims no copyright over these songs which vests with the respective owners.

Reproduction of the article originally published on Songs of Yore on 22 July 2022

Categories
Fading Memories….Unforgettable Songs

Fading Memories ….. Unforgettable Songs : March 2022

Ghulam Mohammed and His Singers : 1950-1952

Ghulam Mohammed (1903 – 17 March 1968)’s musical scores during the years 1943 to 1949 had established his identity as percussionist who had also gift of composing melodies as well. He had already been successful with the scores of Pugree (1948) and Shair (1949). However, it seems that his concurrent role as assistant to Naushad perhaps had cast some kind of shadow over his own identity as independent music director. This relationship continued till film Aan) 1952. Some historians consider him too naïve a businessman since he continued to assist Naushad even he had getting success by 1948.

This theory seems to hold some merit, because Ghulam Mohammed did get three films in 1950, two in 1951 and three again in 1952. These numbers need to be viewed in the back drop of the fact that several other (so-called) already stablished) music directors were also scoring successful music for the then big production banners in the same period. 1950 had Naushad scoring music for ‘Dastan’ and ‘Babul’, C Ramchandra for ‘Sargam’ and Anil Biswas for ‘Arzoo’. In 1951, along with “Deedar’ of Naushad, S D Buraman’s ‘Bahaar’ and Baazi’, C Ramchandra’s ‘Albela, Anil Biswas’s ‘Taraana’ and Shanker Jaikishan’s “Aawara’ occupied the space. There was hardly any respite in 1952 as well, with Naushad’s  ‘Aan’ and ‘Baiju Bawra’, S D Burman’s Jaal and Shanker Jaikishan’s ‘Daag.’

In all the fairness to Ghulam Mohammed, it should also be noted that some other equally talented music directors also had not been able to break the glass ceiling, even if their music was also noted with high respect o their talent. For example, Bulo C Rani – Jogan (1950), Roshan – Hum Log (1951) and Anhonee (1952), Hemant Kumar – Anand Math (1951) and Madan Mohan – Ashiana (1952) to name a few representative cases.

Be that as it may, our principal focus of the present series to commemorate the death anniversary month of Ghulam Mohammed is to refresh our memories of his compositions and get an overview of Ghulam Mohammed’s repertoire of 37 films as independent music directors with special attention to the wide range of playback singer he has used for his compositions.

As such, we have sidestepped some of his popular compositions for the present series and intentionally chosen songs that may be called as less heard ones so as to get a better appreciation of Ghulam Mohammed’s talent.

Previously, in 2021, we have covered Ghulam Mohamamed’s songs with different singers for the years 1943 to 1949.

With this backdrop to be kept at the back of our minds, we now take up Ghulam Mohammed’s songs for different playback singers during the years 1950 to 1952.

Rajkumari, Mukesh – Maine Sapna Jo Dekha Hai Raat… Bhala Jo Koi Puchhe… To Main Kya KahuN – Hanste Aansoo (1950) – Lyrics: Majrooh Sultanpuri

Here is an archetypical vintage era styled composition. However, the song succeeds in conveying the feelings of a girl who has fallen in love, for the first time. Majrooh Sultanpuri also has preferred to use very simple lyrics to truly express the feelings.

One noteworthy feature of Ghulam Mohammed’s  compositions was differently presented stanzas of his compositions, unlike many of his contemporaries who would not waste one more tune in one composition.

Shamshad Begum, Hameeda Banu, Raja Gul – O Jane Wale Theher Ja …., Dil De Ja Ya Le Ja Raja Ulfat Ka Ye Bazaar Hai – Hansate Aaansoo (1950) – Lyrics:  Shevan Rizvi

Ghulam Mohammed has boldly experimented with non-traditional orchestration for this street dance triad song, while maintaining the identity of the song genre with the use of catchy piece of harmonium in the brief prelude.

Shamshad Begum – Hum Dil Hi Apna Haar Gaye – Maang (1950) – Lyrics: Husaini

Comparison of the present composition with the previous one, Maine Sapna Jo Dekha Hai Raat, evidently demonstrates the vastness of range of tunes that Ghulam Mohammed can command to present almost similar feeling.

Since the song is not available on YT, here is an adio link: Hum Dil Hi Apna Haar Gaye.mp3

Uma Devi, Lata Mangeshkar – Na Jaane Aaj Kyon Gabra Rahi Ho – Maang (1950) – Lyrics: Prakash

Ghulam Mohammed recreates magic of blending voices of vintage era icon (Uma Devi) and the rising star of Golden Era) Lata Mangeshkar)

(Rajkumari), Geeta Dutt, Hamida Banu – Aaya Achanak Aisa Jhonka Hind Ka Jagamag Deep Bujha – Maang (1950) – Lyrics: Sagheer Usmani

Here is song that eulogises passing away Mahatma Gandhi. Even he Ghulam Mohammed has very deftly experimented with change in tunes for different stanzas.

It may be noted that Rajkumari is singing along with Geeta Dutt in first part of the song.

Mohammed Rafi, Amirbai Karnataki – Main HuN Bada NaseeboNwala….Hua Tera Mera Pyar Fatafat – Pardes (1950) – Lyrics: Shakeel Badayuni

Ghulam Mohammed comes all trump in a light-hearted comedy song. The icing on the cake is use of Amirbai Karnataki for such a song!

How imaginatively Ghulam Mohammed has used Mohammad Rafi’s voice for the opening line!

Lata Mangeshkar – KyuN Ae Dil-e- Diwana Hai Hosh Se Beganaa – Bikhre Moti (1951) – Lyrics: Akhtar ul Iman

The influence of vintage era style on Ghulam Mohammed’s compositions, even during 1951, is evident in the way he has used Lata Mangeshkar’s voice in this song.

