In terms of range of music directors, nature of songs and ranking on the commercial success, solo songs of Geeta Roy also seem to follow the pattern that of solo songs of Shamshad Begum seems to follow. However, Shamshad Begum was probably more established by 1948 and can be considered to be one of those female playback singers of vintage era who has a very firm footprint in the golden era as well.
However, before we draw any inference, let us first listen to the representative songs.
We have listened to the solo songs of 1948 of two of the other- Lata-Mangeshkar female playback singers – Suraiya and Geeta Roy. We will now listen to the third one – Shamshad Begum – who also spanned quite prominent presence into transition phase of the end of vintage era and the beginning of the golden era.
Kahe Koyal Shor Machaye Re, Mohe Apna Koi Yaad Aaye Re – Aag – Ram Ganguly – Bahzad Laukhanavi
Dil Toot Gaya Jee Chhoot Gaya Kismat Ne Mita Kar Rakh Diya – Aag – Ram Ganguly – Bahzad Laukhanavi
Na Aankhon Mein Aansoo Na Hothon Pe Haaye – Aag – Ram Ganguly – Bahzad Laukhanavi
More Aangan Balam Ka Murgha Bole – Actress – Shyam Sundar – Raja Mahendi Ali Khan
Shamshad Begum with 3G, i.e. music directors Ghulam Haider, Ghulam Mohammad and Pt. Govind Ram,is a tribute to her on her 98th birth anniversary. The previous articles on Shamshad Begum @ SoY are available @ the tag Shamshad Begum.
The bit about Parveen Babi that you won’t find in the UG Krishnamurti biography – An outtake from the graphic novel by Nicolas C Grey and James Farley imagines the actress’s encounters with the philosopher. – Depicted here are the panels, which were not used in the final publication, the authors imagine the moment when Babi became a Krishnamurti follower – Reproduced with permission from This Dog Barking: The Strange Story of UG Krishnamurti, Nicolas C Grey and James Farley, HarperCollins India.
archivist and ‘Celluloid Man’ PK Nair’s last wish was that his personal collection of books, journals and diaries be handed over the Film Heritage Foundation (FHF) to preserve after he passes on. Yesterday’s Films for Tomorrow was released recently in Mumbai to commemorate P K Nair’s 84th birthday.
Antara Nanda Mondalnotes that this book is a remembrance of a person who was obsessed with not just the stories that cinema told, but with all its facets — the form, function and the ephemera of the moving image.
After a successful career in the Indian Foreign Service and the United Nations, Pran Nevile turned to writing specializing in the study of Indian art and culture. His other books include Lahore – A sentimental Journey; The Raj Revisited; Love Stories from the Raj; Rare Glimpses of the Raj; Stories from the Raj – Sahibs, Memsahibs and Others; Beyond the Veil – Indian Women in the Raj and Marvels of Indian Painting: Rise and Demise of Company School.
In a conversation with Sundeep Pahwa in his Gurgaon home, Pran Nevile responds to a series of questions on K L Saigal drawn up by Peeyush Sharma and Sundeep Pahwa.
The April 2017 episode of Fading Memories, Unforgettable Songs was dedicated to Hasrat Jaipuri, recalling his songs for music directors other than Shanker Jaikishan. This post has covered songs from the beginning of his career till 1953.
Here are posts on other subjects as well:
Ten of my favourite ‘not-quite-duet’ songs are ‘technically duets’: not songs in which both singers play an equal part in making the song what it is, but in which the ratio is somewhat skewed or in which one singer only hummed, while the other did the singing. E.g. Phir aane lagaa yaad wohi (Yeh Dil Kisko Doon, 1963): Interestingly, Yeh Dil Kisko Doon featured not one, but two, songs that were sung primarily by a man but had a woman pitching in occasionally to add another dimension to the song. In Kitni haseen ho tum, Asha Bhonsle sings half a line here, half a line there while Rafi sings the rest of the song. In Phir aane lagaa yaad wohi, however, the female singer (in this case, Usha Khanna) has even less to sing: all she sings is three words, repeated at intervals through the song: Pyaar ka aalam, while Rafi sings the rest of the song. It works very well in this dreamy dream sequence.
