Hemant Kumar’s Hindi Song Compositions – Songs of Lata Mangeshkar, Geeta Dutt and Asha Bhosle

Hemant Kumar (16-6-1920 | 26 September 1989) had already shown flare for music composition from his early childhood. Even though his formal career did commence as a singer, his talents as a composer also did not have to wait longer to get formal recognition. Of course, in so far as Hindi Films is concerned, the first ever film for which he got to compose the music was good eight years after he sang his first film song. He then went on to compose music for 50+ films for next 27 years.

Hemant Kumar’s start as music director in Anadmath (1952) was on a reasonably high note. It soon reached peak with Nagin (1954) and Shart (1954). Both these films had excellent run on box office mainly on the backing of the songs of the film. Hemant Kumar then continued to score at least one musical hit for every two or their films for which scored the music, irrespective of the box office outcome of the film. As it happens with majority of the film songs, the songs from the films that did well on the box office has had longer recall value in the minds of the listeners. These are the songs that have normally cemented the image of Hemant Kumar as the composer in our minds.

The full spectrum of Hemant Kumar’s range as a composer has four distinct shades of grey – his solo songs in his own voice, his songs in the voice of female singers, his solo songs in the voice of other male singers, his own duets and his duets in the voice of other singers.

Presently, we will take up the segment of Hemant Kumar’s female songs to explore breadth and depth of Hemant Kumar’s compositions

In terms of the singers, the solo songs of Lata Mangeshkar, Asha Bhosle and Geeta Dutt, in that order, occupy more that 80 % of the female-singers-spectrum of Hemant Kumar’s compositions. Hemant Kumar mostly used Lata Mangeshkar as his lead singer when he did not use Geeta Dutt. Quantitatively and qualitatively, he had still had enough room for using Asha Bhosle’s talent fully. One major impact of this heavy skew in the distribution of the female solo songs was to lead me to explore Hemant Kumar’s musically relatively less successful films to dig out songs of the other female singers. In the process, I had excellent opportunity to listen to many forgotten Lata/Geeta or Asha songs from these films as well.

These deep-sea explorations have resulted into a several large catches of songs of these three singers. I, therefore, have luxury to choose from the less heard songs of the less remembered films to present a different perspective of the rich legacy of repertoire of Hemant Kumar’s female song compositions.

Lata Mangeshkar

Like his other contemporary Bengali music directors, S D Burman or Salil Chowdhury, in the Hindi Film world of that period Lata Mangeshkar was the clear first choice of Hemant Kumar. The natural melody of the Lata Mangeshkar’s voice was a logical and obvious choice for the soft Bengali tone of these music directors.

Hemant Kumar’s compositions in Lata Mangeshkar’s voice, normally, keep being published at regular frequency on several social media. So, I have picked up only one song from an early film and other one from his few of the last films, to present as encompassing as possible range of Hemant Kumar’s female songs

Kahan Se Le Ke Aayi Hai Kaha Majburiya Meri….. Meri Taqdir Ke Mailk Mera Kuchh Faisala Kar De – Shart (1954) – Lyrics: S H Bihari

The song opens with a couplet that epitomises the helplessness of the protagonist. Hemant Kumar deploys short pieces of violin ensemble that accentuates the pathos mood of the song.

Mitwa Re Bhul Gaye The Rahein Mitwa – Rahgir (1969) – Lyrics: Gulzar

This song also renders the mood of pathos – caused by the separation of the lovers. Hemant Kumar has used high scales of Shehnai in the interlude, to immediately follow the line wherein chorus also joins the song. The song is classic Gulzar poetry which is always a challenge for the music director. However, Hemant Kumar’s natural bent for melody returns with a complex, and yet a melodious composition.

Geeta Dutt

Hemant Kumar did use Geeta Dutt as lead female voice in his maiden film Anandmath (1952) – 5 songs. He then used her voice as lead singer in only Laalten (1956) – 6 songs; Police (1958) – 6 songs and of course, Sahib Bibi Aur Ghulam (1960) – 3 songs. He did keep using her off and on, in solos or duets,  in films like Ferry (1954)- 2 songs;  Samrat (1954) – Songs; Shart (1954) – 2 songs; Bahu (1955) – 3 songs; Bhagwat Mahim (1955) – 1 song; Arab Ka Suadagar (1956) – 2 songs; Bandi (1957) – 3 songs; Ek Jalak (1957) 3 songs; Fashion (1957) – 2 songs; Hill Station (1957) – 3 songs; Kitana Badal Gaya Insaan – 3 songs; Miss Mary (1957) – 1 song; Yahudi Ki Ladki – 5 songs; Hum Bhi Insaan Hai (1959) – 2 songs and Duniya Jhukti Hai (1960) – 1 song. If some of the songs are remembered even today, some were lost quickly.

Aa Re Bhanvare Aa, Maheki Meri Man Ki Bagiya – Anand Math (1952) – Lyrics: Shailendra

Since Geeta Bali seems to be on an espionage or a luring mission into the British camps, she resorts to amorous gestures, matching her singing to her physical movements. Geeta Dutt supports such gyrations with matching variations of her singing. Hemant Kumar has so vividly woven an earthy folk-based composition with the situation.

Rangili Rangili Chhabili Rani Nindiya, Aa Mere Raja Ki Ankhiyo Mein Aa – Ferry (1954) – Lyrics: Rajinder Krishna

Hemant Kumar sets the lullaby to a soothing, soft orchestration.

Agar Pyar Mein Muskuraaye Na Hote – Laalten (1956) – Lyrics: Kaif Irfani

Hemant Kumar has set Geeta Dutt’s voice to a tone that exudes pathos, and then goes on to support that with short pieces of orchestrations.

