Categories
Fading Memories….Unforgettable Songs

Fading Memories….Unforgettable Songs: February 2020

Talat Mahmood duets with Geeta Dutt [1]

Talat Mahmood (Born: 24 February 1924, Lucknow) was as handsome as his voice was soft spoken. Before physically shifting to (the then ) Bombay in 1949, he had already made his presence felt in Calcutta During his Calcutta career, Talat Mahmood gave playbacks and played minor roles in Hindi and Bengali films. His first disc was cut by HMV in 1941, the song was Sab Din Ek Saman Nahin Tha, Ban Jaoonga Kya  Se Kya Main, Iska To Kuchh Dhyan Nahin Tha

To commemorate the birthday of Talat Mahmood we have commenced a series of annual articles on this plat form, wherein we bring up Talat Mahmood’s Rare Duets. We have covered –

2017: Some of the Talat Mahmood Duets receding from the memory

2018:  Talat Mahmood’s Duet Combinations with Rare Co-singers

2019: Talat Mahmood Duets with Mubarak Begum and Madhubala Jhaveri

Presently, we will take up Talat Mahmood’s Duets with Geeta Dutt.

Geeta Dutt (born Geeta Ghosh Roy Chowdhuri; 23 November 1930. Faridpur) was an accomplished singer who has left her deep imprint over film and non-films songs over several Indian languages, with her mellifluous, vivacious voice. She got her first break in Bhakta Prahlad (1946), when Pt. Hanuman Prasad gave her two lines to sing in two songs – Ab Jaani Re Pahchani Re and Suno Suno Binati Hamri Prabhu Ji Bhool Hui Mujhse Bhaari. However, the very next year she shot to big league with Mera Sundar Sapna Beet Gaya (Do Bhai, Music: S  D Burman; Lyrics: Raja Mehandi Ali Khan).

Talat Mahmood had his first big box office success in Ae Dil Mujhe Aisi Jagah Le Chal (Arzoo, 1950, Music: Anil Biswas; Lyrics: Majrooh Sultanpuri). In between his busy film and radio schedules, Talat Mahmood also used to travel over India for his singing concerts. Geeta Dutt would also accompany him in many such concerts. Both had excellent professional rapport.

However, the number of their duets are, relatively, few in numbers.  With a silken voice quality of Talat Mahmood and Geeta Dutt’s wide range in low as well as high scales, it is no surprise that their duets left listeners with an ethereal trance. However, the inherent difference I their individual singing styles resulted in, relatively, fewer number of their duets.

Armaan Bhare Dil Ki Lagan Ter Liye Hai – Jaan Pahechan (1950) – Khemchand Prakash – Shakeel Badayuni

There could not have been a better opening to the Talat Mahmood’s duets with Geeta Dutt. The song, very rightly, sets up, and deservedly so, very high expectations for the duets of this pair.

Ham Hai Tere Diwane…Kisse Hai Ye Purane, Agar Tu Bura Na Mane – Shabistabn (1951) – with Chitalkar – C Ramchandra – Qamar Jalalabadi

The second pearl from our jackpot is also such a sweet, known, duet. Only when you closely look at the vide, you get the feeling that song indeed is a teasing song, but the actors , and so too Talat, would be too chivalrous, to cross the gentleman-border-line, even in such romantic situations.

Hai Ye Mausam-e-bahar, Sun Jawani Ki Pukar – Shabistan (1951) – Madan Mohan – Qamar Jalalabadi

The films had two music directors recording four songs each.

Relatively, this would be ranked as less known one duets. The song is classic example of higher pitched Geeta Dutt vocal matching the lower scales of Talat in a perfect harmony.

Chitalkar sings the first line for some distant singer, which prompts Shyam to take up the main song in Talat Mahmood’s voice.

Kaho Ek Bar Mujhe Tumse Pyar.. Mujhe Tumse Pyar – Shabistabn (1951) –C Ramchandra – Qamar Jalalabadi

C Ramchandra sets the different scale ranges of the two singers to a romantic mood.

The song seems to have one more video link. I am not sure whether it is the second version in the film.

Kaise Rokoge Aise Toofan Ko – Anand Math (1951) – Hemant Kumar – Shailendra

Geeta Bali seems to be in two moods – one to keep the English officer on a wild hunt, and the other not only to inform her fugitive freedom fighter informed about the chase but to also tease the shy love of the impending implosion of their feelings when they will meet.