Talat Mahmood – Chandanee Raato Mein Jis Dam Yaad Aa Jaate Ho Tum Roshani Bankar Meri Ankhoein Mein Chha Jaate Ho Tum – Naazneen (1951) – Lyrics: Shakeel Badayuni

I so much regret that this is one Talat Mahmood song that I must have hardly got to hear earlier.

Asides: Shri Arunkumar Deshmukh informs that this was the film in which Amjad Khan has acted as a child artist.

Shamshad Begum, G. M. Durrani, Mohammed Rafi – Do Din Ki Zindagi Hai … Ik Baar Muskara Do, Parde Mein Tum Hansi Ke …. Dil Ki Lagi Ko Chhupaa Lo – Ajeeb Ladki (1952) – Shakeel Badayuni

This song indeed should tell us what effort Rafi must have put into create his own identity in his initial days as we find difficult to the way Rafi handles lower octave mukhada and high pitch opening of the first stanza or chips in with a cameo line in the second stanza.

Zohrabai Ambalewali, Shamshad Begum – Dil Ke Sheesh Mahal Mein Aaya Yeh Matwala Chor – Amber (1952) – Lyrics: Shakeel Badayuni

In the stage dances, the dancers take up dress code of two cultures of two regions. Ghulam Mohammed has composed the tune matching to that culture. Especially noteworthy is the multi-instrument orchestra put to use by Ghulam Mohammed.

Mohammad Rafi – Churakar Dil Ko Yun Aankhein Churana Kisse Sikha Hai .. Chale Jaana Tum Door Bade Shaukh Se Huzoor…Mera Dil Mujhe Wapas Kar Do. – Amber (1952) – Lyrics: Shakeel Badayuni

Unlike majority of Ghulam Mohammed compositions, here we have complex to sing tune, and that too for a song where the hero is trying to please the heroine!

Lata Mangeshkar – Tutegi Nahi Pyar Ki Dor Duniya Chahe Lag Le Jhor – Amber (1952) – Lyrics: Shakeel Badayuni

Ghulam Mohammed has not only switched to Lata Mangeshkar as lead singer but has also stayed away in using Lata Mangeshkar in the shadow of vintage era singing style.

Shamshad Begum, Mohammed Rafi – Rote Hai Naina Gam Ke Maare, Dekh Rahi HuN Din Mein Taare – Amber (1950 – Lyrics: Shakeel Badayuni

I have selected this ‘masala’ dance song to validate the hypothesis – that Ghulam Mohammed has given Lata Mangeshkar the position of lead singer – put forward in the earlier song as soon as he has been entrusted the music for the film with the ‘hottest’ pair of the day – Nargis and Raj Kapoor.

Noteworthy is the change in the mood o the song that he has accomplished the way he has used Mohammad Rafi.

Mubarak Begum – Jal Jal Ke MaruN Kuchh Kah Na SakuN – Sheesha (1952) – Lyrics: Shakeel Badayuni

Ghulam Mohammed deploys vast orchestra during mukhada but then the stanza comes rendered with minimal instrumental support! This should easily rate as one of the best Mubarak Begum songs; however, the fact remains that, at least, I have heard it for the first time. So unfortunate that Mubarak Begum did not get many such high-quality singing opportunities!

What a pity that the failure of film at the box office also leads to the very short life of the songs, barring, of course, some exceptions!

Lata Mangeshkar – Jawani Ke Raaste Pe Aaj Mera Dil Hai – Sheesha (1952- Lyrics: Shakeel Badayuni

Ghulam Mohammed sets the tone of happiness of the song by a very catchy prelude and then follows it up with composing the song in the effervescent singing mode.

Thanks to the technology and resourcefulness and the commitment of all the YT uploaders, we can recreate the mesmerising magic of Ghulam Mohammed’s compositions, even today, whether it did cast spell then or not!

We take a break here till the next episode so that we can absorb the nuances and range of present batch of Ghulam Mohammed’s compositions.

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I Liked Music from films

The Micro View of Best Songs of 1944 @ SoY : Female Solo Songs – Shamshad Begum + Sitara + Leela Chitnis

Solo Songs of Shamshad Begum

For the year 1944, Shamshad Begum’s quantitative presence apparaently seems limited to two films, if we do not consider the songs from Panna, which HFGK notes Rajkumari clarifying that the songs were rendered by Shamshad Begum in the film but were recorded in her voice.

Memorable Songs of 1944 has two Shamashad Begum solos Main Jogan Ban Jaungi….Mere Devta Lo Meri Aarti (Chal Chal Re Nujawan) and Jao Sajan Mere Harjai , Balam mohe sajan more chhedo na (Daasi, Music: Pandit Amarnath).

Here are some more songs to relish –

Laaye … Balamva Mere Liye PhooloN Ke Haar – Chal Chal Re Naujwan – Pradeep – Ghulam Haider

Ho Gori Pyar Bhara Dil, Preet Ke Naina, Koi Chhupaye….Apne Balam Se Apne Sajan Se Mil Ke Aayi Ho  – Chal Chal Re Naujwan – Pradeep – Ghulam Haider

So Ja Meri Ladli So Jaa – Chal Chal Re Naujwan – Pradeep – Ghulam Haider

Solo Songs of Sitara

Memorable Songs of 1944 has one solo song of Sitara – Mere dilruba aa ja mere dilruba (Chand). Since this ias a dance number, one would conclude that singer is Sitara Devi.

Chupake Chupake Mere Dil Mein Aaye Hai Murari – Chand – Qamar Jalalabadi – Husnlal Bhagatram

HFGK has has five songs of Man Ki Jeet credited to Sitara, but it is not clear if she is Sitara Devi, the dancer or Sitara Kanpuri, the playback singer. Two of these five – Nagri meri kab tak yun hi barbaad rahegi and Pardesi kyun yaad aata hai –  are also found in Memorable Songs of 1944.  From all other indications one would conclude that she is Sitara Kanapuri. With that disclaimer, the other songs available on YT are included here.