Aaja Zara Mere Dil Ke Sahare – Ek Jhalak (1957) – Lyrics: S H Bihari

I always had an impression that this song is only a duet of Hemant Kumar and Geeta Dutt. This solo twin version is a find of the work for this episode.

Aside: The song is considered to have been inspired from Cherry Pink and Apple Blossom White (1955) song.

Koi Door Se Awaaz De, Chale Aao, Chale Aao – Sahib Bibi Aur Ghulam (1962) – Lyrics: Shakeel Badayuni

After the success of Bees Saal Baad (1960), Hemant Kumar and Shakeel Badayuni again team up here. The deep-from-the-memory, haunting, softly echoing, sound of the song in the voice of Chhoti Bahu draws Guru Dutt to the place where he finds the bangles of the Chhoti Bahu. The film goes into the flash back. (@.4.14 to 5.38 of the film soundtrack). The short, soft, sounds of violin in the background in the following frames speak volumes for Hemant Kumar’s creativity as a composer.

Incidentally, it is in this opening that the Hindi version dramatically differs from the Bengali version of the film.

The present song returns at the end of the film to encapsulates the haunting melancholy of the loneliness of Chhoti Bahu

Asha Bhosle

Asha Bhosle, technically for the most part, did not enjoy the status of a lead singer in Hemant Kumar’s scheme of things. But Hemant Kumar has always done full justice to the range of her voice, in terms of number of songs that he gave to Asha Bhosle, as well in terms of variety of the music content. As a result many of Hemant Kumar -Asha Bhosle songs, like De Di Hame Azadi Bina Khadag Bina Dhal (Jagriti, 1954), Yaad Rakhana Pyar Ki Nishani Yaad Rakhana (Nagin, 1954), Sakhi Ri Sun Bole Papiha Us  Paar (Miss Mary, 1957)  or Bhnwara Bada Nanadan and Saaqiya Aaj Mohe Nend Na Ayegi (Sahib Bibi Aur Ghulam (1962) are respectfully placed in Asha Bhosle’s most respected songs ever.

I have selected a few representative songs here, as a sample of the wide range of Hemant Kumar’s Asha Bhosle songs.

Chalo Chale Maa, Sapno Ke Gaon Mein – Jagriti (1954) – Lyrics: Pradeepji

The song is a twin version song. The first version has strong undercurrent of hope of good tidings to come. Hemant Kumar has epitomised the high hopes by setting the opening scale of each stanza on a high note. The second version has pensive pathos mood. Hemant Kumar reframes the initial high notes of the stanza by extending them over the whole line.

Bade Bhaiya Laye Hai London Se Chhori, Dila Do Hamein Bhi Dulhan Gori Gori – Ek Hi Rasta (1956) – Lyrics: Majrooh Sultanpuri

Hemant Kumar conjures a beauty in the form of a children song. He seems to have taken all care to use only those instruments that are mostly seen being used on the screen in the song.

Hemant Kumar’s ingenuity as a composer is evidenced in the second stanza, wherein the song switches over to qawwali style singing because the lyrics talk about the Baarat (bride’s marriage procession).

The transition from qawwali back to the original marching rhythm is also very deftly managed @ 3.39

An interesting Trivia : @1.00 to 1.5 we get to listen a piece on harmonica which is the theme of another great Hemant – Lata duet from the film – Sanwale Salone Aaye Din Bahar Ke

We fast-forward to the later part of the Hemant Kumar’s musical filmography.

Bin Badal Barsat Na Hogi – Bin Badal Barsat (1963) – Lyrics: Shakeel Badayuni

Hemant Kumar has chosen to base the  composition of this dance song on a folk tune, but the interlude orchestration has all the elements of a mystery-film song, since there seems to be some hidden story that connects the protagonist (Nishi) on the dance floor with the key spectator– Biswajeet. Asha Bhosle’s delivery of the song is also so composed that the elements of mystery and underlying melancholy of the main protagonist’s feelings remain evident.

Kyun Mujhe Itni Kushi De Di, Ki Ghabarata Hai Dil – Anupama (1966) – Lyrics: Kaifi Azmi

Here is a dance song staged on the screen as a party song. Hemant Kumar has again successfully used Asha Bhosle’s voice to blend the two moods, one obvious mood of joy,  befitting what can be seen on the floor and the other a hidden underlying mood of the protagonist (Shashikala) in sync with lyrics of the song

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

We will take up Hemant Kumar’s Hindi Song Compositions in Other Female Voices in the Second Part

The Micro View of Best Songs of 1945 @ SoY :: Setting The Stage

The backward journey of Best Songs for TheYear @ SoY has now reached the 10^th milepost. The journey commenced from the known territory of first five (actually , four) years of  what is known as the golden era, paased through transition years of golden era nd vintage era and has now reached in the tick of the vintage era. We have been able to add much more to our radio-listening music knowledge at each of these milestones – @ 1955, 1953, 1951, 1950, 1949  1948,  1947 and 1946. We now move on the next milestone ‘Best songs of 1945: And the winners are?’

We first recapitulate the key points of the SoY overview article:

Musical landmarks:

Noorjehan starrers BadiMa, Village Girl and Zeenat; K L Saigal’s Kurukshera and Tadbeer (even when composed by relatively unknown today composers, Ganpat Rao and Lal Mohammad, respectively)  hardly require much efforts to recall for the generation that has grown up listening to radio only.

Other important musical compositions

Dil Jalta Hai To Jalne De – Pahli Nazar – Mukesh – Anil Biswas

Debut, fact file and trivia

     Lata Mangeshkar – as an actor and singer, in Badi Ma.     

     Mohammad Rafi – on screen, in Tera Jalwa Jisne Dekha (Laila Majnu)

Talat Mahmmood – first Hindi film song – Jago Musafir Jago (Raj Laxmi).His first film as actor on Hindi screen.