Ye Pyar Ki Raatein Ye Aaj Ki Baatein – Baghdad (1952) – with G M Durrani – Bulo C Rani – Raja Mehandi Ali Khan

Talat and Geta Dutt rhyme in perfect foil in this romantic song. G M Durrani joins Geeta Dutt in the second and fourth stanza. Why the song will have been so composed?

Chori Chori Dil Mein Samaya – Kaafila (1952) – Husnlal Bhagatram – Moti B A

Geeta Dutt’s soft vocals dominate in the duet with Talat singing just a word or two in the mukhda…and also it can be seen clearly that the last antara of Talat is clearly done in a lower note, so as to fit in his range. Use of piano in the orchestration adds to the melody of the song.

Sham Suhani Nadi Ke Kinare – Nishan Danka (1952) – Basant Prakash – S H Bihari

The song is set to leisurely waltz tune. succeeding so well the mood of the song  that would come up in the minds of the two love birds strolling on a serene river front, the fading light of the setting sun. The serenity mood seems to interspersed with some quick teasing too.

Kahin Preet Se Bhara Koi Geet Ga Raha – Paatal Bhairavi (1952) – Ghantshala – Pt. Indra

Ghantsala (Venkateshwara Rao) is a legend composer and singer of Telegu cinema. Here he has so deftly blended Talat and Geeta Dutt’s voices into a sweet melody.
The original Telugu version of the film was the then roaring hit.

Aaj Ki Raat Bhag More Jaage, Dekhun Piya Mukha Chanda – Ratan Deep (1952) – Robin Banerjee – Vidyapati

This relatively very obscure song epitomizes contrasting vocal styles of Talat Mahmood and Geeta Deep. Talat opens mukhada in lower scale., then joins Geeta Dutt on higher scale in the stanzas.

The song is really very pleasant experience listen to.

Sun Lo Ek Kahani Sun Lo – Ratan Deep (1952) – Robin Banerjee – Mahendra Pran, Mathur

Robin Banerjee once again deftly uses the contrasting vocal styles of Talat Mahmood and Geeta Dutt.

Here is the Bengali version of the song, in Hemant (Kumar) Mukherjee and Supreeti Ghosh’s voices.

Both version show how music director has made subtle changes in the compositions to leverage the inherent vocal qualities of the singers.

Asides Trivia:

Ratnadeep is remake of original 1951 Bengali original version. The film had a Tamil version as well.

Abhi Bhattacharya debuted in Hindi cinema with this film.

We will continue with Talat Mahmood’s duets with Geeta Dutt in our next episode net year.

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

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

Categories
Carnival of Blogs on Golden Era of Hindi Film Music

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

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

A tribute to Shashi Kapoor on his 81st birth anniversary: The many faces of the legendary Shakespeare Wallah

Rekha speaks through her eyes, which made her my choice for Umrao Jaan: Muzaffar Ali -For every art enthusiast, Muzaffar Ali’s home is a treat to the eyes. Speaking with him about his films while laying focus on his best-known work, Umrao Jaan (1981), we got to know a bit more about him and his process of bringing poetry and art to the 70mm screen and more.

Rarely Heard Ghulam Mohammad – on 51st death anniversarythe lyrics formed an important part, then the actual tune.

Remembering Ravi through the songs that he wrote, Lata sings for Ravi and The silent giant-killer and the man of many-splendoured talents: Ravi are rich tributes to a music director who did not get credit befitting his success.

Chalo Ek Baar Phir Se Ajnabi – Gumraah – Strangers Once Again – the situation in life becomes such that you start feeling it is better to be strangers than being lovers. Music composer Ravi takes all the care to handle the delicate situation with utmost care. He uses only the piano (violin and percussion is just an accompaniment) and Mahendra Kapoor’s voice to convey Sahir’s thoughts.

The real mesmeriser Talat Mahmood: His best non-film songs capture some of the most remembered non-film songs of Talat Mahmood.

The Story Of A Sindbad – Shankarrao Biniwale, is narrated to us by Kaushal Inamdar in Marathi here. The post is English translation of that article. Shankarrao Biniwale was an accomplished violinist, who went around the world and explored the origins of violin.

