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 : 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.

Carnival of Blogs on Golden Era of Hindi Film Music – May, 2017

Welcome to May, 2017 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

Month of May also has brought in two very specific posts:

Singing for a better tomorrow: A Hindi film song helpline for May DayAshwini Deshpande

On International Workers’ Day, a reminder of the times when lyricists, in Hindi films. These songs were filled with optimism, hope and dreams of a better life marked by equality.

Month of May also has a most significant milestone for Indian Cinema. DG Phalke’s labour of love ‘Raja Harishchandra’ was released on May 3, 1913. Here is what went into the making of the first Indian feature filmSruthi Ganapathy Raman  recalls  that it was far from easy to make.

We will now take up the posts on the anniversaries or eulogies:

Passing away of Vinod Khanna did result in a downpour of eulogies, form all and different quarters.

  • Vinod Khanna conquered Hindi cinema by just being thereMustansir Dalvi – When not playing the villain, Vinod Khanna played straight man to the more garrulous co-stars.
  • Thus Endeth Another Chapter of “a man with sad eyes, self-confident without being arrogant, the quietness of a man who was – finally – at peace with himself. For someone who was so much a man’s man, so ruggedly handsome, what remains with me is the half-smile that quirked his lips in the most endearing way, and the way his eyes lit up when he smiled. That smile made him at once real, and human.”
  • In Tribute: Vinod Khanna (1946-2017) – The deeply nuanced roles that went to actors like Sanjeev Kumar may not have been Vinod Khanna’s, but the roles he played, he played well. He played them convincingly, and he played them with a flair that was very appealing.
  • ‘Where are the available men’ and other tales from the sets of the sexual liberation drama ‘Rihaee’ – Arunaraje Patil faced typical and unforeseen challenges while directing her first solo feature in Gujarat in 1988 – edited excerpts from her autobiography Freedom My Story– “It was during the dubbing of Rihaee, that Vinod, finding me preoccupied, literally cornered me into telling him what the problem was. When he found out what was bothering me, he stepped out of the studio, went to his car and got me thirty thousand rupees. This was exactly what I needed for the first print. When I made a fuss about taking it, he thrust it in my hands and said, ‘Don’t worry, payable when able.’”
  • Remembering (and Re-Introducing) Vinod Khanna – Little wonder then that this strikingly handsome man, who might have made a career out of being a poster boy, letting his sunglasses and open shirts do most of the work for him, participated in a number of relatively offbeat or understated films – starting with Gulzar’s Mere Apne and Achanak and Sunil Dutt’s Reshma aur Shera, and continuing for the next two decades, through Meera, Lekin… , Muzaffar Ali’s uncompleted Zooni, or Patil’s Rihaee

Zohra Sehgal was the mother of all screen grandmothersRhea Nath – In movie after movie, the dancer and stage actress played a matriarch as charming as she is crusty.

Waqt Ne Kiya – The Introspective Songs of Kaifi AzmiPeeyush Sharma – We have picked up one rare song here and one – one of the finest – at the end of our episode:

Aaj ki kaali ghata  – Uski Kahani, 1966 – Geeta DuttKanu Roy

Zindagi Ek Safar Hai Suhana: Shankar Jaikishan’s Melodies of 1971 – 18 Films, 104 Songs Peeyush Sharma – Shankar, bade goodbye to this world on 26 April 1987. Jaikishan departed on 12th September, 1971. SJ (Shankar-Jaikishan) had 18 Hindi and one Telugu film releases this year. They had also now started working with a variety of lyricists; Hasrat was the regular as always, they added Rajendra Krishan, S H Bihari, Neeraj, Shaili Shailendra, Anand Bakshi, Varma Mallik, Indeevar and even Gulzar. Jaikishan had earlier appeared on screen way back performing on the Mukesh song, Ae pyase dil bezubaan, tujhko le jaaun kahan, in Begunaah in 1957. This year he made an appearance as Jaikishan himself, working on a balancing machine while recording the Kishore song Naach Meri Jaan Fatafat. The song went on Mehmood.

We have picked up three songs form the Telugu film Jeevitha Chakram:

Kallallo Kallupetti

Kanti Choopu (Female)

And its male version

Shankar-Jaikishan’s duets (1): Mukesh/Rafi with female singers and Shankar Jaikishan’s duets (2) is the continuum of singerwise posts for Lata Mangeshkar, Mukesh, Rafi, Manna Dey, ‘Other singers’ and two posts on their dance songs – for Lata Mangeshkar and female dance duets.