As directors, Bimal Roy – Hamrahi, K Asif – Phool

As lyricist, Moti B.A.- Kaise Kahun

The first all-feamle quawwali – Ahe Na Bhari Sikawe Na Kiye (Zeenat)

1945 had 74 films, and around 670 songs. Of these songs, singers for more than 300 songs remain unidentified.  Of these, List Of Memorable Songs has 60 songs. When more than 300 songs have unidentified in a year, form a total of around 670 song, this number commands respect. Of the songs listed here, around 30% songs belong to Male Solo songs, of which roughly one third are the solo songs of (so-called) vintage era male singers. Around 40 % songs belong to Female Solo Songs category. Barring a couple of exceptions, all songs belong to only vintage era singers. Rest of the songs are duets, of which duets where at least on singer – which under the present circumstances would a male singer only – is only a third of the duets. These songs have been separated listed as Memorable Songs of 1945, with corresponding YT link to the song.

Many songs in the list may not refresh into memory by only reading the initial lyrics but listening to these songs during our Micro View should an interesting affair. It should also be certainly interesting to explore songs listed on HFGK on YT during Micro View. We should also be seeing if Micro view does make any significant change in the distribution pattern narrated here above..

For the year under review, Special songs are expected to be expanded as we discover more such songs on the detailed listening of songs in other categories. . In this case too, I have brought these songs on the same page with Memorable Songs of 1945.

It should also interesting to see if we can find any songs on YT that have not been tagged to any specific singers (in HFGK records). If so found, we will list them as separate category during the Micro Review.

The stage is now set to commence our journey into the Micro View of the Songs of 1945. For the year, we will list all available songs on YT for the singers already identified. I propose to add a section of the songs for which singers are not identified, but on the condition that the first listening of the song induces you to repeat listening. We will then combine our impressions of these songs with that we already have for the well-known ones to present our point of view in so far as

MY TOP Male Solo Songs

MY TOP Female Solo Songs

MY TOP Duets

MY TOP Songs of Unknown Singers

MY TOP music director

                               are concerned for the year 1945.

All the posts that will appear on this subject here have been tagged as Songs of 1945.

The Micro View of Best Songs of 1946 @ SoY – MY Top Music Director(s)

As the Journey of Micro-Viewing the songs of a given year has progressed, backwards  in terms of the chronology of the years, the task of selecting TOP music director has become an exercise that is getting severely affected by MY limited exposure to the pre-1950 songs. Music directors with whose work I am more acquainted were making initial tentative strides in the years before 1949. Some of the otherwise familiar music directors, like Naushad or Anil Biswas, had not yet fully graduated to post-1950 styles. The Hindi Film Music field of post-1950 years was to so dramatically changed that criteria like number of films in year, or number popular songs in year seem carrying no purpose.

As such, therefore this exercise essentially remains MY micro-summary View of the songs from rests mainly on one of dimension, that of songs of the music director(s) that I liked most. However, I have included two other parameters too in this Micro View. Nonetheless, this review does not male any claim to be a review of overall impact a music director has made in that year.

So, here we go into MY mico-view of the Top Music Director(s) for the year 1946:

The review parameters that form the base of discussin are:

• Music directors of the films appearing in the heading image of the overview post Best songs of 1946: And the winners are?’,
• Top Box-oofice grossers for the year and
• The quantitative summary of Music directors whose songs appear in MY TOP micro-view of other three dimensions, viz. of Solo songs of Male Playnack Singers, Solo songs of Female Playback Singers and the Duets.

A] SoY over-view post banner

The banners of SoY over view posts fairly faithfully reflect the most noted films of the given year from the view of the songs and music of the films in that year.

For 1946, we have Anmol Ghadi and Shajehan (Music Director: Naushad Ali), Eight Days (Music Director: S D Burman), and Safar (Music Director: C Ramchandra).

Over and above Anmol Ghadi and Shajehan, Naushad indeed continues to remain a heavy-wieght player in the year with the third film Keemat this year. Naushad has three excellent singers –Noor Jehan, Surendra and Suraiya – for Anmol Ghadi, K L Saigal – for his three wel-known, loved and remembered even now solos – in Shahjehan. In comparision, Keemat does not have ‘star singers’, but Naushad has done all the justsice to main sigers Amirbai Karanataki and NAseem Akhtar in the songs for the film.

Along with Eight Days and Shikari, S D Burman’s debut with Hindi films remains noteworthy. He has commandeerd the musical resource, in terms of playback singers, well enough to successfully create songs that seem to lend fresh breath with the vintage era environment.

C Ramchandra ‘s Safar is indeed a trail-balzing one, both from the point of view of his own career as well as for some deifinitive trends in the Hindi Film Music. Before, Safar, he had done 10 C grade films and just 5 social films and his name had not yet become famous. The success of Safar’s music changed that scene for ever. If his duet with Beenapani Mukhrjee, Kanhi Yaad Kar Ke, Gali Paar Kar Ke, Chali Aana Hamare Angana, set his very distinctive western-music influenced peppy songs, his two solos for Mohammad Rafi, Ab Wo Hamare Ho Gaye, Iqrar Karen Ya Na Karein  and Kah Ke Bhi Na Aaye Tum, Ab Chuupane Lage Taare helped Rafi in not firmly setting his foot on the scene but also helped evolve his own style.

B] Top Five box-office grossers for 1946

The popularity of the songs has remained one major factor that influenced the success of a film at the box office.

