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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: September 2020

(Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory 1960 – 1961

Hasrat Jaipuri (a.k.a. Iqbal Hussain) – B: 15-4-1922 | D: 17-9-1999- had his own distinctive   style, whether it was his Urdu or Hindi poetry of Hindi film lyrics. One of the basic corner stone of RK’s Shankar-Jaikishan- Shailendra Hasrat music team. Starting with Barsat (1949), the first break-up came when Shailendra passed away in 1966, Jaikishan’s death in 1971 is said to have so loosened the bond, that Shankar started to seeking collaboration with other lyricists as well.

Jaikishan (a.k.a. Jaikishan Dahyabhai Panchal) – B: 4 November 1929 | D: 12 September 1971] was considered to be more creative with  romantic tunes. Background scores were his forte. Jaikishan also had fair amount of training and exposure to music in his early years. His father was a musician to royalty in Gujarat.

SJ- Shailendra-HJ team is one of the most unique examples of four persons of very different temperaments working as a seamless team, complementing each other’s strengths and supplementing the weaknesses. The outcome was always an incredibly unique blending of four individual talents into most melodious, ever green, works of sheer brilliance.

Even as it is quite difficult to filter out Hasrat Jaipuri’s lyrics in Shankar Jaikishan composed songs that would not have been popular, I usually scan the titles of the songs and filter out the ones that does not immediately ring up in my memory. In this month of Jaikishan’s birth and Hasrat Jaipuri’s death, we have commenced remembering (Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory on this platform since 2017.Till now we have covered

1949 -1954 in 2017

1955 – 1957 in 2018

1958 – 1959 in 2019.

Presently, we will spread our net over the years 1960 and 1961. 1960 had 5 SJ films and 13 Hasrat Jaipuri songs, whereas 1961 has 6 films and 23 songs. Incidentally the songs that got filtered in this selection provides not only a very representative kaleidoscopic view of his style, but also present Shankar- Jaikishan’s knack of working out a popular song with due amount of experimentation. 1961 also is the year which had Junglee, which is considered to be game changer in Shankar Jaikishan’s approach to song compositions,

Itni Badi Mehfil Aur Ek Dil Kisko Du – Dil Apna Aur Preet Parayi (1960) – Asha Bhosle

The film had serious storyline, so in spite of having an ample sprinkle of some of the great songs, need to fit in an item song (which is how these songs are known today) must have been felt. SJ has come up with an innovative improvisation of Harry Belafonte’s  Banana Boat song

Bata De Meri Jaan ke Tere Dil Mein Kya AaiChalaak (UR) (1960s) – Mukesh

The film is an unreleased project that had Raj Kapoor and Madhubala in the lead roles. Madhubala is said to have gamely put in efforts to complete the film despite of her extremely aggravating health. The film ultimately had to shelved. The clip here is a version that Mukesh had rendered in a stage show at South Africa.

Tirchi Nazar Se Yun Na Dekh – Ek Phool Char Kaante (1960) – Mohammad Rafi

Here we have a mandatory Johnny Walker song. Rafi follows copybook mannerisms to suit Johnny Walker’s antics on the screen in the mukhada. SJ have cleverly weaved in a cat sound, too. Rafi is to render the first two lines of first stanzas is in a breathless singing to correspond with actors making a fast lap in the swimming pool. The camera has smartly moved away from Johnny Walker, who returns with his antics at the end of the stanza, with Rafi repeating the charm of mukhada with some more spices.

Ho Maine Pyaar Kiya, Haye Hay Kya Zulam Kiya – Jis Desh Mein Ganga Behti Hai (1960) – Lata Mangeshkar, chorus

It is said that when SJ-HJ-Shailendra team first heard the story idea, they could hardly see any room for Hindi film style songs in a dacoit-reform based story. However, Raj Kapoor’s showman instinct had more than enough scope for songs, which were accepted very well by the public. Raj Kapoor has very conveniently squeezed in a heroine- swimming scene vide this song, even her friends too joining in the bonus.

Dekho Ji Dekho Sun Lo Ye Baat, Jivan Mein Ek Baar Aana Singapore – Singapore (1960) – Lata Mangeshkar, chorus

Here we have title cum theme song from this film. The song is lip synced by Maria Menado, an Indonesia born actress (who played a Singaporean girl Maria in this movie) and some Singaporean extras.

Aside: The film had one more title song in Ye shahar badaa albelaa (Singer: Mukesh; Lyrics: Shailendra). However, since the titles were used as part of the song orchestration, the preceding song was also, perhaps, required!

Arre Tu Kahan Kho Gaya Balam Matwaraa Main Dhundhu Tujhe Kahan GaliyaN Aur Chaubara – Singapore (1960) – Lata Mangeshkar

The full scale participation of SJ and their orchestration team has made this mandatory Padmini dance song into a grand spectacle, with dholak as base rhythm instrument, A Dattu Theka slipped in very dexterously, with multi-instrument large scale orchestra in the interlude scores in the accompaniment.

The following three songs have been actually filmed as one sequence in the film!

Seeto Peeto Reeto…Jaan-e-Bahaar Assalaam – Jab Pyaar Kisi Se Hota Hai (1961) – Lata Mangeshkar

This dance song is thrown in the film as an item number. Hasrat Jaipuri chips in with Anokhe Bol in the first line to add spice to the songs.

This song was in fact a prequel to build the atmosphere for the song which was to follow.

Is Hirsoo Hawas Ki Duniya Mein – Jab Pyar Kisi Se Hota Hai (1961) – Lata Mangeshkar

A signature Sakhi – a two-line couplet, recited without any instrumentals support – from Hasrat Jaipuri has been given a very special dimension by the Lata Mangeshkar’s rendition to exactly rhyme with Asha Parekh’s expression, and even her diction.

Is Hirsoo Hawas Ki Duniya Mein
Armaan Badalte Dekhe Hai
Dhokha Hai Yaha Laalach Hai Yaha
Imaan Badalte Dekhe Hai

Daulat Ke Sunehre Jaadu Se
Ae Dil Tadapnaa Achhaa Hai
Chaandi Ke Khanakte Sikko Par
Insaan Badalte Dekhe Hai

The main song now takes the center stage.

Teri ZulfoN Se Judai To Nahi Mangi ThI, Qaid Mangi Thi Judai To Nahi Mangi Thi..- Jab Pyar Kisi Se Hota Hai (1961)  – Mohammad Rafi

The composition is noted in the annals of Hindi Film Music as one of the finest composition.

Anand Desai and Antara Nanda Mondal have presented the lyrical and musical nuances with meticulous details in  Love is… Claiming Rights: Teri Zulfon Se Judaai to Nahin Mangi Thi

Nain Tumhare Mazaedar O Janab-e-Ali – Junglee (1961) – Mukesh, Asha Bhosle

50s and 60s films ready-mix recipe always had a comedian song as a standard ingredient. Shankar Jaikishan have added color to the element by using Mukesh’s voice. Shashikala in a comedy role is sort of scoop.

Jana Tumhare Pyar Mein Shaitan Ban Gaya Hun – Sasural (1961) -Mukesh

The rustic innocence of Mukesh’s voice is matched by Mehmood’s credulity-mannerisms on the screen. Whether the whole experiment was conceived by the direction- music team by design or is enacted by Mehmood to synchronize with the way song is composed, is not known.

Aye Aasmaan Ke Rahi, Tu Hi Gavah Rahena…. Haye Sawan Ban Gaye Nain – Karorepati (1961) – Asha Bhosle

SJ again comes up with a very successful experiment of using Asha Bhosle’s voice for a poignant song. It should be interesting to know what factors will have moved SJ to this decision, since they are normally considered to be die-hard users of Lata Mangeshkar voice for such songs. Hasrat Jaipuri also shows his mantle as master of al types of moods.

Kabul Ki Mein Naar, Meri Aankhein Rasili Katar – Karorepati (1961) – Kishore Kumar, Geeta Dutt

SJ have used a very smart improvisation of Gujarati folk dance rhythm – evidenced in more clear way during the interlude pieces – in this Pathani mood song. Use of Geeta Dutt is also a rare occasion in SJ songs.