The May 2017 episode of Fading Memories, Unforgettable Songs was dedicated to Snehal Bhatkar. Snehal Bhatkar composed songs for 27 Hindi films and 12 Marathi films. His contribution in Marathi NFS is also highly respected.

Here are posts on other subjects as well:

Returning to the songs of Ningalenne Communistakki (but still looking for subtitles) presents songs from a classic Malayalam film Ningalenne Communistakki.

Ashwin Bhandrakar debuts with guest post Beena madhur madhur kacchu bol in unpretentious style peppered with a dash of humour on bees and honey.

Pakeezah’ resonates to the sound of Meena Kumari’s ankletsManish Gaekwad – The soundtrack of the 1972 classic was by Ghulam Mohammed, who used the foot ornaments to startling effect.

Lovers burn up the phone wires in ‘Jalte Hai Jiske Liye’Nandini Ramnath – The song from Bimal Roy’s 1959 classic ‘Sujata’ is one of the most quietly raging love songs out there.

Dil Dhoondta Hai’ and the heart that never stops searchingBubla Basu -Gulzar’s ‘Mausam’ features two versions of a love. From the first words “Dil dhoondta hai” (the heart is searching), we slip into the nostalgic, compelling mood of the film. Someone, somewhere, somehow is searching for someone. The solo is an echo of a love that is lost but not forgotten…. Madan Mohan’s haunting music and Gulzar’s evocative lyrics ensure that we recognise the song later in the film when Sanjeev Kumar and Sharmila Tagore render a longer and livelier duet.

The original ‘Meri Pyari Bindu’ from ‘Padosan’ is more than just a comical tune – The popular song by Kishore Kumar from the 1968 comedy mixes traditional Baul music with elements of the qawwali and the love ballad.

Two Mukesh duets buzzing me today: Yeh Duniya Hai… Yahan Dil Ka Lagana Kis Ko Aata Hai (Shair,1949, Ghulam Mohammad) and   Khayalon Mein Kisi Ke Is Tarah Aaya Nahin Karate (Banware Nain, 1950, Roshan).

When the bhajan ‘Om Jai Jagdish Hare’ inspired a Pakistani love songKaran Bali – ‘Phirni Aan Main Labdi’, from the 1957 movie ‘Nooran’, features Pakistani singing sensation Noor Jehan. – Written by Hazin Qadri, Phirni Aan Main Labdi is among several wonderful tunes by composer Safdar Hussain for Nooran.

We could not make any progress in annual Micro View of Best Songs 1948 @SoY.

We end our present episode with Kafi Azmi’s the song that just sweeps you away: Tum jo mil gaye ho (Hanste Zakhm, 1973, Madan Mohan). It has got the rhythm of the crashing waves and pouring rain in every note. It rises and falls like the tidal sea waves, races like the wind and then slows down to a gentle pitter-patter only to pick up the pace again at a frenetic speed. What an amazing song, composition and rendition by the trio of Kaifi Azmi-Madan Mohan-Rafi.

Tum bhi the khoye khoye, main bhi bujhaa-bujhaa
Thaa ajnabi zamaanaa apnaa koi na thha
Dil ko jo mil gayaa hai teraa sahaaraa

I trust you will always feel free to proffer your suggestions for making this series of posts more lively and informative….

The Micro View of the Best Songs of 1949 @ SoY – MY Top Music Director(s)

The theme poster of ‘Best songs of 1949: And the winners are?’ has six films, but five music directors. Naushad has two films there (Andaz and Dillagi), whereas four others Shanker Jaikishan, C Ramchandra, Khemchand Prakash and Husnlal Bhagatram have one each (Barsat, Patanga, Mahal and Bari Bahen respectively).

Naushad had huge contribution in the huge success of Andaz at the box office, mainly through the solos of Mukesh, with Lata Mangeshakar solos playing a fair measure of the support. This was the last monumental work that Naushad had had with Mukesh, till they worked again in Saathi, a good 19 years later.

Hum Aaj Kahi Dil Kho Baithe Yun Samajo Kisi Ke Ho Baithe

Shanker Jaikishan also had a lion’s share in box office success of Barsat, that went on to create a great Lata Mangeshkar wave. They also created the RK-SJ signature style of ending the films with a very unique style of the theme song of the film –

Barsat Mein, Ham Se Mile Tum Sajan Tumse Mile Ham

Here is the such first maiden final scene

Khemchand Praksh needed to have created only Ayega Aanewala, to find a very honorable emeritus mention in the annals of Hindi Film Music history.