Man Kahe Gabaraye…– Man Ki Jeet – Josh Malihabadi – S K Pal

Aye Chand Na Itarana, Aate Hai Mere Sajan -Man Ki Jeet – Bharat Vyas – S K Pal

Aye Chand UmmidoN Ko Meri Shama Dikha De – Man Ki Jeet – Josh Malihabadi – S K Pal

HFGK records Nagri Meri Kab Tak YuN Hi Barbad Rahegi as a different version of the song. The YT link here covers both version –

Solo Songs of Leela Chitnis

Most of our generation has seen Leela Chitnis as a (grief-stricken) mother on the screen. Here we get see her in her vintage era version of a youthful actress-singer heroine.

Hamein Yaad Aa Rahi Hai Unaki, Bah Rahi Hawa Fagun Ki – Char Aanken – Narendra Sharma – Anil Biswas

Do Aise Vardan Prabhu, Mere Sapne Sach Ho Jaye – Char Aanken – Narendra Sharma – Anil Biswas

Main RouN Tu Rulae Jaa, Jo Chahe Jhulm Dhaye Ja – Char Aanken – Narendra Sharma – Anil Biswas

Hum KyoN Bataye Kisaka Hamein Intazaar Hai – Char Aanken – Narendra Sharma – Anil Biswas

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: March 2021

Ghulam Mohammed and His Singers: 1943 – 1949

top-post-markGhulam Mohammed (1903 – 17 March 1968), born in the family of musician in Bikaner (Rajasthan), got his early training from his father, Nabi Baksh, a tabla player and a stage artist. The career of Ghulam Mohammed is littered with ironies of fate that did give him his credit for his creation, but a little too late and far too less.

Every single piece of article written on Ghulam Mohammed would invariably focus on at least one defining characteristic. And yet, the fact that Ghulam Mohammed got to compose music for just 37 films in a career spanning almost four decades does neither tells the full story of his caliber nor it does justice to his talent. As such, in the month of his death anniversary, we commence an annual series that relives his known and less known songs.

We will begin with an overview of Ghulam Mohammed’s career in the form of songs he has composed for different singers. The choice of singers does seem to be a function of the period in which the music for the film is composed. Every song that Ghulam Mohammed created songs with each of this singer had the perfect mix of the singer and of the music director. We have adopted a conscious choice of selecting the songs that can easily be classified as the ones receding from the memory.

Hamida Bano – Ud Ja Re Ud Ja Panchhi Pee Pee Mat Bol – Mera Khwab (1943) – Lyrics: M E Ashq

Ghulam Mohammad got his first break as an independent music director in 1942 for a stunt film, Mera Khwab, released in 1943. However, some sources indicate Banke Sipaahi (1937) as Ghulam Mohammad’s debut film. There does not seem to be unanimity among film historians on this count. This was the period when he was known to be working as an instrumentalist for music directors like Rafiq Ghazanvi, Irshad Ali, Anil Biswas etc. It is further recorded that his first major break that elevated him to the status of assistant was in Sharda (1942; Music: Naushad). Their this relationship lasted till Aan (1953) even after Ghulam Mohammad had charted his own independent course in the meantime. Naushad also paid his tribute to their relationship by completing the unfinished tasks of Ghulam Mohammad swan song film ‘Pakeeza’

Zohrabai Amablewali – Tere Bina O Balam Kaise Kategi Mori Raina Bata Jaa – Mera Geet (1946) – Lyrics: Ramesh Gupta

The film had four music directors – Bal Mukund, Geeta Varma, Shankar Rao Vyas, Ghulam Miyan, Reejram – to compose as many as 16 songs. HFGK has been able to identify only a few songs for their respective composers. Even as we get to read the name is Ghulam MIyan, Cinemaazi confirms that this song is indeed composed by Ghulam Mohammed.

The song has very prominent and distinct use of dholak as rhythm instrument.

G M Durrani – Khel Nahi…Khel Nahi Gir Gir Ke Sambhalana – Doli (1947) – Lyrics: Majrooh Sultanpuri

The song is set to what is popularly known as Ghoda songs 9 singer rides a horse or a horse driven cart on the screen). The song is set to a fast pace, but runs on a very low octave, indicating that protagonist is deep thoughts as he sings the song during the ride.

Mukesh, Shamshad Begum – Tere  Naaz Uthane Ko Jee Chahta Hai – Grihasthi (1948) – Lyrics: Shakeel Badayuni

The song uses a duff (sometimes spelt as ‘daf’, too), another rhythm instrument that Ghulam Mohammed is credited with popularizing in Hindi film songs.

Knowledgeable bloggers inform us that this song was filmed on Pran and Sharda who was the sister of actor of ‘70s-‘80s Vinod Mehra

Mohammad Rafi – Nigahein Milane Ko Jee Chahata Hai – Parai Aag (1948) – Lyrics: Tanveer Naqvi

Composed to a softer, but relatively a fast, ‘qawwali’ style, and set to a soft Mohammad Rafi rendition, this easily the forgotten preceding song with the initial lyrics – Nigahein Milane Ko Jee Chata Hai. Yes, the one with better recall value is one which was used in Asha Bhosle qawwali song by Roshan (Dil Hi To Hai, 1963 – Lyrics: Sahir Ludhyanavi)

Suraiya – Mohe Mera Bachpana La De … Jawani Bhaye Na – Kaajal (1948) – Lyrics: D N Madhok

The orchestration has strong resemblance to what is used in Naushad’s songs. However, this playful song is well-remembered by Suraiya fans.