Suno Bhai Humne Peeli Hai – Roop Ki Rani Choron Ka Raja (1961) – Talat Mahmood

It is interesting to note that the version used in the film has the word “suno bhai hamne PAA li hai thhodi”, whereas the original sentence of the song was “suno bhai hamne PEE li hai thodi”, on the objection by the Censors. Talat Mahmood would probably have not sounded drunk ieven if he really was. We do not have any authentic information on how Mukesh sounded drunk when he was fully drunk in the company of Raj Kapoor, but his songs sounded as pious as his sheer romantic songs. K L Saigal would come heavy with a few pegs for his shootings, but his dialogue delivery of song diction never hinted even a trace of that heavy dose of Whisky!.

Aiga Aiga Ye Kya Ho Gaya – Boy Friend(1961) – Mohammad Rafi, Aarti Mukherjee

Hasrat Jaipuri has very deftly weaved in Marathi words from the scene preceding the song, wherein Dev Anand collides with a (Marathi) Bhajiwali (the vegetable vendor)

And of course, SJ are at their experimentative mood in using voice of Arti Mukherjee to partner Mohammad Rafi in this duet in these days of Lata – Rafi tiff over royalty issue. Incidentally, it was Jaikishan who played the role of mediator to solve the difference.

Aside trivia: Madhubala is her usual naughty jesting self. She ought have trade-marked her these mannerisms. She has already tested these mannerisms in Achhchhaa Ji Main Haari Chalo Maan Jaao (Kala Pani , 1958). And, yes Dev Ananad too seems to be veteran of facing these jests on the screen, having tested at the hands of Kalpana Kartik in Aa Ja Panchhi Akela Hai (Nau Do Gyarahaa, 1957)!

Ab Char Dinon Ki Chutti Hai – Aas Ka Panchi (1961) – Mohammad Rafi, chorus

Shankar Jaikishan have used Subir Sen and Mukesh also as Rajendra Kumar’s playback in Aas Ka Panchhi. This is the only song they have brought in Mohammad Rafi, and with what a telling effect….

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

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

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

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – October, 2019

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

Lata Mangeshkar’s birthday has had a very extensive coverage this moth. We have picked up the representative articles here:

The Mangeshkar siblings – #Meena, #Lata, #Hridaynath, #Asha and #Usha with their mother #Shevanti.

We also poignantly take note of passing away of Viju Khote –

Remembering Kaalia – Following the success of Sholay, Viju Khote became a regular in Hindi films. Viju Khote is also remembered for his stint on TV, with Zabaan Sambhal Ke. He passed away on 30-9-2019, at the age of 77, due to multiple organ failure in his Mumbai home.

We pick up other tributes and memories:

SD Burman: ‘The Courage of His Convictions’ – Moti Lalwani  –

Raah Bani Khud Manzil – The Lingering Effect of Hemant Kumar Part 1  explores the talent and work of Hemant Kumar and Part 2 explores some of his compositions of merit and his opus as a music director in Hindi films.-  His music spelt class and showcased quality. His deep, resonant, sonorous and haunting voice cast a spell on his listeners. Vasanti Limaye pays a tribute to Hemant Kumar, singer and composer.

“Maajhi Naiya Dhoondhe Kinara” – Yunus Parvez was a familiar face in Hindi cinema over three decades from 1970s to 1990s. In stark contrast to his screen image, Yunus Parvez was a highly educated and extremely intelligent personality who was also active for a short period in the field of politics.

Shammi Kapoor: The Charisma of the Original Dancing HeroPeeyush Sharma– Revelling in the song, its emotion, the fine movements of the orchestra, the feelings that the lyrics carry, the message, the rhythm and gelling with it in celebration with complete physicality was what Shammi Kapoor was all about. For example –

Tasveerein banti hain kirnein-si chhanti hain  (Jeevan Jyoti, 1953) SD Burman/ Sahir/ Asha and Shammi Kapoor(for the last line).

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

Before Walt Disney, There Was Lotte Reiniger and the World’s First Animated Feature – The oldest surviving animated feature was not made by Walt Disney, but by a German puppeteer named Lotte Reiniger who escaped Nazi persecution to move to London and make adverts for the British Post Office. Her film, The Adventures of Prince Achmed (1926), was a creative and technical masterstroke that would have a huge influence on the generation of animators that followed, including those working in the United States.

October, 2019 episode of Fading Memories, Unforgettable Songs takes up (Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory : 1958 – 1959. This is in continuation to the series from the previous episodes which had listed some of the song from 1949 to 1954 and 1955 to 1957.

And, now commence the posts on other subjects.

Hato Kaahe Ko Jhoothi – Manzil – All That Fuss narrates the bitter sweet bickering and all that fuss about loving someone else and giving all the attention to that someone else.

The ‘Professional’ Songs are the songs that describe one’s profession or occupation. The list mandates stage performances and audio clips not to be includes in the post.

‘Saaransh’ revisited: ‘The ‘watershed’ that set Anupam Kher on the road to success – Sanjeev Kumar was almost cast as BV Pradhan in Mahesh Bhatt’s movie, Anupam Kher  recalls in recently published autobiography Lessons Life Taught Me, Unknowingly.

Shabana Azmi: Playing the Formidable Rukmini Bai in Mandi – From smiling chutzpah to high power kinetic outbursts, Shabana Azmi makes the formidable character of Rukmini Bai come alive in Shyam Benegal’s Mandi. Bubla Basu explores Shabana Azmi’s unbeatable oomph in this acclaimed film.

Following the overview article, Best songs of 1946: And the winners are?, we have taken up micro view of Duet Songs for 1946  We have covered Male- Female duets this month in four episodes – those of Mohammad Rafi, G M Durrani, Mukesh, Chitalkar, Ashiok Kumar, Surendra and Other male Singers in Part 1 and Part 2.. We plan to take up female-female duests and Traiads, Triads + in the last episode of this month.

To end the present post with a few duet songs of Mohammad Rafi with Lata Mangeshkar, each one of which basically has a link with the topics discussed in the present post, we have picked up:.

Dekho Rutha Na Karo, Bat Dil Ki Suno – Tere Ghar Ke Samne (1963) – S D Burman – Hasrat Jaipuri

Tum Lakh Chuupana Chahoge – Singapore (1960) – Shankar Jaikishan – Hasrat Jaipuri

Tumhare Bin Guzare Hai – Atmaram (1979) – Shankar Jaikishan – Vishweshar Sharma

Luska Luska Luska Lui Lui Sa….Tu Mera Copyright, Main Tera Copyright – Shararat (1959) – Shankar Jaikishan – Shailendra

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

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

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: October 2019

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

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

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

Asides:

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

Aurat (1953)

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

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

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

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

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

Ye Duniya Banai Hai Kis Berahem Ne – Lata Mangeshkar

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

Naya Ghar (1953)

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

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

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

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

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

Patita (1953)

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

Kisi Ne Apna Banake Mujhko Muskurana Shikha Diya– Lata Mangeshkar

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

Mitti Se Khelte Ho Baar Baar Kis Liye – Lata Mangeshkar

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

Shikast (1953)

 

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

Hum To Hai Kathputhli Kaath Ke Hey Ram – Hemant Kumar

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

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

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

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

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

Gulshan Mein Jal Raha Hai  Ulfat Ka Ashiyana  – Mohamamd Rafi

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

So too ends our episode with a Mohammad Rafi song.

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

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

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

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – September, 2019

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

अमिताभ बच्चनः ‘एंग्री यंग मैन’ से दादा साहेब फ़ाल्के पुरस्कार तक – Mihir Pandya recounts how Amitabh countered negative factors around him to create and created a dominant space for himself that has brought his career to this miles stone.

Why actor-producer Devika Rani was truly the First Lady of Indian cinemaAlaka Sahani – Actor, star, producer, studio boss. Devika Rani walked a path that few women in Indian cinema have managed to. As a new play on the pioneer gets ready to tour, a look back at her journey.

Devika Rani with Najam-ul-Hussain in Jawani Ki Hawa. (Photo: Wirsching Foundation)

We pick up other tributes and memories:

Asha Bhosle and the Five Elements that balance her struggles, and later her career: Earth (Ab Ke Baras Bhej Bhaiya Ko Paarti), Fire (Ye Kya Kar Dala Tune Dil Tera Ho Gaya), Water (Do Boonden Swan Ki, Ek Sagar Ki Chhip Mein Tapake ..), Air (Aage Bhi Jaane Na Tu..), Ether (Khaali Haath Shaam Aayi Thi ..)