Ek Teer Chala Dil Pe Laga

Husnlal Bhagatram, who too appear quite prominently in  Male Solos, Female Solos or even Duets  lists for 1949, certainly have to their credit some all-time outstanding solos of Suraiya (in Bari Bahen) this year.

Tum Mujhko Bhul Jao Ab Hum Na Mil Sakenge

Mere Piya Gaye Hai Rangoon is one of those non-traditional song among such other all-time chartbusters from the stable of C Ramchandra that one would hardly ever imagine that it is same CR would later on go on to give some of Lata’s or Talat’s all time greats.

Balam Tujhe Mera Salam

However if we go a step beyond the measure of box office success of both the film and the songs, we have at least a couple of more music directors who had excellent scores for 1949.

Gyan Dutt has Maine Dekhi Jag Ki Reet, Meet Sab Jhuthe Pad Gaye or Baharon Ne Jise Chheda Woh Saaz-e-Jawani Hai like evergreens for Sunhare Din.

Javani Ke Din Hai Yeh

S D Burman too had Quismat Mein Bichhadan Tha or Tu Mahalon Mein Rahanewali or Tumhare Liye Hue Badnam for Shabnam.

Hum Kisko Sunaye Haal Ke Duniya Paise Ki

Shyam Sundar had had his own share in Lahore (Nazar Se Dur Jaanewale, Baharen Phir Bhi Aayegi Magar Hum Tum Juda Honge) and Bazaar (Apni Nazar Se Dur Woh Unki Nazar Se Dur Hum) or Char Din (Anjaam-e-Mohabbat Kuchh Bhi Nahin).

In fact the towering commercial success of Andaz had paled some other very good scores of Naushad. Dillagi songs like Leke Dil Chupke Se or Duniya Kya Jaane Mera Afsana or Char Din Ki Chandani Phir Se Andheri Raat Hai had quite an undeniable charm. So were Do Din Ke Bahar Pyare or Na Bol Pee Pee More Anagana Panchhi Ja Re Ja or Muhabbat Hamaree Jamana Hamara Tu Gaaye Aye Dil Tarana Hamara form the album of Dulari. Even relatively little less known Chandani Raat had gems like Chhaya Meri Ummeed Ki Duniya Mein Andhera or Aankh MilI Dil Chala Gaya or Do Din Ki Khushi Haye Do Din Ki Kushi Raaaz Na Aayi Kisiko.

1949 had so many other than Lata Mangeshkar – Mohammad Rafi great songs from such a wide cross section of Music Directors that no one may have ever imagined then that just by the turn of the decade this duo will overwhelmingly rule the Hindi Film Song world.

In the ultimate analysis that will remain the sole importance of the year 1949 in the history of Hind Film Music – a threshold that provided the escape velocity to Lata Mangeshkar and Mohammad Rafi even when many other singers were so strong on their spheres.

SoY has presented a very comprehensive summary of all the discussions @ Best songs of 1949: Final Wrap Up 5. The detailed analysis leads to the conclusion that the Best Music director of 1949 goes to Naushad.

P.S.

I have compiled a meta write-up of my micro-view of the songs of 1949, in pdf form. Here is the link:

https://drive.google.com/open?id=0B_GJ0xhT0LUuamJWTlRoQUJiVUE

Carnival of Blogs on Golden Era of Hindi Film Music – July, 2016

Welcome to July 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

Hindi Film Music world lost its two more talented, but not corresponding recognized personalities – Mubarak Begum and Omi (of Sonic-Omi duo). Mubarak Begum made her debut in 1949 and thus saw the transformation of the HFM from vintage era to golden era.  Omi (Omprakash Sonic) of Sonic-Omi music director (Uncle, Manoharlal Sonic and his nephew Omi) duo, who did enter the HFM world at the last phase of the golden era and thus saw the transition for the golden era to the present day HFM world.