Sitara Kanpuri – Dil Ki Lagi Zubaan Par Aaye To Kya Karun – Pugree (1948) – Lyrics:  Shakeel Badayuni

‘Pugree’ is the second film that Ghulam Mohammed composed music for the production house All India Pictures, after Doli (1947). All India Pictures perhaps is the only banner that Ghulam Mohammed had under his belt as an independent music director. Other films that followed were: Paras (1949), Pardes (1950), Nazneen (1951), Guahar (9153), Rail Ka Dibba (1953), Laila Majnu (1953), Hoor-e-Arab (1955) and Sitara (1955).

Songs of ‘Pugree’ were resounding success in those days.

Shamshad Begum – Masti Bhari Bahar Ne Masatana Kar Diya – Pugree (1948) – Lyrics: Shakeel Badayuni

So ever young Shashikala lip-syncs Shamshad Begum on the screen.

Geeta Dutt – Na Tum Mere Na Dil Mera, Azab Hai Bebasi Meri – Dil Ki Basti (1949) – Lyrics: Shakeel Badayuni

Ghulam Mohammed had two other solos, two male-female duets and one female-female duets in the film. However, Ghulam Mohammed has also used Lata Mangeshkar for two solos as well.

Lata Mangeshkar, G M Durrani – Do Bichhade Hue Dil Lo Aapas Mein Gaye Mil – Shair (1949) – Lyrics:  Shakeel Badayuni

‘Shair’ was also quite popular album, in the year wherein blockbusters like Andaz or Barsaat or Mahal would have occupied the memory space of the listeners.

It should be interesting to note that G M Durrani is preferred as a playback voice to the male lead, Dev Anand.

Even as I had planned to take up film-wise song later in this series, it would be opportune to listen to two other duets from Shair, for the use of different percussion instruments.

Mukesh, Lata Mangeshkar – Ye Duniya Hai Yahan Dil Ka Lagana Kisko Aata Hai – Shair (1949) – Lyrics: Shakeel Badayuni

Ghulam Mohammed has used ‘matka’ (an earthen clay pot) in this song. Matka was another percussion instrument that is credited to Ghulam Mohammed for being popularly used in Hindi film song.

Playback voice now shifts to Mukesh, possibly because the of the pathos mood of the song

This duet was also a chart buster of those days.

Mohammad Rafi, Shamshad Begum – O More Balma…Kahe Maari Kataar…. Haye… Daiya…. Daiya – Shair (1949) – Lyrics: Shakeel Badayuni

Since my knowledge of music, and as a natural corollary, that of music instruments, is abysmally limited, I could only recognize a different instrument is used here, possibly a mix of dholak and matka, but do not which one it is!

A few strains of orchestration in the prelude seem to have faint the precursors of orchestration that we got to listen in the music of Pakeeza.

One interesting, and equally very rare as well, trivia to be observed is that Cuckoo is in the spectator’s gallery and enjoying the dance on the stage.

I plan to take up a few more singers in the next episode, before switching over to the usual format of remembering the songs from different films in chronological order.

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

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

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I Liked Music from films

Songs of 1945 @ SoY :: Female Solo Songs – Shamshad Begum

Shamshad Begum’s quantitative presence in 1945 is limited 4 films and 4 music directors, , with only one film as the lead playback singer. However, her voice has very youthful vibrant note, that places her distinctively apart from the other vintage era singers this year.

Hum Kis Se Kare Shiqawa, Rona Hai Muqaddar Mein – Hamara Sansar – Pt. Govind Ram – Ramesh Gupta

Mere Preetam ki Paati Aai, Anand Se Bhool Gai Main – Hamara Sansar – Pt. Govind Ram – Ramesh Gupta

Main To OdhuN Gulabi Chunariya Aaj Re, Mere Bhiya Ne Pahana Aaj Taaj Re – Humayun – Ghulam Haider – Shams Lakhanavi

Husn Kahata Ja Raha Hai, Badshahi Kuchch Nahi – Humayun – Ghulam Haider – Vikar Ambalavi

Meri Duao Ka Asar Yaarab Dikha Dena – Humayun – Ghulam Haider – Shams Lakhanavi

Chand Chamka Andhere Mein Aaj Hai – Humayun – Ghulam Haider – Pt. Madur

Dono Hi Ko Bigadi Kismat Ne Diwana Banakar Chhod Diya – Humayun – Ghulam Haider – Arzoo Lakhanavi

Sapno Mein Koi Aaya Sajaniya – Ratnavalli – Pt. Govind Ram – Rammuti

Armano Ki Basti MeiN Aag Laga Baithe – Shirin Farhad – Rashid Are – D N Madhok

Angadai Teri Yaad Mein Jo Harjai – Shirin Farhad – Pt. Amarnath – D N Madhok

We will take up Micro View of Solo Songs of Ameerbai Karnataki for the year 1945 next.

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Centenary Celebrations

Hemant Kumar’s Hindi Song Compositions: Female songs – ‘Other’ Singers

We have covered Hemant Kumar’s Lata Mangeshkar, Geeta Dutt and Asha Bhosle’s songs earlier.

We now move over to the ‘Long Tail’ of the skewed distribution of Hemant Kumar’s female songs. Hemant Kumar has used the ‘other’ known Hindi female playback singers more as an exception only. Raj Kumari had one dance number in Anand Math (1952). Shamshad Begum has two solos and two FF duets, Sudha Malhotra has one solo, one FF duet and one (an iconic) MF duet – that we will take up discussion separately- and Suman Kalyanpur has two FF duets, and Usha Mangeshkar has one solo and two FF duets. We also have a very rare Mubarak Begum, Sulochana Kadam FF duet and a song by a classic trained singer Lakshmi Shankar, as well

Rajkumari

Dil Ka Paimana Hai, Ulfat Ka Hath Hai – Anand Math (1952) – Lyrics: Hasrat Jaipuri

Sheila Ramani is so gracious as lead dancer in this court dance song.