Hans Jhakhar takes up two vital facets of the Ravi saga on SoY with Ravi and Asha Bhosle: A class combination and Shakeel Badayuni: Revitalising bond with Ravi

Khayyam and Asha Bhosle is the selection of Asha Bhosle’s songs composed by Khayyam. We have taken one song here to get the feel of the songs presented in the post:

Taaron Se Ankhiyaan Milaoon Main – Dhobi Doctor (1954) – Lyrics – Majrooh Sultanpuri

Shailendra’s Teesri Kasam: Sapne Jagaa Ke Tune Kaahe Ko De Di JudaaiTeesri Kasam was made in another age and time. But more than 50 years after it briefly lit up the screen before it was yanked off the majestic Apsara Cinema of Bombay, “the finest human document written on celluloid”— as one viewer describes it— continues to live in the heart of every single viewer. Ratnottama Sengupta pays a tribute to the man behind this ‘love-lyric on celluloid’ – Kaviraj Shailendra, with some untold stories about the making of the classic.

Mukesh: A Different Romance in the Voice – Celebrating the uniqueness that was Mukesh – In this article, Monika Kar does not even attempt to list all of Mukesh’s songs that have made an impression, for there are way too many; it simply celebrates this singer for being who he was with sheer sincerity and goodness resonating in his voice.

वर्ल्ड गिटार डेः गिटार पर सुपरहिट धुन छेड़ने वाले वो सितारे जो गुमनामी में खो जाते हैं – Vandana profiles the unsung masters who played guitars in the Hindi film song and helped create some of the most popular songs.

The legendary actor Balraj Sahni as remembered by his sonAlaka Sahani – In a new biography of actor Balraj Sahni, son Parikshat recounts memories of his father’s off-screen life and the troubled yet loving relationship they shared.

The Maestros Called Laxmikant Pyarelal – The first song for which LP played together in the orchestra was a Marathi song – Tinhi sanja sakhya milaalya!! It was after that they became assistants to legendary composers like S D Burman and Kalyan ji Anand ji.

No, I Did Not Forget Noor Jehan’s Birthday! – For those who do not know about the series on this blog – or those who know but would like to look at it again – may please go to last year’s post, which includes links that will take you to prior Noor Jehan posts (including the post from 2015 that includes links to all the others going back to 2009).

Legendary Hindi film composer Usha Khanna shares her life’s journey through music at an event held on 21-9-2019 at Chowdiah Memorial Hall, Bengaluru, reports Shilpa Sebastian R

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

The Silent Tributes which became benchmarks in the Hindi film music and no they are not merely copied or inspired, they are tributes in the real sense. E.g.  Bimal Roy filmed a boy sitting on a buffalo while Sadhana sings O Sajana Barakha Bahar Aaye. Gulzar pays tribute Bimal Roy by depicting boy playing flute sitting on the buffalo while the sisters in Namkeen sing – Aaki chali baaki chali

September, 2019 episode of Fading Memories, Unforgettable Songs takes up (Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory : 1958 – 1959. This is in continuation to the series from the previous episodes which had listed some of the song from 1949 to 1954 and 1955 to 1957.

And, now commence the posts on other subjects.

A Paen on Piano, like Aap Ki Haseeb Rukh Pe Aaj Naya Noor Hain or Dheere Dheere Machal Aye Dil-e-Bequrar and so on.

Music composer Vanraj Bhatia claims to be penniless, struggles amid hearing and memory loss

Only 29 of 1,338 Indian silent films have survived. One man is doggedly telling the story of the era – Who knows what’s out there, says Virchand Dharamsey, the writer of the authoritative filmography of the Indian silent film period between 1895 and the 1930s.

Khaike Paan Banaras – Don – The Banaras Paan Effect –  Archana Chauhan notes that Tamil remake of ‘Don’, Billa (1980) has Rajnikant taking up the dance steps and the dress to match with that of Amitabh

‘Tawaifs’ of Awadh: The first women of Hindi cinemaShivani Bhasin  – These highly skilled courtesans sang, danced, wrote poetry, and were the purveyors of all that was considered good taste and high fashion.

Other cinemas, other cineastes: on Namrata Joshi’s Reel India is a very wide-ranging book, chronicling of magnificent obsessions – he obsessions of people who live outside the cinematic mainstream, but engage with films in myriad ways, not seeking monetary benefit but doing things because they are compelled to; because cinema is so central to who they are.

Window Romancing With Dev Anand – Amongst all his ways to win his lady love or sing a song, his most favourite style must have been window romancing. So many of his songs are around the doors, windows or balconies crooning soft lyrics in your ears. The takes a glimpse of few such songs and window romance with Dev Anand, e.g. Aise To Na Dekho Ke Hamse Nasha Ho Jaaye – Teen Deviyan (1965) – S D Burman – Majrooh Sultanpuri

The Romantic Rain Songs lists the rain songs of 1990s.

Nothing but melody presents a playlist of songs from the 50s and 60s that do not have any percussion instrument at all

Following the overview article, Best songs of 1946: And the winners are?, we had taken up micro view of Female Solo Songs for 1946  and have covered Suraiya , Shamshad Begum, Part 1 and  Part II, Amirbai Karanataki, Zohrabai Ambalewali, Mohantara Talpade and Rahkumari, Hamida Banu, Zeenat Begum, Noor Jehan Khursheed and Kanan Devi, Naseem Akhtar and Paro Devi, and other female singers, viz. Dilshad Begum, Kalyani Das,  Meena Kapoor, Neena ( Sitara Kanpuri), Beenapani Mukherjee, Susheela Rani, Jayshree,  Parul Ghosh, Shanta Apte, Saraswati Rane, Lalita Deulkar,  Anima Dasgupta, Shobha, Jyoti, Radharani, Iqbal Bano (Begum?), Snehprabha Pradhan, Baby Anu, Baby Mumtaz, Geeta Roy and Lata Mangeshkar. We have then concluded the Micro View of Female Solo Songs for 1946.

To end the present 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:.

Ye Jhulfein Jadoo Sa Kar Rahi Hai, Tauba Tauba – Unreleased song – with Lata Mangeshkar

Abhi Kamseen Ho Nadaan Ho Jaane Jaana – Aaya Toofan (1964) – Laxmikant Pyarelal – Asad Bhopali

Shola Ulfat Ka Bhadaka De Mere Dil Mein Aag Laga De – Aurat (1967) – with Asha Bhosle – Ravi- Shakeel Badayuni

Jaane Kahan Gaye Tum.. Bechain Hai Nazare  – Aaja Sanam (1975) – Usha Khanna – M K Javed

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.

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : September, 2019

(Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory 1958 – 1959

September is the month of death anniversaries of Jaikishan (Dahyabhai Panchal) [4 November, 1929 – 12 September 1971) and Hasrat Jaipuri, a.k.a. Iqbal Hussian, [15 April, 1922 – 17 September, 1999].   Hasrat Jaipuri- Shailendra and Shankar-Jaikishan formed a seamless, one the most enduring, creative and profusely productive teams in the history of Hindi Film industry. Usually, the whole team would be associated with story of the film and would choose the who would compose situation for the given situation on the basis of who felt more comfortable with situation of the song.

However, there was a school of the then critics / journalists / writers who strongly accepted a thumb rule to identify the composer of a Shankar–Jaikishan song is based on the song’s lyricist – Shailendra wrote lyrics for Shankar’s tunes and Hasrat Jaipuri penned Jaikishan’s compositions.

We have based our annual series of articles that bring the songs written by Hasrat Jaipuri and, in all possibilities, composed by (Shankar) Jaikishan. Like most of the SJ-composed songs, till, the passing away of Shailendra, most of the songs Hasrat Jaipuri wrote for (Shankar) Jaikishan were well-known then, but some may be receding from our memories as well. Till now we have covered such of (S)J-HJ songs from 1949 to 1954 and 1955 to 1957. Presently, we will take up songs from the films released in 1958 and 1959.

1958

1958 has only two films wherein Shankar Jaikishan have composed the music. Here too, Hasrat Jaipuri’s share is even markedly smaller. And, it also so happens that these songs have been (only) Lata Mangeshkar. As such, within the scope of our article, we have picked up two of the total three songs from Baaghi Sipahi and, the only, one available from Yahudi.