Here are the tributes to Mubarak Begum:

Mubarak Begum - Woh Na AAyende Palatkar

Ae Dil Bata  Hum Kahan Aa Gaye  – Khooni Khazana (1965) –  S Kishan –  Khawar Zaman
Chaah Karani Thi Chaahkar Baithe – Punarmilan (1964)  – C Arjun – Raja Mahedi Ali Khan
Itne Kareeb Aa Ke Bhi  – with Talat Mahmood – Shagoon (1964) – Khayyam  – Sahir Ludhianvi
Mere Aansuon Pe Na muskara – Morey Man Mitwa (1965)  – Dattaram –Priyadarshi
Hum Haal-e-Dil Sunayenge – Madhumati (1958)  – Ssalil Chowdhary – Shailendra
Mujhhko Apne Gale Laga Lo  – with Mohammad Rafi – Humrahi (1963) – Shankar Jaikishan – Hasrat Jaipuri
Bemurrawat Bewafa – Sushila (1966) – C Arjun – Jan Nissar Akhtar

Hamrahi (1963) – Mubarak Begum & Rafi – Mujh Ko Apnay Galay Lagaa Lo, Ae Meray Hamraahi – Shankar Jaikishan (Hasrat Jaipuri)

Gogola (1966) – Mubarak Begum & Talat – Zara Keh Do Fizaayo.n Se Aame.n Itnaa Sataye Na – Roy & Frank (Baalkavi Bairagi)

Phoolon Ke Haar (1951) – Mubarak Begum & Devendar Goel – Jhoom Jhoom Kar Door Gagan Pe Badal Kare.n Ishaaray – Hans Raj Bahal (Varma Malik)

Basera (1950) – Mubarak begum & BS Nanji – Dekho Ji Baat Suno, Tum Mujhse Aan Milo– MA Rauf (Sardar Ilham)

Awara Shehzadi (1956) – Mubarak Begum & Shashikant – Karlo Ji Pyaar Karlo Ji Pyaar Dil waalo Pyaar Kar Lo – Nashad (Sartaj)

Patit Paawan (1955) – Mubarak Begum & Sudha Malhotra – Jeevan Ka Tu Ujiyaara Hai, Rakhwaara Bansi Waara Hai – Jamal Sen (Bharat Vyas)

Haar Jeet (1954) – Mubarak Begum & Geeta Dutt – Bechain Hai Betaab Hai Is Dil Ka Fasaanaa Sun Le – SD Batish (Kaif Irfani)

Neend Hamari Khwab Tumhare (1966) – Mubarak Begum & Asha – Saaqiyaa.n Ek Jaam Vo Bhi To De – Madan Mohan (Rajendar Krishan)

SoY also had posted An evening with Mubarak Begum on January 5, 2013.  I have selected these two songs from this post:

And the tributes to Omprakash Sonic:

AAJ KE FANKAR- A TRIBUTE TO COMPOSER OMI (DUO SONIK- OMI)

We also recollect Omi ji (of Sonik-Omi) in an exclusive interview with Anmol Fankaar and “Sansaar Hai Ik Nadiya” – (Sonik) Omi

We now take up posts that remember the Anniversaries:

Sanjeev Kumar – The Actor Who Rose Above The ‘Hero’ – From among his several costars, ranging from Hema Malini to Sharmila Tagore, from Raakhee to Vidya Sinha, Suchitra Sen to Hema Malini, Sanjeev Kumar experimented the most with his female lead and bosom pal Jaya Bhaduri (Bachchan). These two superbly talented actors played out all kinds of relationships on screen – husband-and-wife (Koshish), father-in-law and daughter-in-law (Sholay), lovers (Anamika), father-daughter (Parichay), the multifarious 9-character role in Naya Din Nayi Raat, ending up as the doctor and patient who hesitatingly comfort each other on finding that their respective spouses are having an affair (Silsila).

Shankar-Jaikishan’s songs for Mukesh  – Continuing the series on Shankar-Jaikishan, SoY presents the songs composed by them for Mukesh as a tribute to the singer on his 93rd birth anniversary (22 July 1923 – 27 August 1976). All the songs that are posted present a good panorama of their association.  I have added a few on my art here. Except for ‘Apne Hue Paraye’ song, these songs that immediately popped up, but had remained dormant till the memory was jolted out by this post….

‘Tu Jahan Jahan Chalega, Mera Saya Saath Hoga’ – The Everlasting Songs of Raja Mehdi Ali Khan – From patriotic to sentimental, from humorous to romantic, Raja Mehdi Ali Khan penned a wide range of songs that were simple yet sublime. In a tribute, we revisit some of those everlasting songs on the extreme end of the spectrum:

Music Makers of Golden Era

The Music Makers of the Golden Era – Roshan, Anil Biswas, Hemant Humar, Mohd. Shafi, Naushad, Jaikishan, C. Ramchandra and Madan Mohan

‘Rehearsals were Never Easy, Music Sittings were Always Fun’ – Remembering Madan Mohan – Madan Mohan, the creator of immortal melodies and film ghazals, had a fun-loving, outgoing personal side as a gracious cook and host, a wrestling and racing enthusiast, a car freak among other energetic interests – his eldest daughter Sangeeta Gupta in a conversation with Peeyush Sharma.

