Mohammad Rafi’s First Duet Song With The Music Director: 2nd Five-Year Period: Year 1949 – Part II
To commemorate the birth and death anniversaries of Mohamad Rafi [B: 24-12-1924 – D: 31-71980], we have commenced a series on Mohammad Rafi’s first duet with a music director. We take up the Male-Male or Triad as well as a regular Male-Female duet in the present series because our main purpose to revisit maximum possible duets of Mohammad Rafi.
Our journey began with the 1st Five-Year Period of 1944 to 1948 in the year 2021. We then commenced the 2nd Five-Year Period of 1949-1953 with Part I of the year 1949 in July 2022.
Presently we will take up Part II of the year 1949.
1949 had as many as 16 music directors who had Mohammad Rafi for the first time for a duet. We have covered six music directors – Naushad, Husnlal Bhagatram, Shyam Sundar, Hanuman Prasad, and Snehal Bhatkar – in Part I. Vasant Desai is one of the highly respected music directors who has given innumerable songs to remember forever. However, the two Mohammad Rafi- Lata Mangeshkar duets that seem to have been composed by him for the film Narsimha Avatar are not traceable on internet. Similarly, I could not find the song – Na Thehar Sake, Na Tadap Sake (with Zohrabai Ambalewali; Film – Aakhari Paigam) composed by Abid Hussain Khan)
Presently, we will take up the rest of the eight music directors.
Vinod (a.k.a. Eric Roberts) was known for his catchy tunes one end and melodious compositions on the end had had a very wide creative range. For the year 1949, for Ek Thi Ladki, he has used Mohammad Rafi and Lata Mangeshkar in three duets and two triads(+). Of the triads, Lara Lappa-… Laai Rakhada, Aadi Tappa …. (Lata Mangeshkar, Mohammad Rafi, G M Durrani; Lyrics: Aziz Kashmiri) was an instant raze and continues to remain so even now. The other triad(+) was Hum Chale Door … Dil Hua Choor (Lata Mangeshkar, Mohammad Rafi, Satish Batra; Lyrics: Aziz Kashmiri)
Ab Hal-e-Dil Ya Hal-e-Jigar Na Puchhiye – Ek Thi Ladki – with Lata Mageshkar – Lyrics: Aziz Kashmiri
Rafi and Lata are so at ease in the conversational tone of this romantic duet. Introduction of catchy yodeling in the first interlude is typical of Vinod’s style of mixing catchy part in a serious composition or vice versa
The other two Rafi- Lata duets were:
- Ab Shokh Sitare Ik Shokh Nazar Ki Tarah – a very pleasing tune composed in waltz style
- Lambi Joru Badi Musibat – A comedy stage show composition
Mohammad Shafi was a highly talented and musically trained music director. Two noteworthy records that stand on his name are – Suman Kalyanpur (Hemadi, then) sang her maiden Hindi film song, Koi Pukaare Dheere Se Tujhe (Mangu, 1954) and Hemlata debuted either with Main Jaan Ke Badale Mein or SadiyoN Ki Nishani Main Ankahi Kahani in Iraada (1971) under his baton.
Fariyaad Na Karna Haye Kahin Fariyaad Na Karna – Gharana – with Shyama Bai – Lyrics: Alam Syahaposh
The song so effectively epitomizes Mohammad Shafi’s musical prowess – soothing opening notes, Shyama’s opening in slightly higher scale and then to settle to pathos, rounding up by Mohammad Rafi in soulful climbing up the scale and reverting to the normal scale, and ending the song with Shyama joining Rafi.
Mohammad Shafi goes onto pair Paro Devi with Mohammad Rafi in the second duet – Tu Kahan Hai Baalam Mere Aaja (Lyrics: Bahzad Lakhnavi).
S Mohinder (a.k.a. Bakshi Mohinder Singh Sarna) composed music for some 50 films, but many of his compositions have achieved the status of evergreen classics. Even though he came from a very strong classical background, he was at ease while composing easy songs that the films demanded.