Sharab-e-Ishq Ke Aage Maja Kya Kadwe Paani Ka….Muskurati Zindagi Ko Chhhod Ke Na Ja – Baaghi Sipahi (1958) – Lata Mangeshkar

Hasrat Jaipuri pens the song with his, by now known as unique style, of presenting a couplet in the prelude, to which Jaikishan supports with a very innovative orchestration piece. The song is set to quite a difficult tune, with varying rhythm.

Dil Laganewale Mat Sun Meri Kahani  Baaghi Sipahi (1958) – Lata Mangeshkar

On the screen, the song is shown being rendered by a professional courtesan singer, but the emotions of the song seem to reflect the state of the Madhubala’s heart. Lata Mangeshkar very soulfully renders the pathos of the song.

Aansoo Ki Aad Leke Teri Yaad Aayi – Yahudi (1958) – Lata Mangeshkar

This is the only song that Hasrat Jaipuri has penned in this film. It can also be said to be one of the least remembered song of the film. The song plays on a dholak-based rhythm and has a very mid-east-oriented interlude orchestration. Again, not a very easy-to-sing song.

1959

1959 has Shankar-Jaikishan’s the then normal average number of films – seven – in the year, and each one had almost all songs that are well remembered even today. The proportion of Hasrat Jaipuri’s songs is again a very balance one and we have a fairly wider base of choice of songs that have been rendered by singers other than other than Lata Mangeshkar. Our catch is so wide and big that we had to drop quite a few songs that were, and are, more remembered.

Ban Ke Panchhi Gaaye Pyar Ka Tarana… Mil Jaaye Agar Aaj Koi Saathi Mastana – Anadi (1959)  –  Lata Mangeshkar and  chorus

Here we have very light and playful song, with matching vivacious tune, interlude orchestration,  lyrics and Lata Mangeshkar’s lilting rendering to Nutan’s very near-to-perfection lip-synching on the screen.

Hasrat Jaipuri has also written a very romantic Mukesh – Lata Mangeshkar duet – Wo Chand Kila Wo Taare Hanse – in the film.

Jaoon Kahan Bata Aye Dil Duniya Badi Hai Sangdil – Chhoti Bahen(1959) – Mukesh

If one looks at the song from the perspective of singer-songwriter and music director (Respectively Mukesh, Hasrat Jaipuri and Shankar Jaikishan), then song fits into the very well-known, sweet, pattern of a pathos song. The unusual part is that Raheman sings the song, somewhat, in penance for his grey-shade character in the film.

O Kali Anaar Ki Na Itna Satao– Chhoti Bahen (1959) – Manna Dey, Asha Bhosle

Here we have a non-normal combination of Manna Dey and Asha Bhosle singing a duet for Shankar Jaikishan, made rarer by it being filmed on Raheman and Shyama on the screen, whose characters were to turn grayish later in the film.

Mein Rangeela Pyaar Ka Rahi Door Meri Manzil – Chhoti Bahen (1959)  – Subir Sen, Lata Mangeshkar

Shankar Jaikishan boldly experiments using Subir Sen’s voice for a playfully romantic song, that too for Mahemood on the screen.

Kahan Hai Kahan Hai Kanhaiya – Kanhaiya (1959) – Lata Mangeshkar

Here too Hasrat Jaipuri gets two songs to write, both being played back by Lata Mangeshkar. The present song is a classic-Hindi-Film-pathos song whereas the other one – O Kanhaiya O Kanhaiya – is a very romantic dream-sequence song, with a Shankar Jaikishan’s signature extended prelude. Both the songs have used ensemble of flutes very creatively in the main orchestration as well as in the counter-melody orchestration.

Dekh Aasmaan Mein Chand Muskaye – Shararat (1959) -(Kishore, Geeta Dutt

The song has a rare Shankar Jaikishan- Geeta Dutt combination. Shankar Jaikishan has used their very fond waltz tune, as well as has creatively inserted innovation in the song composition – this time that of switching over to dholak rhythm in the beginning of the stanza before ending the with the original western rhythm instruments.

Tune Mera Dil Liya, Teri BaatoN Ne Jadu Kiya, Haye Na Jane Kya Kar Diya, Ye Tere Pyar Ki Jeet Hai – Shararat (1959) – Kishore Kumar, Geeta Dutt

Shankar Jaikishan has brought up the memory of vintage Geeta Dutt in this song.

Dekha Babu Chhed Ka Maza Mitha Mitha Dard De Gaya – Shararat (1959) – Lata Mangeshkar

The song is a the then popular genre – a street song wherein the performer echoes the feelings of the silent protagonist.

Tera Jalva Jisne Dekha Woh Tera Ho Gaya – Ujala (1959) – Lata Mangeshkar

We have to toss for the choice of selecting the songs – the present one or Ho Mora Nadaan Balma – for a detailed video view today. Both are a very romantic mischief-oriented dholak-rhythm based signature (Shankar)Jaikishan dance songs. Well, the coin has ruled in favor of the present song.

We now have natural choices for Mohammad Rafi songs, which also seamlessly syncs with our tradition of ending each episode with relevant Rafi song(s).

She Ne Khela He Se Aaj Cricket Match, Ek Nazar Mein Dil Bechara Ho Gaya LBW – Love Marriage (1959) –  Mohammad Rafi, chorus

Here we have a song which is played on a cricket ground, uses a cricketing dress code for (only) Dev Anand and  some well-known cricket terms – to in fact play the then popular genre of pre-courtship eve-teasing.

Lo KhuN Se KhuN Juda Hua – Main Nashe Mein Hoon (1959) – Mohammad Rafi

Hasrat Jaipuri – (Shankar)Jaikishan have several excellent Mohammad Rafi scores in their account. The present song – being a background song – adds to the wide range of such songs.

Our journey of Hasrat Jaipuri’s songs, composed by (Shankar)Jaikishan continues…..

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

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

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music, June 2019

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

We will open the present post with the birthday celebration of SoY –  Songs of Yore completes nine years by sharing some exceptional songs the author came across in the year that was. Here is the one for the quick view –

Diwana Kah Ke Logon Ne Aksar Mujhe Bulaya HaiMajboor (1964) – Mahendra Kapoor and Lata Mangeshkar – Kalyanji-Anandji – Anand Bakhshi,

Google Doodle on 87th birthday of Amrish Puri

Memories of Mogambo: Little-Known Stories About the Legendary Amrish Puri – by Ananya Barua – From a lecherous villain to a sphinx-faced guardian of morality, Amrish Puri’s ability to intimidate remains unmatched in Bollywood. But did you know that the talented thespian once worked as an insurance agent?

And now we pick up tributes and memories:

Girish Karnad –

    • The untold story of Girish Karnad – Girish Karnad did not create a spectacle out of his death. He had scripted it that way. …This was not totally unexpected. It was in keeping with Karnad’s unsentimental public persona, and a certain rational, pragmatic pursuance of life, all through its eight decades.
(Photo: India Today Group/Getty Images)
    • Girish Karnad, the Renaissance man of Indian culture, dies at 81Salil Tripathi – A playwright, actor, aesthete and classicist, Karnad delved into tradition to understand and explain modernity – The characters Karnad played were progressive, not radical; some of those characters were morally flawed and compromised. Life was not about absolutes; Karnad understood that as human condition. But his commitment to integrity was absolute.
    • Storyteller With A Cause – Girish Karnad – While Girish Karnard’s capability as an actor is well acknowledged, he also emerged as a very impactful storyteller through his art of combining underlined message with an alluring storyline and simultaneously writing award winning books too. Kalpana Swamy recounts one such unusual work of his is 1992 multiple awards winning film Cheluvi, starring Sonali Kulkarni

Actress-singer Ruma Guha Thakurta passes away on 3rd June,2019 at age of 84. After making her silver screen debut with Hindi film Jwar Bhata in 1944, Ruma Guha Thakurta, a niece of filmmaker Satyajit Ray, went on to star in Bengali movies. Apart from acting, Ruma was a popular playback singer too.

70 years of Shankar-JaikishnanRajgopal Nidamboor – Melody was S-J’s complete existence…The power of their melodies evokes a distinctive feeling, replete with that perpetual velvety touch…There is that innate sense of transcendent particle running through their compositions.