Orthodox RD Burman – an extremely talented and creative composer with a solid foundation in the orthodox style of composition., a style of composition where there is an emphasis on melody and melodic content in the vocals of the song. We can listen to 30 handpicked songs in his orthodox style in a playlist by clicking LINK TO R D BURMAN PLAYLIST

Tumko Piya Dil Diya Kitne Naaz Se – GS Kohli, the Unsung Music Composer – We have picked up only one song here to simply illustrate the versatility of GS Kohli.

We now take a look at posts on other subjects –

My Favourites: Songs of Strangers – in honour of those long-gone days, when pardesis seemed to make frequent trips to far flung villages and find the love of their lives in those unsullied vales, here are some of my favourite pardesi songs.

My Favourites: ‘Where Are You?’ Songs – I have picked up two of the less heard songs from this list to give us the idea about what the subject is about –

D P Ranagan, in one more of his highly innovatively informative article, Star showers in Bollywood, has presented Hindi Films songs that have featured the stars

Book Review: Dorothee Wenner’s ‘Fearless Nadia: The True Story of Bollywood’s Original Stunt Queen’Fearles Nadia

In her biography of Hindi cinema’s ‘original stunt queen’, German film-maker and curator for the Berlin International Film Festival, Dorothee Wenner sets out to explore the life and times of this fascinating actress. Fearless Nadia: The True Story of Bollywood’s Original Stunt Queen (Translated by Rebecca Morrison; ISBN: 0-14-303270-4; Penguin Books; 248 pages; Rs 295)

Ten of my favourite Dupatta/Chunri/Chunariya songs – a salwar-kurta (or churidarkurta) or a sharaara, or even a ghaagra, the dupatta served to drape the upper part of the body: the bosom, at least, but in some cases, even the head. It thus became a symbol of modesty—and, in some instances, an extension of the heart, the feelings of the wearer. More than the saree or any other garment, the dupatta became the theme for songs. (It even gave its name to one really lovely Pakistani film starring Noorjehan). However, this post is really a response-in-kind of “absolutely lovely dupatta” that friend, fellow blogger and soul sister Anu’s gift to the author.

Three Queens of the Indian Drums focuses on some great contemporary female players of Indian drums.

Pakistani Stars endorsing Lux Soap – The first Pakistani actress to endorse Lux Soap was Meena Shorey in 1956

Guru Dutt with his family (1957)

guru-dutt-family

Back row: Guru Dutt with his father, mother and Geeta Dutt. Front row: Guru Dutt’s brother Atma, his wife, sister Lalita and her husband. The children are those of Guru and Atma Dutt.

Autographs of Hindi Film Stars – I and II – and links to the profiles of – Om Prakash, Cuckoo,Nalini Jaywant, Vimla, Kuldeep Kaur, Jairaj, Sajjan and Veera

Biswajeet – Memories – as told to Santosh Sud in1990 – throws light on some very interesting facets of him.

In Micro View of the Best Songs of 1949 @SoY, having covered G M Durrani, Talat Mahmood, Surendra and ‘Other’ Male Playback Singers , Mukesh and Mohammad Rafi’s ever green solo songs, first and second part of  Other Noteworthy Solo songs in the Male Solo Songs category till now, I also declared MY Top Male Solo Songs, choosing Mohammad Rafi as the Best Male Singer for 1949 and his Suhani Raat Dhal Chuki (Dulari, Naushad) as the Best Song. SoY also has released Best songs of 1949: Wrap Up 1, choosing Mukesh as the Best Male Singer and Tu kahe agar as the Best Male Solo.

Then I have taken up Solo Songs of ‘Other Than Lata Mangeshkar’ Female Singers, in which we covered Suraiya, Geeta Roy , Shamshad Begum, Raajkumari, Asha Bhosle, Surindar Kaur.

On Mohammad Rafi’s anniversary we end our present episode with a few of Sonic-Omi’s Mohammed Rafi songs that did not gain ‘high’ popularity:

Haseen JulfoN Ka Rang De Do – Beti (1969) – Shakeel Badayuni

Mere Mehboob Tu Mujhko – Beti (1969) – Shakeel Badayuni

Yeh Dil Nahin Hai – Aabroo (1968) – GS Rawal.