Laksmi Shankar

Kaisi Lagi Karjeawa Mein Katar – Ferry (1954) – Lyrics: Rajinder Krishna

Hemant Kumar has used a classic trained singer for Mujra Song. From the initial dialogue in the clip, it seems that the song is seen by the daughter (Geeta Bali) as her mother has to perform for such mehfils

The song is in two parts. The second part has Geeta Bali singing the song on the screen. The feeling of pathos is very clearly felt in the way song is rendered in this part. The context of this change would be clear only when one has seen the film.

Usha Mangeshkar

Kaisi Lagi…..Jiya Jaye To Jiya Jaye – Ek Hi Rasta (1956) – with Asha Bhosle – Lyrics: Majrooh Sultanpuri

The song is a duet dance song, so typically planned to celebrate special occasions.

Pyasi Hai Mamata Meri Aaja Dheere Dheere Aa – Maa Beta (1962) – Lyrics: Prem Dhawan

Hemant Kumar has so melodiously weaved lathos of mother being away from her offspring in this lullaby.

Shamshad Begum

Hemant Kumar has used Shamshad Begum for four songs, of which a duet, with Ravi, from ‘Daku Ki Ladki” (1954) do not seem to be traceable on the internet

Meri Itni Araj Hai Huzur Se, Pyar Karna Magar Door Door Se – Hamara Watan (1956) – Lyrics: S H Bihari

We have here a classic mujra song.
https://www.youtube.com/watch?v=zik26guG66o

Hum Kisi Se Na Kahenge Chup Chup Se Rahenge– Yahudi Ki Ladki (1957) – with Geeta Dutt – Lyrics: S H Bihari

The song is set to what has now become familiar Arabic dance tunes (thanks to n-number of films based on stories from that milieu) to the listeners of Hindi film songs. Both the singers have been accorded freedom to sing in their natural range.

Pyar Jata Ke Lalchaye Mora Balama –- Hum Bhi Insaan Hai (1959) – Lyrics: Shailendra

This seems to a mujra-styled dance song. Shamshad Begum is her at vintage best, even in 1959.

Sudha Malhotra

Mujhe Tarke Taaluk Samjaya Jaata Hai – Sahara (1958) – Lyrics: Bharat Vyas

Hemant Kumar has so easily been able to present a signature mujra song – with prominent tabla thaaps (beats),  beginning of the stanza without the support of any instruments and of course the use of most ubiquitous instrument of a mujra music – the sarangi.

Suman Kalyanpur

Suman Kalyanpur is present in only two FF duets. Both the duets are perfectly composed FF duets, but have differently blended the inherent vocal qualities of different singers in the respective songs.

Kabhi Aaj Kabhi Kal, Kabhi Paraso – Chand (1959) – with Lata Mangeshkar – Lyrics: Shailendra

The song appears to be public dance stage show. As such, both the performers are expected to move and sing in perfect synchronisation. Hemant Kumar has achieved this synchronization in the vocal part of the songs by perfectly blending almost similar sounding voices of Lata Mangeshkar and Suman Kalyanpur.

Phulwa Band Maheke Dekho Dali Dali – Ham Bhi Insaan Hai (1959) – with Geeta Dutt – Lyrics: Shailendra

Shailendra has captured the two points of views of friends in the song, who seem to be visiting the flower garden – both see different hues in the same settings in which both are present together. Hemant Kumar has enlivened this effect by using two naturally different voices – those of Geeta Dutt and Suman Kalyanpur.

Aside Trivia:

The song seems to have been inspired from Meghla Bhanga Rod Utheche (The Sun Rises in the Clouded Sky) – Tar Aar Par Nei. – Pratima Badopadyay – composed by Nachiketa Ghish, lyrics: Pulak Banerjee

Mubarak Begum, Sulochana Kadam

Bharat Ke Lok Geet (Fashion, 1959) is collection of folk songs from different regions.

The song can be heard by clicking on this link

https://gaana.com/song/bharat-ke-lok-geet

Other than these, he has also chosen to experiment with Bengali female playback singers, like Ratna Gupta, Pratima Banerjee, Aarti Mukherjee, his wife Bela Mukherjee and his daughter Ranu Mukhrtjee, Bula Gupta etc.

We will take up Hemant Kumar’s songs of ‘Other’ (Bengali Female Singers in the next episode.

Originally published on SoY as Hemant Kumar’s Female Playback Singers . This is the edited and improved-on-the-inputs-of-discussions thereupon version

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I Liked Music from films

The Micro View of Best Songs of 1946 @ SoY – Female Solo Songs – Shamshad Begum [2]

We listened to Part [1] of Solo Songs of Shamshad Begum for the year 1946 in the previous episode. It may be noted there a few films wherein we have YT link  for only one song, but quite a few songs from these films still do not have corresponding audio / video links available.