Ilaiyaraaja: Music is more like a spiritual seeking that takes one to unknown levelsS Subhakeerthana – Ilaiyaraaja, who turns 76, gets talking about his early years as a music director and why his tunes have a unique space in the hearts of both commoners and connoisseurs.

Ten of my favourite Rajendra Krishan songs are presented to mark the birth centenary of the lyricist.

Remembering a Forgotten Singer! – Lalita Deulkar – Her voice had the typical tone of vintage era and it was eloquent. Her Hindi pronunciation was also good, if we consider her pure Marathi background and that she had not taken much formal training in music. Her voice could express any emotion very easily and very effectively. If she had continued her singing career, we would have got more opportunities to listen to her songs of different genres.

Hemant Kumar’s duets with ‘other’ singers is a tribute to mark 99th birth anniversary of the music director -singer – While Lata Mangeshkar personified melody and sweetness with Hemant Kumar, the ‘other’ singers brought their own unique verve and joy, and combining with his deep melodious voice created a different kind of charming effect. Illustrative songs from this list:

Ye Mast Nazar Shokh Ada Kiske Liye Hai – Bandi (1957) – with Geeta Dutt – Hemant Kumar – Prem Dhawan

Ye  Pyar Bhara Dil Hai Mohabbat Ka Khazana  – Yahudi Ki Beti (1956) – with Asha Bhosle – Kamal Mitra – Kaifi Azmi

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

The Super Hits and the Forgotten Gems: 50 Years of Bappi Lahiri – One tends to overlook the many achievements of the composer Bappi Lahiri, overshadowed as they have been by his ‘Tathaiyya, tathaiyya’ brand of cacophony, his infamous penchant for gold jewellery and his heavily accented Bengali voice. Shantanu Ray Chaudhuri revisits the top 5 bona fide hits (of the many of Bappi Lahiri’s illustrious career) and 5 of the best songs that people have forgotten he had composed.

“Mai Jaan Gayi Tujhe Saiyan”- Kammo, whose first name is Kamarjehan . She got her first chance as solo dancer in Sindabd The Sailor (1952) song Jis Roz Se Hamne Tera Deedar Kiya (Music: Chitragupta- Lyrics: Shyam Hindi). She went on to work for over 60 films in her two decades long career.

RIP, Queen Harish (the World-Famous Rajasthani Folk Artist and “Dancing, Whirling Desert Drag Queen” Who Also Posted Comments on This Blog Close to Twelve Years Ago)He was an enhancer of life; investing his heart and soul into every move,” says writer and historian William Dalrymple, who loved watching Queen Harish perform.

June, 2019 episode of Fading Memories, Unforgettable Songs takes up. Dattaram – Haal-e-Dil Hamara Jaane Na.. Ye Bewafa Zamana.  This in continuation to the previous article in 2018 wherein we had covered Dattaram’s songs from 1957 to 1959

And, now commence the posts on other subjects.

The Navketan Ladies – If Dev Anand portrayed characters were mostly those on the fringes of urban society, intrinsically decent, but flawed, morally grey, human, the leading ladies of Navketan were fully fleshed-out characters; they might be the keepers of his characters’ conscience or the beacon of hope, but they got to live finely nuanced lives on screen. Nearly all the heroines in his films were strong, independent women.

The Classical Music Giants contribute to Hindi Cinema – Part I deals with the composers, who originally were related to classical music as a popular instrumentalists or classical vocalist and Part II looks at the contribution of classical vocalists to Hindi films, as a playback singer.

Ten of my favourite tree songs lists the songs with two primary conditions – the tree should be named in the first two lines, and, one song from one species of the tree only. Here are a couple of illustrative songs:

We had covered first and second part of the three-part dissertation  Chorus Songs in the Hindi Films of Yore. The third part concludes the three-part thesis on chorus songs with the Golden Decade of the 1950s.

Ab Ke Burmans Sawan Mein – The Burmonsoon Songs – Sudheer Kulkarni recollects monsoon songs of SD-RD father son duo.

Flashback series:

    • why you should watch Basu Chatterjee’s Sara Akash – Because it helped bring in a New Wave. And shows a glimpse of what the “Middle Cinema” could have looked like, for bringing formal inventiveness to a story that could have been made into a sweet little tele-drama, because it’s an adaptation of an important Hindi novel – and for a look at the inner life of a young man who has no idea what he wants, for Mani Kaul as an actor – playing almost a dialogue-less role of the elder brother.
    • Reasons to watch the anti-war film Aman (apart from the Bertrand Russell cameo) – Because it’s one of the oddest films of its time, combining surface gloss with a serious, compassionate look at the horrors of nuclear war, For a (possible) glimpse of the teenage Naseeruddin Shah – one of the extras walking alongside a large funeral procession at the end, if only one could spot him!

The continuing story of Kamini Kaushal  Uday Bhatia The 92-year-old actor appears in a small part in ‘Kabir Singh’

Bicycles and Bollywood Songs – Part 1 and Part 2Aditi Thakur relives the delights of bicycle rides in Hindi film songs, like, Kaise Bheege Bheege – Apna Ghar (1960) – Mohammad Rafi, Suman Kalyanpur – Ravi – Prem Dhawan

Following the overview article, Best songs of 1946: And the winners are?. , we have also rolled out The Micro View of Best Songs of 1946, beginning with Male Solo songs. Having covered Mohammad Rafi, Mukesh, Manna Dey, G M Durrani and Ashok Kumar till now, presently we have taken up solo songs of K L Saigal and then wound up the micro view of male solo songs with MY top Male solo songs. Best Songs of 1946 – Wrap up 1 has gone on to select K L Saigal as the Best Male Singers for 1946 for his three songs Gham diye mustaqil/ Jab dil hi toot gaya/ Ae dil-e-beqaraar jhoom.  I have collected all the posts for Male solo songs @ Male Solo Songs  for ease of reading and downloading.We have then commenced micro view of Female Solo Songs for 1946 with Suraiya and Shamshad Begum, Part 1.

To end the present 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:.

More Raja Ho.. Le Chal Nadiya Ke Par – Nadiya Ke Par (1948) – C Ramchandra –

Masoom Chehra Ye Qatil Adayein Ke Bemot Mare Gaye Ham Bechare – Dil Tera Diwane (1962) – With Lata Mangeshkar -Shankar Jaikishan – Hasrat Jaipuri

Mere Junglee Kabutar – Ek Kali Muskayi (1968) Madan Mohan – Rajendra Krishna

Iss Vishal Dharati Par Chahe Rahein Kahin Ham Sathi – Love in Canada (1979) – with Hemant Kumar  – Hemant Kumar – Yogesh

Congress Ko Vote Do – NFS – Shankar Jaikishan – Kazi Saleem

This song was recorded for All India Congress Committee, New Delhi.

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.

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: October, 2018

Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory 1949 – 1953

We are now running a series on Shailendra’s songs with other than Shanker Jaikishan songs, similarly the songs of Hasrat Jaipuri with other music directors too. We have also taken up Shamker-Jaikishan’s songs written by Hasrat Jaipuri, which essentially focus on Jaikishan’s compositions. So the only one person who does not seem to have received his due was Shankar (Singh Raghuvanshi) October is the month of Shanker’s birthday (25 October 1922 — 26 April 1987). So, we cannot have a better occasion to institute a series on Shanker(-Jaikishan)’s compositions that have been penned by Shailendra.

Top: Left Shanker, Right – Jaikishan;
Bottom: From L to R: Hasrat, Shailendra, Dattaram, Sebastian

Shanker-Jaikishan debuted with Raj Kapoor’s Barsaat in 1949. By the time fate would bring in Shailendra in this team, all except two songs were ready. Shailendra is said to have first written, fatefully or as his wont, meaningfully

Barsat Mein… Sajan Ham Se Mile Tum.. Barsat Mein – Lata Mangeshkar

The other one that Shailendra wrote was

Patli Kamar Hai Tirchhi Nazar Hai – Mukesh, Lata Mangeshkar

That seems to set the tone of Shanker-Jaikishan’s approach to what they will present as their unique identity in a highly completive word – innovative orchestration to essentially Indian tunes..