We will take up an exclusive article on Mohammad Rafi in our next Fading Memories.. Unforgettable Songs episode…..

I look forward to receive your inputs for further enriching the contents of the posts…..

Carnival of Blogs on Golden Era of Hindi Film Music – June, 2016

Welcome to June 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We begin with our regular Anniversaries section.

Songs of Yore completes six years is certainly quite an milestone to celebrate. True to the signature style of the blog, the post contains great, quite unheard of songs, For example:

Celebrating the Urs of Lal Shahbaz Qalandar, Part I: The Song is about THE song. A lot of people know about the origins of the poem, the Sufi poets, etc. What most people don’t seem to know about is the man who composed the music for this song – that is, the music that the famous Sufi poem has been sung to by thousands or millions of people over the last several decades. That man is the Pakistani film composer Master Ashiq Hussain. The film was Jabroo (1956) – Lal Meri Pat Rakhio.  Part II: The Festival presents a few good documentary clips and also am transcribing an interesting and amusing piece of writing from a favorite book.

We now take a look at posts on other subjects –

Shankar-Jaikishan’s female dance duets – The earlier post on Shankar-Jaikishan’s dance songs for Lata Mangeshkar has had generated a great deal of enthusiasm. Here is the follow-on one on female dance duets. We have picked up a few less-heard ones here:

Romance of letters – Both Hollywood and Bollywood have letters as integral part of many films, but Bollywood goes one step ahead in having letter songs which may not necessarily carry the story forward, but so what, Indian audiences need their quota of dance and songs.

We also take opportunity to re-visit My Favourites: Letters in Verse

First films of some music directorsArunabh Chowdhuri – is a very interesting collection of basic facts and related trivia, for example “What is even more odd is that Lata  Mangeshkar  sang  for  Khayyaam  before  she sang for Anil Biswas, SJ or Khemchand Prakash.  The HEER RANJHA song “Kaahe Ko Deenhi  Bides” is a traditional Avadhi song now credited to Ameer Khusro.  Lata sang it then, and Jagjit Kaur repeated it in UMRAAO JAAN – more than 30 years later!Life Lessons From Hindi Films –are lightly put across in a serious tone. As we go through the comments we see that Dusted Off also had two articles in a similar vein. The earlier one is Ten Great Bollywood Mysteries, and the second one (Why I love the comforts of old Hindi cinema) can be accessed through the link in this article: Why I love the comforts of old Hindi cinema

My Favourites: The Rain in Ten Moods – Three years ago, around this time, we have read a post on rain songs, which was followed by another.  After two posts on rain songs, we now have one on rain scenes. One of the comments on this article states that a scene from Ascenseur pour l’efachaud  does not have the rain but it’s there in the memory unless of course time has etched in something that wasn’t there. But Moreau and the camera and the music are amazing (and the rain later perhaps).

My Favourites: The ‘Mawsome is Awesome’ Songs surely have plenty of songs celebrating the generic ‘mausam’. Here are some of the less-heard ones:

  • Mausam aaya hai rangeen  – Dholak (1951) – Satish Batra, Sulochana Kadam – Shyam Sunder – Aziz Kashmiri
  • Mausam ye pukare  – Burma Road (1962) – Talat Mehmood, Lata Mangeshkar – Chitragupt – Majrooh Sultanpuri
  • Ye hawa ye mastana mausam – Akeli Mat Jaiyo (1963) – Lata Mangeshkar, Mohammed Rafi – Madan Mohan – Majrooh Sultanpuri

Ten of my favourite philosophical songs – focus on a philosophy of life. The philosophy shouldn’t be hidden away behind another agenda; the philosophy must be the main theme of the song. The discussion on the post has mentioned a very typical song. The songs filmed on comedians, invariably would include a dose of philosophy of life.

On a biography of Shashi Kapoor, householder and movie staressay-cum-review for Open magazine of  Shashi Kapoor: The Householder, the Star – “In between all this, I was struck by Kapoor’s dignified turn as a modern-day Karna in Kalyug,… and dimly aware of his pencil-moustached “serious” roles in films like New Delhi Times and Vijeta. Though not one of my very favourite actors, he was always a pleasing personality, and even at a time when I was more interested in macho men and less so in sensitive, dreamy-eyed heroes like Shashi and his nephew Rishi, I think I realized there was something special about someone who could easily shift between the mainstream films I liked and the somber ones by Shyam Benegal and others.”