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

Farooq Sheikh – A Man For All Seasons, who worked with directors like M S Sathyu, Satyajit Ray, Muzaffar Ali, Sai Paranjape, Hrishikesh Mukherjee, Yash Chopra, Ketan Mehta, Ayan Mukherjee.

On Kundan Shah, Paigham, and Vyjayanthimala as the comic foil recollects a lighthearted scene in the 1959 Dilip Kumar-Vyjayanthimala-starrer Paigham

Flashback series: human pain and human comedy in Boot Polish (1954) recommends seeing the film because two child actors get top billing in a 1950s Hindi film… and earn it

March, 2019 episode of Fading Memories, Unforgettable Songs takes up S N Tripathi: Unremembered music director of remembered songs :1957 – 1960. This is the 3rd article in the series on S N Tripathi. First two covered his songs from 1941 to 1950 and from 1951 to 1956 respectively in 2017 and in 2018.

And, now the posts on other subjects:

Barahmasa in film songs = Literally meaning ‘twelve months’, in music it refers to folk or light classical form of north and east India, sung primarily in the rainy season. E.g.

His girl Friday: Sanjeev Kumar and the ‘computer’ in Trishul, an economical, unobtrusive little moment in a larger-than-life film. The scene is where we are introduced to the middle-aged version of the businessman RK Gupta, played by Sanjeev Kumar, and his superbly resourceful secretary Geeta (Raakhee). The office scene in Trishul isn’t subdued or quirky, but it performs a comparable function – telling us something important about a character, a situation and an environment with a few minute brush-strokes.

Songs At The Opening Credits Of The Movie – Title songs carried a gist of that particular film and the songs at the opening credits sort of served as the preamble of that particular film. Though at times both combined as one and solved both purposes. Opening credit songs might not essentially have the title of film in it. Sometimes the film might also have both, opening credits having the title as well as independent title song. We have picked up a few examples form the article:

Dhund,

Umrao Jan

Rang Birangi – serves the purpose of title songs and an opening credit song.

Somewhat Cross-dressed Women ‘Romancing’ Women in Performances: Ten Songs from which I have picked out a few, which are relatively less-known-

Few Marathi songs by prominent Hindi singers has listed Marathi songs sung by Geeta Dut, Sudha Malhotra, Mukesh, Manna Dey, Hemant Kumar and Moahammad Rafi, obviously excluding Lata Mageshkar, Asha Bhosle and Suamn Kalyanpuar. The post ends with a note on Lata Mangeshkar’s connection with Marathi cinema – a music director. Sixty-nine years back Lata Mangeshkar debuted as a Music Director in the Marathi movie Ram Ram Pavhana (1950). It is to be noted that in her first movie as a composer she used her own name. And it’s not clear why in the later four Marathi movies she gave music under the pseudonym- Anandghan. Anonymity I guess.  Her music was one of the 8 state awrds that Sadhi Manas got.

How SD Burman became as famous as the singers he worked with despite his thin, nasally voice – In edited excerpts from a reissued biography – Incomparable Sachin Dev Burman –  on SD Burman (known as Dada), H Q Chowdhury reopens the debate: was he a singer-composer or a composer-singer?

Who wrote the classic Hindi film ‘Aandhi’? And was it based on Indira Gandhi? Gulzar clears the air – In edited excerpts from an interview, by Saba Mahmood Bashir, in ‘Aandhi Insights into the Film’, Gulzar reveals how his Suchitra Sen-Sanjeev Kumar starrer got made.

Khilte Hain Gul Yahan – Sharmilee – Of Roses And Romance – One version rendered by Kishore Kumar and the other by Lata Mangeshkar. One is happy, the other is sad. The opening lines of both songs depict the sense of the opposites in the songs.