Even as Mohammad Rafi had his entry in the team in Barsaat itself, for the purpose of the scope of our present series, we will have to wait till 1951 to make the big picture complete.

Naiya Teri Majdhar – Awara 1951 – Mohammad Rafi, chorus

From Awara onwards, Mukesh shall be the playback voice of Raj Kapoor was a  settled affair. However, Shanker Jaikishan invariably had one Mohammad Rafi song in each of RK Films till Mera Naam Joker, except of course, Aah, and Jis Desh Mein Ganga Baheti Hai.

Pavitra Sitamai Ko Tune Diya Banwas – Awara (1951)   – Mohammad Rafi, Lata Mangeshkar, chorus)

This songs metaphorically sets the stage for the film’s narrative, by drawing from Ramayana, wherein Ram tells Sita to leave Ayodhya, knowing fully well that she in the advanced stage of pregnancy. The story of “Awara’ has one more agenda – to prove that a progeny of the upper class will always remain upper class and vive versa.

Anmol Pyaar Bin Mol Bike – Badal (1951) – Lata Mangeshkar

Whether by design or by the circumstances, Shanker Jaikishan’s first few films have a very high degree of skew tilting towards Lata Mangeshkar.

Illa Belle..Din Hai Pyare Pyare – Kali Ghata (1951) – Lata Mangeshkar

Shailendra deftly weaves fil title in the song, if not in the first couplet (mukhada), then in the first stanza. Interestingly Kishore Shahoo has carried the accordion to, probably, bring in a sense reality to the presentation of the song!

Dekho Aaya Yeh Kaisa Zamana – Daag (1952) – Lata Mangeshkar, chorus

Here we have a song that is set to classic Marathi folk tune.

Kya Bataoon Mohabbat Hai Kya – Parbat (1952) – Mohammad Rafi, Lata Mangeshkar, Geeta Dutt

There are not as many songs of Geeta Dutt from Shankar-Jaikishan’s stable, and then a trio of Geeta Dutt, Lata Mangeshkar and Mohammad Rafi is even rarer. The film itself is far less heard of. The soft composition of the song adds to the rarities.

O O My Dear Aao Near – Nagina (1952) – Mohammad Rafi, Shamshad Begum

To the most of Nagina was film where Nutan was not permitted entry during the premier because she was not yet an adult, that this was the first film after Nasir Khan had returned from a highly unsuccessful move to permanently migrate to Pakistan, that Shanker Jaikishan had dared experimenting the lead male song in the voice of C H Atma and had also presented their maiden haunting melody in Lata Mangeshkar’s voice. SJ also have successfully risen to the challenge of simultaneously presenting very light songs as well, the other one being Humse Koi Pyar Karo Ji. Both these light-tones songs are filmed on Gope and Mohana.

The year 1953 has as many as 9 films within the scope of our series, which in itself would be able to provide the material for one independent post. However, I have chosen to include three films here, because one song from each of the two films provides us variety – of singers and of the song situation. Third one has two great Mohammad Rafi songs that would fit into our tradition of ending each our post with Mohammad Rafi song related to the subject of the post.

Chhoti Si Yeh Zindagani Re Char Din Ki Kahani Teri – Aah (1953) – Mukesh

Mukesh also plays a caeo role of the horse cart driver in this song. The clip here is the one in which the films ends on a happy note. Originally, at the end of the song the hero passes away and is not able to meet her beloved.

This is what is supposed to be the original end.

Chahe Naina Churao Chahe Daman Bachao Pyar Ho Ke Rahega – Aas (1953)  – Talat Mahmood, Lata Mangeshkar

When the main protagonists cannot directly communicate what they want to convey to each other, the hind films would adopt a set of street players to come in and convey that thing through a song. Here is on such song.

And here are those two Mohammad Rafi songs:

Nanhe Munne Bacche Teri Mutthi Mein Kya Hai – Boot Polish (1953) – Mohammad Rafi, Asha Bhosle, chorus

Here is a song that fits like T to a traditional proverb – to get a slope when you want to run. Mohammad Rafi gets free hand in enacting an old man, Asha Bhosle gets to enact an adolescent girl, Shailendra gets to dream of future that he would like the new generation to enjoy and Shankar Jaikishan have a situation that naturally bends their inherent composition style.

Tumhare Hain Tumse Daya Maangte Hain  – Boot Polish (1953) – Mohammad Rafi, Asha Bhosle, chorus

Beggar songs has been one of the most experimented genre in Hindi Film songs. However subtle use of pieces of flute lifts the songs from an ordinary orphanage fund collection tune. Mohammad Rafi depicts subtle pathos in delivering the song’s message but when it comes to express their necessities he depicts an unmistakable spirit of not begging something but expecting to share what the haves have.

We will continue our journey of refreshing Shanker (Jaikishan)’s songs of Shailendra on once year basis article every October.

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: September, 2018

(Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory 1955 – 1957

As long as all four were alive Shankar – Jaikishan did not work with any other lyricists than Hasrat Jaipuri and Shailendra, even as Hasrat Jaipuri and Shailendra did work with other music directors in that period, with probably two exceptions. One is O O Mujhe Kisi Se Pyar Ho Gaya from ‘Barsat’ (1949) and the other being Arzoo 1965). However, our topic of the present discussion is not this matter.

September is the month of death anniversary of Jaikishan [4 November, 1929 – 12 September, 1971) and Hasrat Jaipuri [15 April, 1922 – 17 September, 1999].  In our present series we have been covering the songs written by Hasrat Jaipuri that have been composed by Shankar-Jaikishan in the month of September. In September, 2017 we had covered the (S)J-HJ songs from 1949 to 1954.

The quartet had very smoothly carved out a seamless division of work – who would compose whose songs, which situations will be handled by whom etc. In that arrangement Jaikishan and Hasrat Jaipuri worked in tandem.

For our present episode, we have covered (S)J-HJ songs from 1955 to 1957. As I started compiling the list for the post, the songs that came up from the initial films happened to be the songs that had been rendered by Lata Mangeshkar. Therefore, I went on to only select the (S)J-HJ_LM songs for the rest of the present episode, save of course the traditional end-of-the-post Mohammad Rafi song(s)..

Baat Baat Mein Rutho Na, Apane Aap Ko Loota Na – Seema (1955)

Here is typical Jaikishan composition, opening up with a melodious stroke of piano accordion that continues well into the first and the second interlude. Hasrat Jaipuri matches his lyrics well with the mood of the songs, but has not missed the chance to show his soft, poetic feelings in the lyrics.

O Jaanewale Mud Ke Zara Dekh Ke Jaana – Shree  420 (1955)

Here is one of the relatively-less-heard song from the film but is a signature HJ composition which begin with couplet. The second stanza of the song had been edited out in the film.

Main Piya Teri Tu Maane Ya Na Maane – Basant Bahar (1956)

Shailendra had lion’s share of songs for ‘Basant Bahar’, but the ones that HJ penned have also been equally melodious and well-remembered ones. The use of flute pieces in the orchestration add to the melodious effect.

Us Paar Sajan Is Paar Dhare Le Chal O Maaji Kinare Kinare – Chori Chori (1956)

The present video clip has very rightly captured the first few moments of the songs wherein Nargis is seen frantically swimming out in the sea. Jaikishan has captured the motion with a very quick stokes of violin ensemble. And the, Nargis seems to have reached a safe distance, symbolized the beginning of a chorus by the fishermen-women on the boats.

HJ has also additionally contributed one of the most iconic Manna Dey – Lata duets  (Aa Ja Sanam), or  a very lilting Lata song (Panchhi Banu Udati Pheeru) on one hand and a very light Rafi-Lata duet (Tum Arabon Ka Her Pher Karanewale) in the film.

Usse Mil Gayi Nayi Zindagi.. Jise Dard-e-Dil Ne Mita Diya – Halaku (1956)

Hasrat Jaipuri had a minor share of songs in this film too. The other two songs are also Lata Mangeshkar numbers – O Sunata Ja and Bol Mere Malik. Each of these three songs are written for totally different situations.

Koi Mere Sapnon Mein Aaya , Dheere Man Mein  Samaya – New Delhi (1956)

(S)J comes up with a complex tune that is orchestrated equally richly.

Saat Samundar Paar– Patrani (1956)

One more complex tune by (S)J.