We end our present episode with Dual Versions of the Same Song by Mohammad Rafi and Lata Mangeshkar – Sharada Iyer has presented 21 such songs with a small note for each song. I have picked up Mohammad Rafi’s version of Agar Bewafaa Tujhko Pehchaan Jaate…from an unheard film, Raat Ke Andere Mein (1969). The song is written and composed by Prem Dhawan
I trust you will always feel free to proffer your suggestions for making this series of posts more lively and informative….
Wait for the curtains to go up for a review of songs for the particular year @ Songs of Yore is more than an eager wait. It is preganat with more unknown songs now. Having covered songs of 1955, 1953, 1951, 1950 and 1949 in the previous years, SoY has now crossed the threshold well into the Vintage Era as it now ventures into ‘Best songs of 1948: And the winners are?’
As noted in the overview turnkey article, we now enter the period which has two quite distinct characteristics:
One, Lata Mangeshkar did sing over 40 songs of which you can count about ten memorable and a couple of all-time great songs, yet she was not the sole pole star, as she became from 1949 onwards. Therefore, dividing the female playback singers as Lata Mangehkar and ‘others’ as (has been) done for 1949, 1950 and 1951 would not be a true reflection of reality.
Secondly, the Vintage Era also means entering a period of more unknown than known, therefore, the year-wise review would now be more a discovery trip.
Musical landmarks: Like a golden Jubilee (Mela) and a silver Jubileen (Anokhi Ada) under the belt Naushad hasestablished his morchical position. His nearest rival C ramchandra has Nadiya Ke Paar and Kidkiin the year under review. Ghulam Hiader has presened his swan song on now the Indian soil – Shaheed. Raj Kapoor directs his maiden film Aag with Ram Ganguly as music director. Lata Mangeshkar has hardly any presence in these films.
Other important musical compositions are no less noteworthy nor have lost their charm. We will enlist them here –
Bharat Bhushna and Geeta Bali – as actors in Suhag Raat
Fact file and Trivia notes that five songs of Meena Kapoor for Anokha Pyar were recorded on Lata Mangeshkar; Leela Chitnis played mother for first time in Shaheed; Mohammad Rafi holds a falg pole in Watan Ki Rah Mein Watan Naujawan Shaheed Ho; Ameerbai Karnataki composed music for Shahnaz, once only in her career; Vidya Nath Seth sang firve songs for Rooplelka of which he composed one song too.
List Of Memorable Songs is a fairly representative list of films, music directors and known as well as less-known songs that were released in the year. I have re-compiled this list, under the titleMemorable Songs of 1948, by adding the relevant link to YT file.
For the year under review, Special songs also cover the songs which open a path of discovery on their own well as they have thir own personality. In this case too, I have brought these songs on the same page with List of Memorable Songs of 1948.
The stage is now set to commence our journey into the Micro View of the Songs of 1948. As the List of Memorable Songs and Special Songs have covered most of the well-known songs for the year, we will restrict our micro-view to in-depth listening of not-so-well-known songs. We will then combine our impressions of these songs with that we already have for the well-known ones to present our point of view in so far as
Best male playback singer
Best ‘other’ female playback singer
Best songs of Lata Mangeshkar
Best music director
I always have had a special inclination towards the duet songs. 1949 is the year which had a fairly large catch of the duets to listen to and quite a few have been in the all time favorites of not only my choice but probably of all listeners in general as well. As a result, I have moved along and have generously presented My Top choice duets.
Male – Female Duets
It is no surprise that Male Female duets dominate the overall choice among variants of the duets. However, the domination of duets of Mohammad Rafi and Mukesh is my limitation of taste and choice. In other words, these are the songs that I have been listening to far more frequently than the others. So my choice does reflect that bias.
The choice of selecting The Best from these has worked out to be more difficult than I had imagined. So I propose a work around solution. I have picked up one duet each from those of Mohammad Rafi, Mukesh and from the others.