For the year 1946, the Top Five box-office grosser films and the corresponding music directos are:

• • • • Anmol Ghadi – Naushad Ali
      • Shahjehan- Naushad Ali
      • Phoolwari – Hansraj Behl
      • Omar Khaiyyam – Lal Mohammad
      • 1857 – Sajjad Hussain

We have had a fairly detailed look at the songs form these films in our Male Solos, Female Solos and Duets sections. Aprt from the songs from the two wel-known films, two solos Surendra – Wo Paheli Mulaqat Hi Bas Pyar Ban Gayi – 1857, K L Saigal – Hare Bhare Baag Ke Phoolo Pe Riza Khayyam – Omar Khaiyyam – have found place in MY Top (Male Solo) songs too.  Of course, appearance of a song, or otherwise, does not have any reflection on either the merits of the song or its then then popularity, as these are driven by my own limted range of choice of songs for these years.

C] Quantitative add-on view of other three dimensions, viz. My Top Solo songs of Male Playnack Singers, Solo songs of Female Playback Singers and the Duets –

Since I have bent towards a wide range of singers, as well as not-sofamiliar=to-me songs while selecting the songs in these three categories, the numbers in the present analysis, in all probabilities, expectedly should emerge the music director(s) whose songs I liked for 1946. It is likely that casting the net wider over all the songs that have appeared in the micro-review of the respective category may have yielded a different pattern. But in a year where most of the songs are heard first time, such an exercise would not have helped to identify the music director who has bearing on the songs that I liked.

We have two sets of data – music directors who has only song in any one of these categories and the music directors who have either one song in more than one categories or more than one song in one or more categories.

Lal Mohammad, Sajjad Hussain, S N Tripathi, Gulshan Sufi, K C Dey and Rasheed Atre have one song in MY top Male Solos, Shankar Rao Vyas,  Shantikumar, Hafeez Khan, Vinod, Sushant Banerjee, Shyam Sundar and Prem Nath have song each in MY Top Female Solos and Narayan Rao has one song in MY Top Duets.

The music directors whose one or more songs have appeared in one or more of the categories are.

Music Director	Male Solos	Female solos	Duets	Total
C Ramchandra	2	1		3
S D Burman	1	1	1	3
Bulo C Rani	1	1	1	3
Naushad Ali		3	2	5
Hansraj Behl		1	3	4
Vasant Desai		2		2
Anil Biswas		2		2
Kamal Dasgupta		2		2
Qadir Faridi		2		2
H P Das		1	1	2

These analyses would yield Naushad Ali as the MOST Liked Music Director for 1946, without in any way diminishing my LIKEs of the songs of all other music directors.

How would have you analysed the Songs of 1946?

I look forward to you to join me to take up a similar detailed Micro View when SoY takes up futher more challenging year of 1945 next in this Best songs of year series.

 

P.S. : All the episodes of The Micro View of Best Songs of 1946 can be read / downloaded from one file, by clicking on the hyper link.

P.P.S  – In the final wrap-up article, Best songs of 1946: Final Wrap Up 4, the SoY Award for the Best Music Director of 1946 goes to Naushad.  And, special mention is made of Ghulam Haider and Hansraj Bahal for their outstanding music in the year.

The Micro View of Best Songs of 1946 @ SoY – Duets – MY Top Duet Songs

For the purpose of summing up the duets,  I have picked up the ones that I liked  on the first hearing.

So, here is the list, in no particular order:

Mohammad Rafi, Hamida Banu – Rukhi Sukhi Main Kha Luhgi Paas Bula Lo Mere Raja – Insaaf – H P Das – D N Madhok

I fully concur with Shri AKji’s views: Even though Rafi follows Hamida Bano, the famous voice modulation we became familiar with is present in this song.

Mohammad Rafi, Shamashad Begum – Ye Nayan KyuN Sharma Rahe Hai – Rasili –Hanuman Prasad – Gafil Haranyanvi

It is such a pleasure to listen to Moahammad Rafi in such a youthful voice.

Mohammad Rafi, Amirbai Karanataki – Man Ki Suni Nagariya Suhani Bani – Sona Chandi –Tufail Faruqui – Khawar JamaN

Here too I fully endorse Shri AKji’s views for the song: Amirbai Karanataki seems to overpower him with her natural high pitch over Rafi coming in lower scale. I contrasted with ‘Ansoo thi meri zindagi’ five years down the line in ‘Bikhare Moti’ (1951, Music: Ghulam Mohammad; Lyrics: Aktar Ul Imman) in which too she leads, but by then Rafi was in his full flow.

Mukesh, Hamida Banu – Ja Parwane Ja Kahi Shama Jal Rahi Hai – Rajputani –Bulo C Rani – Pt. Indra

Hamida Banu is in her vintage era singing elements and yet so smoothly modulates the song that song appeals the listeners from the very beginning.

Ashok Kumar, Amirbai Karnataki – Har Din Hai Naya, Har Raat Nirali Hai – Shikari – S D Burman – G S Nepali

Ashok Kumar fully matches Amirbai Karanataki through the song, even at the higher octave scales.

Surendra, Noor Jehan –  Awaz De Kahan Hai, Duniya Mera Jwan Hai -Anmol Ghadi –Naushad Ali – Tanvir Naqvi

The song is one of the very popular duet that always remained active in terms of listeners choice at all phases of public / private listening media.

Revashankar, Johrabhai Ambalewali– Hamari Gali Aana Hamse Akhiya Milana – Maharana Pratap – Ram Ganguli – Swami Ramanand

A quintessential vintage composition, and yet so sweeto to listen to.

Firoz Dastoor, Amirbai Karnataki – Naino Ki Nagari Mein Aa Ke Chale Janaa Na Kar Ke Bahana – Pujari – Hansraj Behl – Wali Sahab

The song retains melody even when set to a relatively stronger bass rhythm.

A R Oza, Amirbai Karnataki – Patanga Chala Hai Dipak Ki Aur, Man Mein Le Kar Prem Ki Aasha – Pujari – Hansraj Behl – Wali Sahab

The delivery of the song has remained quite clear even though the song is seto relatively higher octave scale., and then song moves to a slower rhythm in the second stanza.