I had originally selected “Nadiya Kinare Phiru Pyasi, Haay Pi Bin Jiyara Taras Taras Reh Jaaye” from Raajhath (1956). However, I could not locate audio / video link for this song. So, we move on to the next best choice.

Anatar Mantar Jantar Se Maidan Liya Hai Maar – with Usha Mangeshkar – Rajhath (1956)

As per the general understanding of the outsiders, the dance numbers were usually composed by Shankar. However, in this case, it is difficult to guess who would composed the tune and set it to orchestra.

Gori-Gori-Gori Main Pariyon Ki Chhori… Chham Chham.. Karati Aayi Hun Main Saat Aasma Se – Begunah (1957)

We have one more song wherein a very complex set of bass rhythm has been set, orchestrated over a multiple instruments simultaneously.

(S)J-HJ combination’s duet – Din Albele Pyaar Ka Musam (Manna Dey, Lata) – in the film is a very typical SJ tune.

So Ja Re So Ja Mere Raj Dulhare So Ja Taare Bhi So Gaye Dharati Ke Sitare So Ja– Kathputli (1957)

For Hindi Film lullabies this is very complex tune, perhaps befitting the mood the situation in the films

We conclude our each episode with a relevant Mohammad Rafi song. For the present episode I have picked one of the two songs from – Seema- and one from – Raaj Hath.

Hamien Bhi Dedo Sahara Ke Besahara Hai  – Seema – with chorus.

In terms of the poetical quality of the lyrics of Hasrat Jaipuri songs would go, this song perhaps would occupy top row.  (S)J have also excelled in composing the tune and setting supporting orchestration to the tune.

Aaye Bahar Ban Ke Lubha Kar Chale Gaye, Kya Raaz Tha Dil Mein Chhupa Kar Chale Gaye – Raaj Hath (1956)

(S)J – HJ have grabbed every opportunity to compose a ghazal in Mohamamd Rafi’s voice and we have had excellent scores to cherish. Here is one more that immediately comes to my memory – Teri Zulfo Se Judai To Nahi Maagi Thi  

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

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

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – May, 2018

Welcome to May 2018 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We begin our May, 2018 episode with two very different subjects – The Heat of Summer and 114th Birthday of K L Saigal (which was in fact in April)

Heat and dust and cinema  – Uday Bhatia / Jai Arjun Singh  recollect memorable scenes from films old and new that show the Indian summer in all its uncompromising glory.

K L Saigal’s 114th birthday – Created by guest artist Vidhya Nagarajan, here is the   Doodle that celebrates Saigal’s illustrious career with a portrait of the singer doing what he does best.

Early concepts of the Doodle below:

And, now, we take up the tributes in May, 2018:

Director Arjun Hingorani dies at 92 – The filmmaker had directed Dharmendra’s debut film, ‘Dil Bhi Tera Hum Bhi Tere’, and collaborated with the actor several times.

Balraj Sahni would turn ‘Jailor to Prisoner in Sixty Minutes!’ while shooting for Hulchul (1951).

Noted lyricist, poet, politician Balkavi Bairagi dies in MP (13 May, 2018). His short Hindi Film lyricist career took roots in 1966 film Gogola. His songs had a very natural earthy flavor. Along with Talat – Mubarak Begum duet – Jara Kahe Do Fizzaon Se – another duet of Minu Purushottam and Usha Mangeshkar – Dekho Dekho Balma Pyara – was also very popular in those days.

The most Popular Mothers Of Bollywood is a tribute to mothers on the silver screen on Mothers’ Day.

Second Sunday in May presents an alphabetical list of actresses who did exceptional work as mothers, with just one film per person, along with the actor or actress they played a mother to… and then goes on to narrate a very depressing, but real, story of bitter war over property after Nirupa Roy and then her husband’s passing away.

Shyam: The Big Heart behind the Swashbuckling Hero – By Antara Nanda Mondal – Shyam – the screen idol of the forties with his irresistible charm, good looks, style and panache left behind a brief but redoubtable repertoire of films. Even 67 years after his untimely death, Indian cinema remembers this actor with awe and affection. Bimal Chadha, the nephew of Shyam, (eldest son of Shyam’s younger brother Harbans Chadha), and his family have lovingly treasured Shyam’s memories, photos, letters, handwritten cards, books and belongings.

Talat Mahmood: A Mesmeriser  – DP Rangan pays a tribute to Talat Mahmood on his 20th death anniversary (24 February 1924 – 9 May 1998) by remembering his less heard songs.

Raat Aur Din’ is a fitting swansong for Nargis’s wide-ranging talent –  Satyen Bose’s much-delayed movie features Nargis in the dual role of a demure housewife and her bold alter ego.

Sebastian D’Souza: The Master of Counter MelodiesDr Padmanabh Joshi – The “parallel tune for a song” technique, known as a Counter-Melody, created with violin, cello, piano, Spanish guitar or an organ was introduced in Shankar-Jaikishan’s music by a musician – a violinist from Goa – Sebastian D’Souza.

My Favourites by Prem Dhawan – Prem Dhawan was a multi-talented personality. He was basically a poet and a choreographer, but also a lyricist, a good dancer and a competent music director too.

Greatness in the shadow of the giants: Bulo C Rani is a tribute to Bulo C Rani on his 25th death anniversary (6 May 1920 – 24 May 1993)

May, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to Manna Dey to remember his less heard songs from 1943 to 1946..

Manna Dey: A Rare Voice That Excelled In All Music GenresAntara Nanda Mondal – Manna Dey’s expertise in complex classical renditions helped him excel in a variety of genres of Hindi film music and modern “adhunik” songs, creating everlasting songs.

And, now the posts on other subjects:

Funny Songs on Biwi/Shaadi in Hindi Films  showing how life changes after marriage, or how they are fed up with their wife, etc –

Male Voices, Female Feelings where the song, picturised on the heroine, is actually a male solo, with the male voice expressing the woman’s emotions e.g. Subah na aayi shaam na aayiCha Cha Cha (1964) / Singer: Mohammed Rafi / Music: Iqbal Qureshi / Lyrics: Neeraj

‘Twinkling Stars’ in Hindi Film Songs enlists songs with word ‘Sitara’, or its other forms in it.

The path, the traveller, the journey and the destination captures all the romance and diverse emotions of raah, musafir, safar and manzil in Hindi film songs.

Copy Cat Songs Of Bollywood Part 1 and (Part 2)  which are copied or respectfully say Inspired from International songs.

Engagements With Shama is an interesting tale of relationship between shama and parwana (a flame and a moth) which then revolves around songs in which the flame waiting  for the guests. Interestingly, the  moth dones the role of a crazed lover.

Ten of my favourite Khwaab/Sapna songs that talk about dreams, Dreams in which the beloved features, dreams about a rosy future alongside the love of one’s life.

A Story of Broken Dreams has listed songs that actually describe broken dreams

Chand Kabhi Tha Bahon Mein – Sapan Suhane (1961) Sabita Bannerji / Salil Choudhari – Shailendra

Toot Gaya Hai Sapna – Nishani (1942) Naseem Akhtar / Pandit Amarnath – Aziz Kashmiri

Sapane Toot Gaye – Daak Babu (1954) Asha Bhosle / Dhaniram – Prem Dhawan

Naam Gum Jaayega is about people like Michael Caine, Manna Dey or Harivanshray Bachchan changing their names,

Dance and drama: Vyjayanthimala is at her sinuous best in ‘Nagin’ – The 1954 popular classic has some brilliant Hemant Kumar tunes, which have been performed to perfection by the gifted actor and dancer.

Rhythms of Shankar Jaikishan – Legendary music composers Shankar Jaikishan created not only a mammoth repertoire of hit songs in Hindi film music, they also set many a style and precedent in the use of instruments to create sounds and rhythms. Anand Desai picks five songs from SJ’s ocean of music to exemplify their creativity in using classical Raags, Taals, acoustics, instruments and sounds to craft everlasting music:

We have commenced Micro View of Best songs of 1947: And the winners are? with male solo songs of Mohammad Rafi, Mukesh, Manna Dey, G M Durrani, Surendra and K L Saigal.

In our tradition of ending our post with article on Mohammad Rafi or a topical song of his, I have picked up songs that basically have link with the topics discussed in the present post.