Manna from heaven is the melancholic, pining-for-the-past melody Coffee House er adda. The song penned by Gauriprasanna Majumdar recounts the Coffee House days of seven friends, who sat over endless cups and cheap charminar cigarettes burning between their lips with dreams to make it big.

Suraiya & Ashok Kumar in unreleased Wajid Ali Shah (1953) Suraiya & Ashok Kumar in unreleased Wajid Ali Shah (1953)

 British director Herbert Marshall, making English version of  “Wajid Ali Shah”, puts Oudh’s last king (played by Ashok Kumar) in good humor.  Suraiya can be seen smiling in the background. The film was shelved later.

Famous Singers and their Signature Singing Styles – Anjana Mohan very succinctly reviews singing styles of Mohammed Rafi, Kishore Kumar, K J Yesudas, Begum Akhtar, Lata Mangeshkar and Asha Bhosle

Muhammad Ali, the legendary boxer, dies at 74

Muhammad Ali hands over a plaque to Mohammed Rafi

Muhammad Ali hands over a plaque to Mohammed Rafi in an undated picture from Yasmin Rafi’s collection

Suspense, Romance, Crime Thrillers, Offbeat, Social Drama: The Trend-setting Films of Raj Khosla By Peeyush Sharma

Raj Khosla - a rare picture, when he was 21

A rare picture of 21 years old Raj Khosla who made his debut as an actor in Raen Basera (1946). However, this film is not documented in his biography or elsewhere. (Pic: Pakanati Lakshmi Priya of Old Is Gold FB Group)

The post, as expected contains a large amount of facts, trvias and songs. For example – Khosla dug out an aborted Guru Dutt venture (Raaz) and made it into Woh Kaun Thi (1964). (Incidentally, the Tamil Nadu chief minister, Jayalalitha acted the part in both Tamil and Telugu remakes). We have picked up one song mentioned in the article –

Humse Bhi Kar Lo Kabhi Kabhi Meethi Meethi Do Baatein – Milap (1955) – Geeta Dutt – N Dutta (debut film of N Dutta as well) – Sahir Ludhyanvi

Re-claiming Indian Parallel Cinema Omar Ahmed

Rare poster of Sara Akash

 

Rare poster of Sara Akash, one of the 3 films – the other two being Mani Kaul’s Uski Roti (1969) and Mrinal Sens’s Bhuwan Shome (1969) –  that ushered in the Indian New Wave cinema in 1969-70
(Pic: A Manzil of Memories: Rare memorabilia from Basu Chatterji’s films)

 

 

In Micro View of the Best Songs of 1949 @SoY, we have first taken up Male Solo Songs Till now, we have covered G M Durrani, Talat Mahmood, Surendra and ‘Other’ Male Playback Singers , Mukesh and Mohammad Rafi’s ever green solo songs, first and second part of  Other Noteworthy Solo songs

We end our present episode with posts/ articles that cover Mohammed Rafi, from a wide-ranging point of views –

We have picked up two of the rare and nice of the 10 songs of Mohammad Rafi that you are not heard of:

A to Z of Mohd. Rafi SongsAchal Rangaswamy has listed one song per an alphabet that encompasses every emotion, every mood and every kind of expression a singer could display

I look forward to receive your inputs for further enriching the contents of the posts…..

Carnival of Blogs on Golden Era of Hindi Film Music – May 2016

Welcome to May 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We begin with our regular Anniversaries section.

Forgotten Composers Unforgettable Melodies: Iqbal Qureshi –  Once you get to listen to the songs, one would simply wonder how come such a talented music director did not succeed commercially after having composed such songs. Even some of his less heard songs too are a treat to listen to, even today:

Interestingly, the same tune when used for Ek chameli ke madwe tale, do badan pyar ki aag mein jal gaye – Cha Cha Cha (1964) got huge success.

Manna Dey’s songs by Shankar-Jaikishan is a tribute to Manna Dey on his 97th birth anniversary with his songs by Shankar-Jaikishan as a part of the celebrations of SJ Year on SoY. As one would expect, the post and the discussion thereon yields a veritable treasure of SJ-Manna Dey combo.