Songs with a Surprise! Share the opening lines by chance. The post has put up quite demaninding filters for the selection of these songs

    • The words should be from the opening lines of the songs
    • The songs should share at least four words.
    • The songs should not have been inspired from a well known ghazal or a bhajan,
    • The songs should be from two different films

Teri Dhoom Har Kahin – Kala Bazaar – Money Matters is a praise money situation –

Sooraj ke jaisi golaai
Chanda ki thandak bhi paayi
Thanke toh pyare duhai
Lai lai lai lai
Teri dhoom har kahin
Tujh sa yaar koi nahin
Hum ko toh pyare tu sab se pyara

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

Duniya Ki Haalat Naram Naram, Halwa Chhodo, Poodi Chhodo, Bajhiya Yeh Kha Lo Garam Garam–  Guzara-1(954) – Ghulam Muhammad – Raja Mehdi Ali Khan

Ghoda Peshauri Mera Tanaga Lahori  Mera –  Pyar Ka Bandhan (1963) – Ravi – Sahir Ludhyanavi

Beta Jamure Kah De Duniya Ko Lalakar Ke – Biradari (1966) – With Manna Dey – Chitragupta – Prem Dhawan

Kya Hua Maine Agar Ishq Ka Izahar Kiya – Yeh Dil Kis Ko Doon (1963) – with Asha Bhosle – Iqbal Quereshi – Qamar Jalalabadi

I am also not able resist temptation to recall one of my most favorite song – Ghulam mOhammad creation.

Hai Bas Ke Har Ek Unke Ek Ishare Pe Nishan Aur – Mirza Ghalib (1954)

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

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

Categories
Carnival of Blogs on Golden Era of Hindi Film Music

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

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

A Google Doodle created by Bangalore-based artist Muhammed Sajid on Madhubala’s 86the birthday tribute

MADHU BALA: The Bewitching Beauty of Bollywood – DP Rangan pays a rich tribute.

6 Iconic fashion statements we owe to Madhubala!’ looks back to some of the fashion trends that she made popular.

We also have post to remember Valentine’s Day – Ten of my favourite romantic serenades. It’s a list of romantic serenades, of people singing in praise of the person they’re in love with (or, as in the case of a couple of fraudulent characters in this list, pretending to be in love with).

For the Love of a Goddess – The article first takes through the narrative journey of a music documentary, Music for Goddess (by Amy Catlin-Jairazbhoy and Nazir Ali Jairazbhoy), which explores the sacred music, dance and rituals of devidasis and devidasas, women and men dedicated to the goddess Renuka/Yellamma. It then introduces the instrument, the chaundka—also called chaundke, which the followers of the Goddes use mainly in their dancing and singing. The chaundka sounds similar to the damru. Our cinema has used the chaundka in several songs. The article has listed some of these songs.

Suman Kalyanpur – Sweetness Personified – The name conjures memories of lilting sweet songs, solos and duets that have gained immortality and enriched our music heritage. Peeyush Sharma revisits some of her evergreen melodies, enjoyed and cherished by generations of music lovers. Of the two duets she could get to sing with Mohammad Rafi, Din ho ya raat hum rahein tere saath (Miss Bombay, 1957, Hans Raj Behl / Prem Dhawan)  is perhaps more known than Duniya Ye Kehati Hai.. Meri Kismat Mein Likhi Wo Jo Mere Peechhe Baithi Hai

In a tribute to Bharat Vyas in his centenary birth year, last month we had touched  Bharat Vyas – The Prolific Lyricist – I and Bharat Vyas – The Prolific Lyricist – II . In part III of the series, his songs from ‘70s has been covered.

Here’s to the Birth or Death Anniversaries of Three Classic Hindi Film Artists Who Certainly Should Not Have Died In Poverty – The article refers to Cuckoo, Meena Shorey and Rajkumari. [I have searched a song in which each one is associated in a duet with Mohammad Rafi. The songs are at the end of the present article.]

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

The flashback series has why you should watch Waqt (1965), because it’s a near-perfect summary of the “masala” film before the term was commonly used and why you should watch Mem Didi (1961) for the beautiful chemistry between three elderly character actors.

Waheeda Rehman 2.0 – The Grand Diva Of Hindi Cinema – Staying relevant is one of the most crucial elements of Hindi film industry and Waheeda Rehman is a living legend who has stayed relevant in every era since her debut in 1955 in Telugu and Tamil cinema.

Zameen Kha Gayi Aasman Kaise Kaise – Some Non-picturised Songs Of R D Burman – Part 1 and Part 2 – the songs that either recorded but not filmed at all or filmed, but subsequently removed.