Yashvant Bhatt, Husn Banu – Aye Phool Bata Kaisa Hoga Mera Piyaa Sajan Pyara – Royal Mail – Narayan Rao – Mustafa N Usmani

An excellent composition, set to lower scales.

Zohrabai Ambalewali, Shamshad Begum – Udan Khatole Pe Ud Jaoon, Tere Haath Na AauN – Anmol Ghadi – Naushad Ali – Tanvir Naqvi

One of the most familiar song in the category of ‘duets’ this year.

Mohantara Talpade, Hameeda Bano – Oonchi Haveli Bana Do Munimji, Haweli Ko Sheeshe Laga Do Muimji – Phoolwari – Hansraj Behl – Pt. Indra

The list of things to be fitted in the palace makes the song an interesting one to listen to.

S D Burman, S L Puri – Baabu.. Re Dil Ko Bachana, Tere Dil Ko Bachana – Eight Days- S D Burman

During the course several articles on S D Burman for our blog, I got the opportunity to listen to this duet. That familiarity has played the role in the selection of this song here.

Of these, I would rate (Mukesh, Hamida Banu ) Ja Parwane Ja Kahi Shama Jal Rahi Hai – Rajputani –Bulo C Rani – Pt. Indra as my MOST liked Duet for 1946.

We will take up MY Top Music Directors for the year 1946 in the next episode.

P.S. : All the episodes of The Micro View of Best Songs of 1946: Duets can be read / downloaded from one file, by clicking on the hyper link.

SoY has published its concluding piece on duets of 1946 – Best songs of 1946: Wrap Up 3and adjudged,  Aawaz de kahan hai – Surendra and Noorjehan (Anmol Ghadi, Naushad), and Ek yaad kisi ki yaad rahi – GM Durrani and Shamshad Begum (Shama, Ghulam Haider)jointly as the Best Duets for 1946.

The Micro View of Best Songs of 1946 @ SoY – Duets – Female – Female Duets + Male-Male Duets + Triads, Triads+

Female – Female Duets

Female- Female Duets present an opportunity to listen to many of the voices that we listened to in the female solo songs, with a different prospective of – in terms of the subjects as well as style of singing these types of songs.

Far More number of songs that we could locate on HFGK do not have YT links established till now.

Popular Female-Female Duet

Zohrabai Ambalewali, Shamshad Begum – Udan Khatole Pe Ud Jaoon, Tere Haath Na AauN – Anmol Ghadi – Naushad Ali – Tanvir Naqvi

Other Female-Female Duets

Hamida Banu, Krishna Ganguly – Ik Chand WahaN Ik Chand YahaN Jiya NA Lage Mora – Amar Raj – Feroz Nizami – Ishwar Chandra Kapoor

Amirbai Karanataki, Zohrabai Ambalewali – Meri Aai Hai Teen BhabhiyaN – Haum Ek Hain = Husnlal Bhagatram – P L Santoshi

Zeenat Begum, Hameeda Bano – Alla Duhai Hai … Ye Duniya Garibo Ki Kyun Jeene NahiN Deti – Nek Parveen – Feroz Nizami – Wahid Qureshi

Mohantara Talpade, Hameeda Bano – Oonchi Haveli Bana Do Munimji, Hawli Ko Sheeshe Laga Do Muimji – Phoolwari – Hansraj Behl – Pt. Indra

Shanta Apte, Lata Mangeshkar – Main Khili Khili Phoolwari Kya….. Chand Haath Mein Aaya – Subhadra – Vasant Desai – Moti B A

Male-Male Duet Song

I have been able to locate only one male-male duet from HFGK for the year 1946.

S D Burman, S L Puri – Baabu.. Re Dil Ko Bachan, Tere Dil Ko Bachana – Eight Dyas- S D Burman –

Triads, Triads+

Except one song, all other songs are more in the genre of chorus songs  this year, where no one singer plays a major role in the song.

Beenapani Mukherjee, Lalita Deulkar, Mangala Tipnis, Chorus – Apni Gori Ki Nagari Mein Jaana – Eight Days – S D Burman – Qamar Jalalabadi

Chorus – Utho Ke Hamein Waqt Ki Gardish Ne Pukara – Neecha Nagar – Pt. Ravi Shankar

Chorus – Ham Rookenge Nahin – Neecha Nagar – Pt. Ravi Shankar

Chorus – Aao SahelioN BannI Ko Mahendi Lagao – Nek Parveen – Feroz Nizami – Waid Quereshi

We will take up the concluding part of the Duet Songs of 1946 in our next episode.

The Micro View of Best Songs of 1946 @ SoY – Duets – Male-Female Duets [4]

Duets of Other Male Singers [2]

The first part of the Duets of Other Male Singers has opened up a window to look at a wider cross-section of male sigers than what could be heard at Solo songs of the male singers.The pattern continues in this part as well – along with most of the unheard singers, we get a couple of known names, but all songs remain unhead ones only.

K S Ragi + Shamshad Begum – Beet Gaya Din Rah Takat Man Hara – Namumkin – Ayub Khan – A. Karim

Feroze Nizami + Naseem Akhtar – Haye Zalim Tune Pi Hi Nahi – Nek Parvin – Firoz Nizami – Wahid Qureshi

Firoz Dastoor, Amirbai Karnataki – Naino Ki Nagari Mein Aa Ke Chale Janaa Na Kar Ke Bahana – Pujari – Hansraj Behl – Wali Sahab

Unknown male singer – identified as Khan Mastana in YT link-  & Shamshad Begum – O Sajni Saawan Ki Kaali Ghatayein Dil Ko Tadpayein To Kya Karun – Panditji –  Khan Aziz

A R Oza, Amirbai Karnataki – Patanga Chala Hai Dipak Ki Aur, Man Mein Le Kar Prem Ki Aasha – Pujari – Hansrah Behl – Wali Sahab