Aankh Mein Aansoo Lab Par Aahein, Dil Mein Dard Basaya Hai – Rangbhoomi – Premnath –

Kitne Bedard Hai Bedard Jamane Wale – Rasili – Hanuman Prasad – Gafil Harnalvi

Duniya Ki Bhi Sun Lo Bhagwan Tumhi Ho – Saathi – Gulshan Sufi – Wali Sahab

O Pardesi Raja Aa Aa Aa Aa Pardesi – Saathi  – Gulshan Sufi – Wali Sahab

Sahara Ki Hawao, Jao Unhe Jaa Kar Meri Fariyad Sunao – Sassi Punnu – Pt. Govind Ram – Ishwar Chandra Kapoor

Tumne Aag Laga Di Man Mein – Sassi Punnu – Pt. Govind Ram – Ishwar Chandra Kapoor

Ik Tera Sahara…Dil Tod Ke Duniya Ne – Shama – Ghulam Haider – Ehsan Rizvi + Shamim (Part 1)

YuN Khun Garibo Ka Bahati Hai Khudai – Shama – Ghulam Haider – Ehsan Rizvi (Part 2)

Ham GariboN ka Bhi Pura Kabhi Arman Kar De – Shama – Ghulam Haider – Shams Lakhanavi

Uljhan Dil Ki Kya Sulaze – Shama – Ghulam Haider – Ehsan Rizvi –

HFGK mentions that some of the songs of Shama were recorded in Suraiya’s voice as cover version. However, we have not been able to locate audio /video links of these versions.

Balam Harjai Re, Tere Bina Neend Na Aayi Re – Sona Chandi – Tufail Faruqi – Wali Sahab

We will take up Solo Songs of Amirbai Karnataki for the year 1946 in the next episode.

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I Liked Music from films

The Micro View of Best Songs of 1946 @ SoY – Female Solo Songs – Shamshad Begum [1]

Apart from the quantitative dominance of Shamshad Begum, the quality of her voice is also so different than what we have normally heard in the later years.

Popular solo song

Jab Usne Gheshu Bikharaye Badal Aaya Jhoom Ke – Shahejehan – Naushad – Majrooh Sultanpuri

Other Solo Songs

Sarwan O Sarwan Badhae Ja Tu Karwan, Chalae Ja Tu Karwan – Bairam Khan – Ghulam Haider – Wali Sahab

YT upload mentions Khan Mastana also as co-singer in the song, but we have followed the records of HFGK.

Tum Kis Liye Aate Nahi, Kya Ham Tumhein Bhaate Nahi – Bairam Khan – Ghulam Haider –   B R Sharma

Ye Chanadani Raato Mein Chhip Chhip Ke Mulaqaten – Bairam Khan – Ghulam Haider –Hayat Amrohi

Jab Chand Jawaan Hoga, Phir Chandani Raato Mein Jannat Ka Samna Hoga – Bairam Khan – Ghulam Haider –Wali Sahab

YT upload mentions Getta Dutt also as co-singer in the song, but we have followed the records of HFGK.

Asqon Pe Khatam Hua Mere Gam Ka Fasana – Bairam Khan – Ghulam Haider –Wali Sahab

Kyo Door Hua Mujhse Meri AAnkho Ka Taara – Bhakta Prahlad – Hanuman Prasad –

Aankho Mein Aansoo Ko Piye Jaa Rahi Hu Main – Chehra – M A Mukhtar – Ishwar Chandra Kapoor

Aaj Mere Ghar Aayenge, Wo Aaj mere Ghar Aayenge – Dev Kanya – Shyam Sundar –

Kismat Mein Likha Ho Jo Use Kaun Mitae – Dev Kanya – Shyam Sundar –

Zamak Zamak Liye Teg Tamak More Baanke – 1857 – Sajjad Hussain –

We will continue with the concluding part of Solo Songs of Shamshad Begum for the year 1946 in the next episode.

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Carnival of Blogs on Golden Era of Hindi Film Music

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

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

2019 marks the birth centenary of some of classic Hindi cinema’s greatest in the field of music. Music director Naushad was born a hundred years ago; lyricists Kaifi Azmi and Rajendra Krishan were born a hundred years ago; and two of Hindi cinema’s most popular playback singers—Manna Dey and Shamshad Begum—were also born in 1919, less than a month apart.

The unforgettable voice of Shamshad Begum: Birth centenary special – 14 April 2019 marks the birth centenary of one of India’s most durable and outstanding singing voices — Shamshad Begum.

Ten of my favourite Shamshad Begum solos is tribute to her to commemorate her birth centenary, of which I have picked three of the post-1950 songs-

K L Saigal – The Modern Tansen – Saigal was so perfect in his singing that musicians, composers and singers around him called him Shiva’s Bhrm Naad. During a recording or a song recital it is usually the musicians who set their instruments first to give the scale and the singer would match that scale. But in case of Saigal, it was the other way round. Tanpura and other instruments were set after Saigal sang a scale.

Director Ravindra Dave, who was ‘Ravinbhai’ in Hindi films and ‘Bapa’ for Gujarati cinema – A tribute to the multi-faceted filmmaker on his birth centenary –  Hiren B Dave – Ravindra Dave’s Hindi films between the early 1950s and the late ’60s include Nagina (1951), Agra Road (1957), Post Box 999 (1958), Satta Bazaar (1959), Dulha Dulhan (1964) and Raaz (1967). His films had numerous hits songs and were largely popular with audiences. His contributions extend to Gujarati cinema, which he revived with the blockbuster Jesal Toral in 1971. Dave also had an interest in carpentry – he would make chairs for domestic use – and was an amateur painter and sculptor too.

Nagina (1951), directed by Ravindra Dave. | Courtesy Subhash Chheda

‘Like Holi with the blood of Hindus and Muslims’Sumangala Damodaran – This song – Din Khoon Ke Hamare – about Jallianwala Bagh still resonates

Also read:

Some Nice Film and Dance References to the last Nawab of Awadh, Wajid Ali Shah (plus some other things) – Raj Kapoor has personified Nawab of Awadh for the song  Kate Na Kate Raina for Mera Naam Joker

Jeetendra – The Jack Of All Trades – From becoming Sandhya’s body double in Navrang (1959) at the age of 17 to doing a lead role in Mother (1999) at the age of 57, Jeetendra has come a long way. In between he travelled a distance of almost 200 films.