We now take a look at posts on other subjects –

My Favourites: ‘Don’t Go’ Songs – All the songs in this list have that one thing in common – they are all songs that entreat someone not to leave. It doesn’t necessarily have to be the first phrase in the mukhda, but the entreaty has to appear in the mukhda itself. Here are a couple less heard ones –

Ten of my favourite cynical songs – Ten songs that speak of the singer’s cynicism, his or her belief that the world is not a nice place. At times the bitterness boils forth in a fierce and/or despairing rejection of the entire world; at other times, it is cloaked with satire or a sort of bitter humour. Perhaps even smiles. But the cynicism is there, if you only pay attention to the lyrics. Here is the one as an example:

Moon and Mumbai (Bollywood) – Guest Article by D P Rangan –  Film makers in Mumbai and Chennai, the first two centers of film studios, had also fallen under the influence  of Chand, the Moon and used it as scene creator ab initio, and music directors had risen to the occasion and composed immortal musical pieces for the heroes and heroines to cavort about in joyful abandon. The post and the discussion thereon presents Chand in its all shades:

Madhubala in Greece – Did you know that Madhubala was so popular in Greece in early 1960s that a song was written in Greek for her and sung by perhaps the best singer ever of the “Laika” genre Stelios Kazantidis. Here is the song with English Translation

Suraiya on the sets of Goonj (1952) – Singing star Suraiya makes friends with a horse on the sets of Kwatra Art Productions’ “Goonj”; co-workers look on interestedly.

Beauty and the beast and a host of lookers on
Beauty and the beast and a host of lookers on

Kamini Kaushal, S.D. Burman, Lata, Kishore on the sets of Chalis Baba Ek Chor (1954)

Producer Kamini Kaushal (center) has first of the eight songs in “Chalis Baba Ek Chor,” her own production recorded. With her, from left, are Director P.L. Santoshi, playbacks Kishore Kumar and Lata Mangeshkar, with music-director S.D. Burman completing the group
Producer Kamini Kaushal (center) has first of the eight songs in “Chalis Baba Ek Chor,” her own production recorded. With her, from left, are Director P.L. Santoshi, playbacks Kishore Kumar and Lata Mangeshkar, with music-director S.D. Burman completing the group

 

A music link – Working with a grant sanctioned in 2008, Suresh Chandvankar steered the Endangered Archives Programme (EAP)190 project that has successfully digitized gramophone records, advertisements and publicity material as well as catalogues of the Young India record label that operated in Mumbai from 1935-55. A staggering 1,427 items populate this extraordinary collection which one can now access for free (http://sounds.bl.uk/World-and-traditional-music/Young-India-record-label-collection). [Once you visit this site, you will also find 103 item collection @Music From India.]

For the present, I did not find a fresh post @ that can be taken up here. That gives a good opportunity to go back a little in time and listen to a select Geeta Dutt songs, composed by Madan Mohan @ Madan Mohan: The Composer of the Classes By Gajendra Nand Khanna.  These are the songs that have western tunes, fairly heavy orchestration and a very lively Geeta Dutt. These songs amply show that Madan Mohan was capable of doing heavily instrumented songs as well when he did such songs.:

We have commenced Micro View of the Best Songs of 1949 @SoY, by now a well-settled, annual review feature of visiting the songs of particular year under the subject of Best songs of year. This year we have Best songs of 1949 for the Base. We have first taken up Male Solo Songs, and have covered G M Durrani, Talat Mahmood, Surendra and ‘Other’ Male Playback Singers till now.

We end our present episode with a posts/ articles that cover Mohammed Rafi, from a wide-ranging point of views –

Bhoole Bisre by Prakash Gowda – A zero budget short film with a million dollar message, by Prakash Gowda, that narrates the story of an old man who yearns for a hearing machine, just so that he can enjoy the songs of Mohammad Rafi.

Mohammed Rafi also always used to sing a song in the native language whenever he would visit different countries. Not many people know that Mohammed Rafi visited Kabul, Afghanistan in 1975 and recorded few farsi songs in Radio Kabul. Here is such rare non-filmi farsi song of Mohammed Rafi, with Afghan female singer Zhilla. This song is composed by Hafizullah ‘Khyal’ and recorded in Radio Kabul in 1975 with Afghan musicians.
Aye Taaza Gul Tu Zeenat-e-Gulzaar-e-Keesti
(Oh fresh flower, you are beauty of which garden?)

Similarly when he visited the capital city of Suriname, Paramaribo, he sang Baharon Ful Barsao in Suriname language. Here is that clip where we can listen to his live performance in Suriname.

I look forward to receive your inputs for further enriching the contents of the posts…..