Qadir Faridi, Zeenat Begum – Ae Qafile Wale, Mera Paigam Liye Ja – Rehana – Qadir Faridi – Tufail Hoshiyarpuri

Yashvant Bhatt, Husnabanu – Aye Phool Bata Kaisa Hoga Mera Piyaa Sajan Pyara – Royal Mail – Narayan Rao – Mustafa N Usmani

Yashvant Bhatt, Husnabanu – Aye Saqui Tujhe Gham Kaun Kahe – Royal Mail – Narayan Rao – Mustafa N Usmani

Jagmohan + Kalyani Das – Parwane Ko Bujhe diye Par Kabhi Na Jaane Dena – Zameen Aasman- Kamal Dasgupta – Faiyaz Hashmi

Jagmohan + Kalyani Das – Ek Geet Sunaana Hai – Zameen Aasman- Kamal Dasgupta – Faiyaz Hashmi

Hemant Kumar+ Kalyani Das – Papiha… Tu Piyu Ko Pukar, Main JauN Balhar – Zameen Aasman- Kamal Dasgupta – Faiyaz Hashmi

 

We will end the Micro View of Duets for 1946 in our next episode with the Female-Female Duets, Male-Male Duets and Triads-Triads+

The Micro View of Best Songs of 1946 @ SoY – Duets – Male-Female Duets [3]

Duet Songs of Other Vintage Era Male Singers (1)

We will find some singers here who undoubtedly are well-known names, then and even today.  However, the number of their duets are not enough to justify a separate listing. Hence, placed here.

Paro devi + Unidentified male singer – O Pradesi Bhool Na Jana, Dekh Ke Desh Paraya – Dhanwan – Shanti Kumar – Roopbani

HFGK does not mention singer for the song..

Asit Baran, Kanan Devi – Suno, Suno, Kya-, Ik Naya Fasana, – Arabian Nights – Kamal Dasgupta – Faiyaz

YT mentions Robin Mazumdar as a male singer.

? , ? – He He O Dekhanewalo Ek Nazar Dekho  – Arabian Nights – Kamal Dasgupta – Faiyaz

Robin, Majumdar, Kanan Devi , chorus – Kurr….Jha, Kurr Jha, Aa Ke Tu Nakkar Ae Dil – Arabian Nights – Kamal Dasgupta – Faiyaz

Robin Majumdar + Other voice – Hoshiyar…. Ae Vatane Karavaan Hoshiyar  – Arabian Nights – Kamal Dasgupta – Faiyaz

Khan Masatana, Shamshad Begum – Bechain Judai Mein Hu Sarakar-e – Madina, Ab Paas Bula Lo – Bairam Khan – Ghulam Haider- B R Sharma

Amar, Kalyani Das – Badal Baras Baras Ke Tu Paigam Suna De – Bindiya – K amal Dasgupta – Pt. Madhur

There is a twin song too to pair this duet, rendered by Kalyani Das

Moti, Shamshad Begum – Bhanwara Shor Na Karana Gulshan Mein – Dil – Zafar Khursheed –

Manna Dey +Amirbai Karnataki – Ae Duniya Jara Sun Le Hamari Kahan Bhi Kahani – Kamla – Gyan Dutt – Neelkanth Tiwari

Revashankar + Johrabhai Ambalewali– Hamari Gali Aana Hamse Akiya Milana – Maharana Pratap – Ram Ganguli – Swami Ramanand

We will conclude the Micro View of Male-Female Duets for 1946 next week with Part (2) of Duet Songs of Other Vintage Era Male Singers

The Micro View of Best Songs of 1946 @ SoY – Duets – Male-Female Duets [2]

We listened to Male-female duets of Mohammad Rafi and G M Durrani in the 1st part.

Duets of Mukesh

In these male-female duets, Mukesh can be seen in both the colors – under-the vintage era Saigal-shadow singing style and his more familiar golden-era style sinnging.

Kya Jadu Hai Tere Paas Piya, Surat Dekhi Dil Haar Diya – Chehra – with Shamshad  Begum – M A Mukhtar – Ishwar Chandra Kapoor

Main Nagan Hu, Badi Zaharili, Badi Katili – Durban – with Beenapani Mukherjee – Gulshan Sufi – Tanvir Naqvi

Lagat Nazar Tori Chhaliya More Gore Badan Ko – Gvalan – with Susheela Rani – Hansraj Behl – Pt. Indra

Ja Parwane Ja Kahi Shama Jal Rahi Hai – Rajputani – With Hamida Bano – Bulo C Rani – Pt. Indra

Duets of Chitalkar

Except for one song that Chitalkar singsa for S D Burman, all his other duets for 1946 were composed by himself.

Ek Nai Kali, Sasural Chali, Dubali Si Dulhan – Eight Days –with Meena Kapoor–  S D Burman – G S Nepali

Kanhi Yaad Kar Ke, Gali Paar Kar Ke, Chali Aana Hamare Angana – Safar – with Beenapani Mukhrjee – C Ramchandra – G S Nepali

Nazar Bachana Babuji Nazar Bachana – Safar – with Beenapani Mukhrjee – C Ramchandra – G S Nepali

Chhoti Sethani Ji Tere Firaq Mein Ham To Gaye Badnam – Safar – with Beenapani Mukhrjee – C Ramchandra – G S Nepali

Duets of Ashok Kumar

Ashok Kumar does pleasurable justce to the difficult part of these duets.

Jagamag Hai Aasman, Dagamag Hai Mere Pran, Dol Rahi Naiya Meri – Shikari – with Paro Devi – S D Burman –

This song has a twin solo too, in the voice of Ashok Kumar

Har Din Hai Naya, Har Raat Nirali Hai – Shikari – With Amirbai Karnataki – S D Burman – G S Nepali

Duets of Surendra

Surendra is usual vintage singing-self along with, one veteran and the other a relatively fresh, female singers in these two duets.