Chanda Ki God Mein TaaroN Ki Chaanv Mein Ruthe Hue Hum Manaye Re – Jeevan Sathi – with Chand Wirk – Lyrics: Hamid Khumar
S Mohinder has presented with such a lilting melody, even when he has used an almost unknown Chand Wirk to pair Mohammad Rafi in this duet.
The film had one more duet with Amirbai Karanataki – Main Kaise Keh Doon (Lyrics: Surjeet Sethi) and two with Shamshad Begum – Mil Kar Jaayen Hum Preet Ke Deewane and Muhabbat Rog Bankar Dil Ki Har Dhadkan Mein Rehti Hai (Lyrics: Hamid Khumar)
Krishna Dayal is not a well-known name, but he had composed music for five films. Many keen followers of old films songs may well remember Mukesh and Suraiya duet – Badra Ki Chhaon Tale Nanhi Nanhi BundiyaN (Lekh, 1949) – that was composed by Krishna Dayal.
Kar Le Kisi Se Pyar Jawani Do Din Ki – Lekh – with Asha Bhosle – Qamar Jalalabadi
I have heard this song for the first time. The duet is set to lower scale and is difficult to sing.
We have had a triad – Chhoti Si Ek Banaayenge Naiyya… Khud Hi Banenge Us Ke Khewaiya (with Shamshad Begum, Zohrabai) – composed by Pt. Govindram for the film Hamara Sansar (1945) earlier. For the year 1949, he gives a duet of Mohammad Rafi with Shamshad Begum
Taaron Ka Ye Khazana Ye Chaandani Suhani – Nisbat – with Shamshad Begum – Lyrics: Majrooh Sultanpuri
Here is one more song that I got to listen first time. Govindram has presented both singers in quite different than the normal style we are familiar with.
Khemchand Prakash can be attributed to giving a big push to the opening up the space for the Golden Era to get into the center stage, replacing the vintage era, through Lata Mangeshkar’ Ayega Aanewala (Mahal, 1949). We have seen Khemchand Praksh using Mohammad Rafi first time, in a triad, Aji Maat Poochhco Baat Ki College Albeli, Indrapuri Sakshat Colege Albeli, for Samaj Ko Badal Dalo (1947).
Hawa Tu Unse Jaakar Keh De Ek Deewana Aaya Hai – Rim Jhim – with Ramola – Lyrics: Moti B A
Khemchand Prakash composing such a light-toned song should stand up as more noteworthy part of the song.
1949 had one more Mohammad Rafi duet- with Shamshad Begum- under the baton of Khemchand Prakash – Ae Dil Na Mujhe Yaad Dila Baaten Purani (Sawan Aaya Re; Lyrics: Bharat Vyas) – which was heard often on radio at least till ‘60s, when I had taken up listening to Hindi Film Songs as a conscious hobby.
Khan Mastana was another highly respected music director as well as playback singer of the 40s period.
Tum Ho Jaao Hamare Hum Ho Jaaye Tumhaare – Roop Lekha – with Surinder Kaur – Lyrics: Khumar Barabanqvi
We have here a path breaking composition from Khan Mastana whom we know as a music director steeped in vintage era style music compositions.
Sudhir Phadke brought in Marathi folk composition styles to Hindi Film Music,
Hari Hari Mere To Shri Hari Naahi Dooja – Sant Janabai – with Lalita Deulkar – Lyrics: Narendra Sharma
Mohammad Rafi is all persona dignified as a committed devotee in the duet.
Azeez (Khan) Hindvi has had a few films in ‘40s.
Mehaman Banke Aaye The .. Armaan Ban Gaye – Shoharat – with Hamida Banu – Lyrics: Gulshan Zama / Madhup Sharma
The duet also seems to follow the composition style of the solo version. Both versions can be heard in the clip here.
We will continue with listening to Mohammad Rafi’s First Duet Song With The Music Director for the year 1950 of the 2nd Five-Year Time Period of 1949-1953 in the next episode of the series.
We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month next year too……..
Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.
All episodes of the series Fading Memories … Unforgettable Songs – Volume VII – 2022 can be read /downloaded by clicking on the hype link.