Jeetendra as Sandhya’s double in Are Jaare Natkhat – Navrang

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

Flashback series for the current moth informs why these films need to be watched again. We shall record these reasons in brief here:

The legend of Baiju Bawra: Was there ever a musician who could melt marble with his singular voice?Malini Nair – There’s more to the mystery than what was immortalised on screen – the early history of Hindustani music, largely an oral tradition, is a mishmash of legends, anecdotes and miracles.

April, 2019 episode of Fading Memories, Unforgettable Songs takes up. Hasrat Jaipuri – Beyond Shanker Jaikishan: 1956 -1957. This in continuation to the previous articles in 2017 and 2018 respectively wherein we had covered Hasrat Jaipuri’s songs for music directors beyond Shanker Jaikishan for 1950 to 1953 and from 1953 to 1955 respectively.

And, now commence the posts on other subjects with a SoY celebration of The Unified Theory of Fools on 1st April.

Stage Performances at College or School Festivals – The songs are either of chhed chhad type or rarely announce the love, the performer has, for his or her love interest. In all, majority of such songs are of celebration, songs with happy mood, etc. Rarely we do come across a melancholic song Here is one illustrative song_

B A, M A, Ph D – Adhikar (1954) – Asha Bhosle & Chorus  – Avinash Vyas – Prem Dhawan

Before size matters- When Hindi film songs were extra-long and all the better for itDevarsi Ghosh – The one with a lengthy prelude and numerous antaras that exercised the imagination of music composers, lyricists and filmmakers? … That time when Bollywood tunes stretched on for seven minutes and more, and no one complained… the eight-and-a-half minute Tum Jo Mil Gaye Ho from Chetan Anand’s Hanste Zakhm (1973) incorporates the sounds of rain, thunder and waves. Similarly, in Piya ToSe Naina Laage Re (Guide, 1965) Rosie (Waheeda Rehman) also signals her changing equation with the world. After four antaras and multiple costume changes, Rosie is a star hounded by fans.

व्याकरण, उच्चारण और उत्पीड़न (Grammar, Pronunciation and Persecution) – is an excellent treatise on the subject of deliberate or natural abuse of either grammar or pronunciation in the Hindi film songs. The songs presented in the post range from subtle to hitting-on-the face impact of such errors. Here is one illustration to enhance the point under discussion – Suno bairi balam sach bol re ‘ib’ kya hoga by Rajkumari from Bawre Nain (1950), lyrics Kedar Sharma, music Roshan – We don’t know whether Kedar Sharma meant to use ‘ib’ for ‘ab’ consciously, but it does enhance Geeta Bali’s impishness. HFGK writes it as ‘अब’ kya hoga. ‘Ib’ might have gone unnoticed.

In the Song Sketch series we have :

Ghar Aaja Ghir Aaye – Chhote Nawab – Clouded Craving – Lata Mangeshkar –Shailednra – R D Burman

Hothon Pe Beeti Baat Aayi Hai – Angoor – Moonlit Fib – Asha Bhosle – Gulzar – R D Burman

Ye Dil Deewana Hai Dil Toh Deewana Hai – Ishq Par Zor Nahi – Doting Ditty – Lata Mangeshkar, Mohammad Rafi – Anand Baxi – S D Burman

Hothon Se Chhoo Lo Tum – Prem Geet – Psalm Of Love –  Jagjit Singh – Indeevar – Jagjit Singh

Lasting Music Pieces in Films – Some of the finest music in films becomes emblazoned in the audience’s mind as any of the images. HQ Chowdhury, author of the recently republished Incomparable Sachin Dev Burman looks at a few of these lasting music pieces in cinema in the western world that have stood the test of time and are now part of film folklore. E.g.

Theme music is that of Dr. No.

the Lawrence Music – Theme music of Lawrence of Arabia

SoY has set the ball rolling for continuing the annual series of Best songs of year with an over view post Best songs of 1946: And the winners are?.

[I plan to commence our corresponding The Micro View of Best Songs this blog from the next month.]

Before we formally take up the end of the episode, we have a two-part post Mohd. Rafi & Manna Dey Songs- Part 1 and Part 2 dealing in details with the songs that Mohammad Rafi and Manna Dey have rendered together. I have picked two illustrative songs:

Dildaar Milenge Kahin Na Kahin Vatan Se Door (1968);  – Lala Sattar –  Farooq Qaiser .

Mehfil Mein Shama Chamki – Gunahon Ka Devta (1967) – Shankar Jaikishan – Hasrat Jaipuri.

Now we post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post.

Mere Sapno Ki Raani.. Tu Hi Tu Hi Mere Sapno Ki Raani – Shajehan (1946) – K L Saigal is the lead singer and Rafi joins in a chorus – Naushad – Majrooh Sultanpuri

Duniya Ki Nazar Hai Buri Zulfein Na Sawara Karo – Agre Road (1957) – With Geeta Dutt – Roshnan – Prem Dhawan

Main Jaan Gayi Tujhe Saiyan – With Shamshad Begum – Howrah Bridge (1958) – O P Nayyar – Hasrat Jaipuri

Jhin Chak Jhin Chak | Mohammed Rafi, Shamshad Begum – Lal Quilla (1961) – S N Tripathi – Bharat Vyas

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

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

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I Liked Music from films

The Micro View of Best Songs of 1947 : Female Solo Songs – Shamshad Begum

The solo songs of Shamshad Begum also have fairly large foot print in 1947. Here again, I have heard a very few songs earlier. Shamshad Begum solo songs that I listened here for the the first time are likeable enough. However, to a person who is initiated to the Hindi Film Music in ‘60s, these would need more repetitive hearing to appreciate the nuances of the songs.