Awaz De Kahan Hai, Duniya Mera Jwan Hai -Anmol Ghadi – with Noor Jehan – Naushad Ali – Tanvir Naqvi

Teri Nazar Mein Main RahooN, Meri Nazae Mein Tu – 1857 – with Suraiya – Sajjad Hussain – Shewan Rizvi

We will  take up first part of Male-Female Duets of Other Male Singers in the next episode in this four part  Micro View of Best Songs of 1946 @ SoY – Duets.

The Micro View of Best Songs of 1946 @ SoY – Duets – Male-Female Duets [1]

We now take up the third leg – The Duets – of ‘Best songs of 1946: And the winners are?’. As per our Micro View Practice, we will cover this leg of the Micro View journey in three stages – Male-Female Duets, Male- Male Duets and Female-Female Duets.

As per our accepted practice, we have listed male-female duets by focusing on male singer. Also, the such male singer -wise male-female duets are listed in the descending order of number of songs that we could unequivocally locate from HFGK   We have recorded duet songs for those male singers with whom we are normally conversant. Other male singers have been placed under ‘other male-female duets.

The Male Female Duets

The male female duets have been accorded almost equal respect as that accorded to male or female solo songs. Many of the male female duets have been accepted as the benchmark milestones as are some male or female solo songs have been accepted as the benchmark milestones in the Hindi Film Music.

For the sake of maintaining consistency of presentation w.r.t. the Micro View of Best Songs for XXXX @ SoY serieses in the past, I have grouped the male-female duets w.r.t. the male singer in focus. My back of the envelope notes quickly separated duets of what can be termed as more known male singers could easily be separated out from the whole population of male-female duets. However, it is the ‘other male-female duets’ that weigh quanitatively higher in numbers. In so far as previous familiairity is concerned, the number os such songs for me personally is a very small fraction of all the songs listed herein.

I have arranged the male singer-wise male-female songs in the descending order of number of songs for the number of male-female duets for the particular male singer.

Duets of Mohammad Rafi

Even as Mohammad Rafi does not have, quantitatively, so large number of duets for 1946, it should not be surprising that we have opportunity to listen to these songs for the first time because of our now established practice of Micro view listening to the songs of the vintage era years.

Gae Ja .. Bhul Ja Apne Geet Purane – Ghunghat – With Nirmala Devi -Shankar Rao Vyas – Ramesh Gupta

HFGK does not mention names of the singers.

Rukhi Sukhi Main Kha Luhgi Paas Bula Lo Mere Raja – Insaaf – with Hamida Bano – H P Das – D N Madhok

Khud Samaz Lo Ke Iltaza Kya Hai – Rangbhoomi – with Shamshad Begum – Premnath – Arzoo Lakhanavi

Ye Nayan KyuN Sharma Rahe Hai – Rasili – With Shamshad Begum – Hanuman Prasad – Gafil Haranyanvi

Watan Ki Amanat Meri Zindagi Hai – Rupa  – with Shamshad Begum – Govind Ram –

Baithe Hai Tere Dar Par Kuchh Kar Ke Uthenge – Sona Chandi – With Shamshad Begum – Tufail Faruqui – Wali Sahab

Man Ki Suni Nagariya Suhani Bani – Sona Chandi – With Amirbai Karnataki – Tufail Faruqui – Khawar JamaN

Duets of G M Durrani

Mohammad Rafi considered G M Durrani as his role model in his early career. Here, G M Durrani’s duet songs indicate why so.

Jobana Sharmae Mohe Jobana Sharmae – Kuldeep – with Mohantara Talpade – Sushant Banerjee – Nawa Naqvi

Dekho Ji Kya Sama Hai, Chaman Pe Fiza Hai – Sassi Punnu – with Shamshad Begum – Pt. Govind Ram – Ishwar Chandra Kapoor

Ik Yaad Kisi Ki Aa Rahi – Shama – with Shamshad Begum – Ghulam Haider – Ehsan Rizvi

Chinab Ke Bahate Hue Paani, Mere Dilbar Se Kah De Tu Meri Kahani – Sohni Mahiwal – with Zohrabai Ambalewali – Lal Mohammad – Swami Ramanand

O Tujh Pe Salam Aye Mare Nakam-e-Mohabbat – – Sohni Mahiwal – with Zohrabai Ambalewali – Lala Mohammad – Swami Ramanand

In the next episode we will take Micro View of Male-Female Duets for 1946 for Mukesh,  Chitalkar, Ashok Kumar and Surendra…………

The Micro View of Best Songs of 1946 @ SoY – Female Solo Songs – MY Top Female Solo Songs

When I look back at all the female solo songs for 1946, what I note is that all most each of the major female singers has at least one song that has almost chose itself for inclusion in this list.  In the same manner as I had cosen for the Male Solo Songs, I have confined my choice to the songs that I have rarely (in most case, for the first time) heard. I did not have any choice either, unlike the situation in the Male Solo Songs.

So, here are the songs that would call for TOP slot for the female solo songs for 1946, in the orderin which the singer has appeared in the detailed Micro View earlier.:

Suraiya – Man Leta Hai Angadai Jivan Pe Javani Chhai – Anmol Ghadi – Naushad – Tanvir Naqvi

This is the only ‘popular’ song that has gatecrashed the filter of confining the choice from among the least heard songs for the present list..

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

The songs that have been sorted out by me belong to happiness mood. Shamshad Begum easily comes up as an exception.

Amirbai Karnataki – Piya Milane Ko Jaanewali Samhal Samhal Ke Chal – Dev Kanya – Shyam Sundar

We have fast-paced spaced composition that matches the mood of expectation of the protagonist with that just that shade of pleasure resurrected by Amirbai Karanataki

Zohrabai Ambalewali – Naihar Mein Nathni Gir Gayi, Kaise JauN Sasural – Gwalan -Hansraj Behl – Pandit Indra

Zohrabai renders the unusual élan of the protagonist with full fidelity.