Paigam Kayamat Ka Katil Ne De Diya, Sajde Mein Sar Jhuka Ke Mere Dil Me Le Liya  – Kshitij (1974)  – with Preeti Sagar,Krishna Kalle,Manna Dey –  Sharda – Bal Kavi Bairagi

Phool Sa Chahera Chand Si Rangat Chal Qayamat Kya Kahie – Raat Aur Din (1967 ) – Shanker Jaikishan – Hasrat Jaipuri

I earnestly seek your suggestions / inputs / criticisms so as to make our Film Blog Festival more interesting and live.

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Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : September, 2017

(Shankar-) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory

Septmber happens to be the month of death anniversaries of Jaikishan [Jaikishan Dayabhai Panchal, 4 November 1929 – 12 September 1971] and Hasrat Jaipuri [Iqbal Hussain, April 15, 1922 – September 17, 1999].

Shankar Jaikishan and Shailendra- Hasrat Jaipuri are always spoken in one breath. However, it is said that Jaikishan would normally compose the song that Hasrat Jaipuri would write. There should be n-number of songs of this combination that were loved then, and are loved now too. That has germinated the idea for today’s post – let us bring back, from our Fading Memories, Hasrat Jaipuri’s songs that (Shankar) Jaikishan had composed.. I spanned 14 of SJ-composed films and some HJ-penned 67 songs, in the descending chronological order. Out of these, here are 15 (S)J-HJ songs for which I could not recollect the respective tune when I read the title of the song. Thus there is a personal, yet unintentional, bias in the selection of the songs.

Interestingly, we see a fair predominance of Lata Mangeshkar in this limited collection of 13 songs, covering the period from 1949 to 1953. That, in a way seems to reflect SJ’s marked inclination towards for Lata, among all other female playback singers of that time. It must, however, be recorded here that in comparison to total number of SJ-Lata songs in these 14 films, the numbers that appear is not of significant proportion.

The 14th song is our traditional end-of-the-post-song, a Mohammad Rafi Song. Incidentally, this was the only Rafi song of the 67 that I had ran through before hitting upon a (Shanker)Jaikishan-Hasrat- Rafi song, of course, not considering Main Zindagi Mein Hardam Rota Hi Raha Hun from Barsat.

Here are the songs for the day:

Prem Nagar Mein Basnewalon, Apni Jeet Par Hasnewalon – Barsat 1949 – Lata Mangeshkar

In the standard format of a Hindi song, technically this may not be called a song. However, creative directors like Raj Kapoor very often used the audiovisual effect of a song like recitation to tellingly convey the intent of a situation. Such a demand of the director would pose a great creative challenge to the lyricist and the music director. In this particular instance HJ and Jaikishan have lived up to the challenge. Use of silhouette shots by the cinematographer Jal Mistry adds to the surreal effect.

Khushi To Qaid Mein Hai…Rota Hai Mera Dil Kisko Pukarun Kya Karun – Badal (1951) – Lata Mangeshkar

The song starts on a high-note-prelude-couplet (Sakhi), which was to become one of the signature styles of SJ compositions. The song is filmed on a budding beuty – Madhubala.

Jiyennge Jab Tak Talak Hum Unki Yaad Aayegi…Maine Kya Kiya, Sitam  Ye Maine Kya Kiya – Kali Ghata (1951) – Lata Mangeshkar.

The song follows quite difficult composition, but the result is quite mellifluous.

Tumko Apni Zindagi Ka Aasra Samje The Ham… Dil Bequar Hai Mera Dil Bequarar Hai -Nagina (1951) – CH Atma

SJ have experimented with CH Atma’s voice as playback of Nazir Khan.

O Pyar Bhari In Aankhon Ne.. Aaja Tujhko Yaad Kiya – Parbat (1952) – Lata Mangeshkar, Geeta Roy

SJ have not used Geeta Dutt as much others in the same period. However, this Lata-Geeta duet has picked up nuances of the vocal chords of both singers. Several pieces of orchestration manifest Jaikishan’s virtuosity of using different instruments quite imaginatively.

Ab To Aa Jao Balam..Furkat Ke Maare Ro Diye –Poonam (1952) – Lata Mangeshkar

Each stanza begins on high-scales with interlude orchestration using ensemble of violins. The song is filmed on Kamini Kaushal.

Apne Bimar-e-Gam Ko Dekh Le, Ho Sake To Aa Ke Dekh Le….Aaja Re Ab Mera Dil Pukara – Aah (1953) – Mukesh, Lata Mangeshkar

Here is a song which was quite popular then, and is now. The reason we have included in this post is the tellingly innovative use of the song in the narrative of the film. The original song is the manifestation of the condition of the loving couple who are getting separated by a queer turn of the circumstances – the hero going away on a long-drawn cure of what was considered near fatal TB to a faraway sanatorium.

The second version is set to a situation where the hero wants go back and meet his beloved, as promised, probably before his life comes to an inevitable end. The version begins from the stanza with which the first version had ended. Lata Mangeshkar joins in Alaap that signals the nearing reunion,

The film track has third version too – Janaaza Dekhne Mera Nikal Aaye…..Aaja Re Ab Mera Dil Pukara. Unfortunately we do not have its separate video clip.

Humko Chhedta Hai Dil,… Kaun Jaane Kya Hua, Tumne Baat Baat Meing Kya Jaadu Kar Diya – Aas (1953) – Lata Mangeshkar

Here is a happy mood song wherein rhythm-supporting bass has been used in the subdued manner. Note a short sweet opening prelude.

Aaj Ki Raat Kabhi Khatm  Na Hone Aaye…. Wo Aayenge Khushi Bankar, Baharein Saath Laayenge, Mere Ghar Mein Muhabbat Ke Nazaren Muskarayenge – Aurat (1953) – Lata Mangeshkar

For a change, we have a fast-paced song of a bubbling, happy mood.

Taaron Ko Dil Ki Baat Sunai Tamam Raat…Main Bahron Ki Natkhat Raani, Saari Duniya Mujh Pe Hai Diwani – Boot Polish (1953) – Asha Bhosle

The song has deployed a very rich orchestra for interlude, with sweet pieces of flute thrown in for support. Boot Polish must rank as one of those rare films wherein SJ have not used Lata in any song, solely on the merits of the demands of the film’s narrative! (Absence of Lata in films like Suraj or Mera Naam Joker was on account of very specific differences.)

The song is filmed on Chand Burke.

Hum Unke Paas Aate Hain Wo Ham Se Door Jaate Hain, Tadapkar Dastaan Apni Baharon Ko Sunate Hain – Naya Ghar (1953) – Talat Mahmood

SJ have used Talat Mahmood’s voice so naturally in all the songs where they came together, while retaining their musical style. We have here so sweet gem of Talat Mahmood that my heart pains to put under the omnibus category of Fading Memory songs.

Chamke Bijuriya Garje Megh Mat Ja Re Balam Pardesava – Shikast (1953) – Asha Bhosle, chorus)

SJ have used Asha Bhosle to so sweet effect in this song.

Jaage Mera Dil Soye Zamana – Badshah (1954) – Aparesh Lahiri

It appears to be very fitting to begin the end of this post with a song that is sung by a Bengali singer whose son made a big name in Hindi films in the 90s. The knowledgeable fans of Hindi Film Songs will have correctly guessed name of that 90s Lahiri – Bappi Lahiri.

Aparesh Lahiri and his wife Bansri Lahiri, of course, were famous Bengali singers and musicians in classical music. However, it must be to credit of SJ to have experimented to use Aparesh’s voice here.

Asides:

  1. SJ had used another well-known singer, Hemant Kumar, in the film for Rula Kar Chal Diye and Aa Neel Gagan Tale Pyar Ham Kare, penned by Shailendra and Hasrat Jaipuri respectively. Both songs are immortal.
  2. ‘Badshah’ was adaptation of Victor Hugo’s very famous novel, Hunch Back of Notre Dame, written in French in 1831, on which a Hollywood film of the same name also has been made.

For our traditional end of a post with a Mohammad Rafi song, we have

Soch Na Manwa…Haye Gam Ke Maaro Ka Jamane Mein Koi Na Saath Dega – Pooja 1954

By now a well-established practice of beginning the song with short prelude-couplet comes with an innovative support orchestration of a piano piece – so typical of a Jaikishan touch.

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.