The basis of classifying a song as ‘popular’ mainly rests on the fact of that I did listen to these songs on the radio in ‘60s – which was my sole contact with Hindi Film Songs in those days. The classification of ‘popular’ and ‘other’ (solo songs) categories, thus, necessarily reflect this limitation of my personal imbalanced knowledge.  ‘Jumka Gira Re’ finds the place under ‘popular’ category because I have heard the song several times in the recent started-to-listening- on-net years, as the song invariably comes for any discussion when the relative recent Mera Saya version comes up for any discussion. Both versions relate to the periods of totally different song composition styles, and hence not within the bounds of comparison on any count.

The songs for which I have not been able to locate the YT or digital liks also works out to so many that if YT links were indeed available, we would need to have split the solo songs of Shamshad Begum over two posts.

Popular solo songs

Ham Dard Ka Afasana Duniya Ko Suna Denge – Dard – Naushad Ali – Shakeel Badayuni

Ye Afsana Nahi Zalim Mere Dil Ki Haqeeqat Hai – Dard – Naushad Ali – Shakeel Badayuni

Jhumka Gira Re Baraili Ke Bazar Mein – Dekhojee – Tufail Faruqee – Wali Sahab

Other Solo Songs

Ga Kuchch Bawari Ga – But Tarash – Ghulam Haider –

Ay Falak Tu Hai Satane Ke Liye – But Tarash – Ghulam Haider –

Ay Falak Kab Tak Satata Jaega – But Tarash – Ghulam Haider –

Jisne Jalaya Ashiyaan Usko Salam Ho – Chheen Le Azadi – Hansraj Bahl – Pt Indra

Na Sata Na Sata Bairi Sapne Na Sata – Chheen Le Azadi – Hansraj Bahl – Pt Indra

Baalam Mohe La De Saajan Mohe La De Chunariya Hari – Dekhojee – Tufail Faruqee – Wali Sahab

Bansuriya Haye Toot Gayi Man Ki Wo Jo Geet Nahi Haye The Maine – Dekhojee- Tufail Faruqee – Wali Sahab

O Rasiya Tune Kahe Ko Nain Milaye – Dekhojee- Sabir Hussain – Wali Sahab

Anagana Bole Kaag Re Ujjada Man Ka Baag Re– Doli- Ghulam Muhammad –  Nazim Panipati

Tera Man Kahe Dole Main Jaan Gayee – Doli- Ghulam Muhammad –  Majrooh Sultanpuri

Kisi Deepak Ki Dhun Mein Bechara Jalata Hai Patanga Pyara – Doli- Ghulam Muhammad –  Majrooh Sultanpuri

Man Bhooli Kathayen Yad Na Kar, Phir Sawan  Ke Din Aayenge – Doosri Shadi – Govind Ram – Ishwar Chandra Kapoor

Ghat Par Ik Matka Ik Matki Dono Pyase Jaate Hai – Duniya Ek Sarai – Hans Raj Behl – Kedar Sharma

Chanda Ki Chandani Na Suhae To Kya Karein – Duniya Ek Sarai – Hans Raj Behl – Kedar Sharma

Panchhi Bhool Gaya Wo Gaana Bhhool Gaya Azad Hawaein – Ek Kadam – Prakash Nath Sharma – Avtar Visharad

O Raja Re Mohe Apni Bana Le Re – Leela – C Ramchandra – Qamar Jalalabadi

[Note: I had included this song under Solo Songs of Geeta Roy as well, because some references credit the song to her. However, HFGK has credited the song to Shamshad Begum.]

Zule Hiya Nache Naiya….Aaye Piya Ho Aaye Piya – Naiya – Anil Biswas

Hamein Jinse Pyar Unse Main Kya Kahun, Kya Kahun – Pahela Pyar – Premnath – Balam

Haye Re Ghir Ke Badal Aaye Jiya Ghabaraye – Pahela Pyar – Premnath – Ishwar Chandra Kapoor https://www.youtube.com/watch?v=35ld31NsOHg

Yeh Duniya Muhabbat Nibahana Na Jaane – Pati Seva – Gulshan Sufi – Wahid Quraishi

Do Nayano Ke Oat Mein More Pritam Ka Dera – Shikarpuri – Muhamad Shafi- A Shah Aziz

The songs for which I have not been able to locate the soft links:

  • Chhail Chhabili Masat Hawaein – Bhanwar – Khan Mastana –
  • Dukh Dard Ki Maari Hun – Bhanwar – Khan Mastana –
  • Mithi Mithi Loriya – Bhanwar – Khan Mastana –
  • Banka Chhaila Motorwa Uday Liye Jaay, Jiya Dol Raha – Bhookh – Anil Biswas – Dr. Safdar Aah
  • Balam Pardesiya Sajan Pardesiya – Dekhojee – Sabir Hussain – Wali Sahab
  • Ab Phir Se Phir Phir Se Yaad Aaye Kyun – Ek Kadam – Prakash Nath Sharma
  • Ek Kadam Aur Ek Kadam – Ek Kadam – Prakash Nath Sharma
  • Khelo Ji, Khelo Khelo Khelo Babu Ji O Raja – Intezar Ke Baad – Khan Aziz – Gafil Harnalvi
  • Nazariyon Se Dil Bhar Doongi Chhoone Nahin Dongi Shareer – Pahela Pyar – Premnath –
  • Balam
  • Maine Likh Likh Chiththhiyan  Dali Sajan Ko Han Han Balam Ko – Pati Seva – Gulshan Sufi – Wahid Quraishi
  • Beech Bhanwar Mori Naiya …Chhod Balam Pardes Ab Ghar Aa Jaa – Shikarpuri – Muhammad Shafi – A Shah ‘Aziz’
  • Tere Bagair Phir Koi Baat Meri Bani Nahi – Shikarpuri – Muhammad Shafi – A Shah ‘Aziz’

We will take up Micro View of Solo Songs of Rajkumari for the year 1947 in our next episode.