Mohantara Talpade – Aai Piya Milan Ki Bahar, KaruN PhooloN Se Apna Singaar – Kuldeep – Sushant Banerjee – Nawa Naqvi

Mohanatara sounds so endearingly romantic in the mood of anticipation of soon-to-arrive beloved.

Rajkumari – Nainan Mein Koi Chhaye KyoN, Baras Rahe Dono – Insaaf – H P Das – D N Madhok

The song is set to a very soft rhythm and orchestration support. Rajkumari blends smoothly with her soft vocal rendering.

Hameeda Banu – Mor Bole Ho Oonche Mewadi Paravat Par Koi Mor Bole – Rajputani – Bulo C Rani – Pt. Indra

YT credits this song to Amirbai Karnataki. Be that as it may be, the song succeeds in creating the mood wherein we also look out for the sound of the peacock.

Zeenat Begum – Apano Se Shikayat Hai Na GairoN Se Gila Hai – Paraye Bas Mein – Vinod

Even as the song is set to a difficult-to-render rhythm, the song does not lose on melody.

Noorjehan – Raaz Khulata Nazar Nahi Aata – Hamjoli – Hafeez Khan – Anjum Pilibhiti

We get to listen a very different Noor Jehan here.

Khursheed – Hamari Gali Aana, Hamse AnkhiyaN Milana – Maharana Pratap – Ram Ganguli – Swami Ramanand

The composition is typical vintage era style.

Kanan Devi – Aaj Hui Hai Bhor Suhani Pahali Baar – Arabian Nights – Kamal Dasgupta – Faiyyaz Hashmi

Kanan Devi is at her usual charm in this song.

Naseem Akhtar – Man Pagle Swapna Dikhaye, Man Jhoothe Dip Jalaye – Keemat – Naushad Ali – Majrooh Sultanpuri

For a very high-pitched vocal cord call of the composition, the song retains melody.

Paro Devi – Tere Gam Se Mil Raha Hai, Mujhe Har Tarag Sahara – Dhanwan – Shanti Kumar – Behjad Lakhnavi

I have selected this song as it is quite a differently styled composition in a vintage era setting

Dilshad Begum – Bhar Layi Hun Jawani Saaagar Mein, Jannat Se Chal Kar Aayee Hun – Rehana – Qadir Faridi – Tufail Hoshiyarpuri

A very pleasant violin dominated prelude that sets the tone for the pleasant mood of the song.

Kalyani Das – Nazarein Bata Rahi Hai Tum Door Jaa Rahe Ho – Zamin Asmaan – Kamal Dasgupta – Faiyaz Hashmi

A typical vintage era style composition. Kalayni Das remains melodious even if sounding slightly nasal in the delivery of the lyrics.

Meena Kapoor –Kisi Se Meri Preet Lagi, Ab Kya Karoon – Aath Din – S D Burman – G S Nepali

The song rightly sets the high expectation from both, S D Burman and Meena Kapoor.

Neena (Sitara Kanpuri) – Kya Jaane Man Kya Kaheta Hai – Prithviraj-Samyukta – S K Pal – Josh Malihabadi

A difficult composition that sound very melodious.

Beenapani Mukherjee – Main To Karoon Pyar, Piya Door Se Bharmae – Safar – C Ramchandra – G S Nepali

C Ramchandra has composed a fast-paced song that Benapani Mukherjee negotiates comfortably with her heavy voice.

Jayshree – Chit Dole, Nit Dole, Subaho Sham Prabhuji – Dr. Kotnis Ki Amar Kahani – Vasant Desai – Diwan Sharar

Jayshree quite smoothly negotiates the difficult variations that the composition demands. Vasant Desai has come up with very unlike-Vintage-era orchestration.

Parul Ghosh – Gun Gun…Bole Bhanwarawa, Hamari Bagiya Mein – Milan – Anil Biswas – P L Santoshi

The song has signature Anil Biswas touch, faithfully reproduced by Parul Ghosh.

Shanta Apte – Aaj Mori Naiya Kinare Lagi, Asha ki Bel Meri Phooli Phooli – Valmiki – Shankar Rao Vyas – Mahesh Gupta M A

For a vintage era style song, the soft rendering by Shanta Apte, that too with minimal music support, creates avery special charm while listening to the song.

Iqbal Bano (Begum?) – Ummeedo Par Jawani Aaj Laharai – Rehana – Qadir Faridi –

We feel the emotions of the elation that the song is meant to convey.

Geeta Roy – Chhin Mein Bajegi Bansuriya Preet Bhari – Milan – Anil Biswas – P L Santoshi

Lata Mangeshkar – Saawariya Oy Bansuriya Oy Bajay Gayo re – Subhadra – Vasant Desai – Pt. Indra

If I had to choose one song my very strong bias would lead my finger to Suraiya’s Man Leta Hai Angadai Jivan Pe Javani Chhai (Anmol Ghadi – Naushad – Tanvir Naqvi), for the obvious reason that it is has been one of my favourite Suaraiya song even before I ventured into this Micro View of Songs of 1946. And I have decided not do so when I started sorting out my choices for Male Solo Songs. So I will pass the choice of selecting my MY TOP female Solo Song for the year 1946.

We also note that SoY have awarded the Best Female Playback Singer to Noorjehan, and the best female solo is Jawan hai muhabbat haseen hai zamana

We will move to The Micro View of Best Songs of 1946 @ SoY – Duet Songs in our next episode…

P.S. : All the episodes of The Micro View of Best Songs of 1946 : Female Solo Songs  can be read / downloaded from one file, by clicking on the hyper link.