February, 2019 episode of Fading Memories, Unforgettable Songs takes up Talat Mahmood’s duets with Mubarak Begum and Madhubala Jhaveri, in continuation to  the previous articles . Some of the Talat Mahmood Duets receding from the memory and Talat Mahmood’s Duet Combinations with Rare Co-singers.

And, now the posts on other subjects:

Romancing the Pardesi is a varied collection of beautiful Pardesi songs of separation, longing, betrayal and hope.

What Time It Is? is a theme-based list that has songs mentioning the actual time in the opening line.

With Claps As Percussion – Songs With A Difference, which has several over-riding conditions, one of which it is that it should not be an O P Nayyar composition. Here is one song that comes up as result:

 Nacho Jhoom Jhoom Ke – Sarhad (1960) – Chitalkar – C Ramchandra – Majrooh Sultanpuri

By the Sea Shore remembers the songs from the films of 50s-60s and 70s, picturized on a seashore or a beach.

Reluctant Singer? Take a Boat Ride – Transformation happens to many people when they are on a boat that has left the shores some time ago. The songs listed herein are the ones that were sung by such “What, me sing?” folks when on the land. This is a celebration of people who themselves manage to move a sea vessel from one place to another.

Tujhe chaand ke ‘bahaane’ dekhun ki ‘chhat’ par aa ja goriye is a rich collection of songs in which an excuse to go to the terrace is linked up.

‘The Guide’ in English: The story of Dev Anand’s abortive attempt to storm Hollywood – Based on RK Narayan’s novel of the same name, the film was directed by Tad Danielewski. But reviewers thought it was ‘clumsy and artless’.

Mose Chhal Kiye Jaaye – Kya Se Kya Ho Gaya – Guide – The Twofold Stunner -The Writer / Director, Vijay Anand, wants his songs to take his story forward. He opts for two different songs…back to back and Burman da composes those two songs. Both songs have the same notes!!!! Whereas Lata Mangeshkar song is an accusation of the feeling of cheating, Mohammad Rafi’s song is a romantic plea for the sake of his love.

Songs of दास्तान- ए – हाल – ए -दिल weave anguish or agitation, and some time happiness, or sheer romance, when a person comes up to tell his / her heart-felt feelings.

We are bit late in documenting ‘Songs in the Snow: Ten of my favourites’. The songs should feature some amount of snow; it need not necessarily be all against a backdrop of snow. And the snow, even if it’s not real should at least not look patently fake.

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

Akhiyan Mail Ke Jara Baat Karo Ji – Pardes (1950) – with Lata Mangeshkar – Ghulam Mohammad – ShakeelBadayuni

Aao Chale Manwa More Door Chale Kahin Re – Amar Prem (1948) – with Rajkumari – Dutt Thakur – Mohan Mishra

Tumhein Chupke Se Dil Mein Liya – Ek Do teen (1953) – with Asha Bhosle – Vinod – Aziz Kashmiri

Chowpati Par Kal Jo Tujhse – Afsana (1951) – with Shmashad Begum – Husnlal Bhagatram – Chander Oberoi

Kehdo Kehdo Jahan Se Kehdo Ishq Par Jor Nahin – April Fool (1964) – with Suman Kalyanpur – Shanker Jaikishan – Hasrat Jaipuri

Auraton Ke Dibbe Mein Mard Aa Gaya – Mud Mud Ke Na Dekh (1962) – With Suman Kalyanpur – Hansraj Behl – Prem Dhawan

Tere Peechhe Phirte Phirte Ho Gaya Pura Sal – Mud Mud Ke Na Dekh (1962) – With Suman Kalyanpur – Hansraj Behl – Prem Dhawan

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

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

Categories
Carnival of Blogs on Golden Era of Hindi Film Music

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

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

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

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

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

Early concepts of the Doodle below:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

And, now the posts on other subjects:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: February, 2018

Talat Mahmood’s Duet Combinations with Rare Co-singers

For most of the lovers of Hindi Film Music, Talat Mahmood is remembered almost every day through his 800 + songs. So, we need to devise an apt expression to remember him in the month (24th February, 1924) of his birth anniversary.

We have taken up refreshing our memory of some of the duets that seem to be receding from our memory. Last year, when we penned down such duets, we had had a panorama of such duets with a wide spectrum of co-singers. The great bulk of his duets obviously remain with Lata Mangeshkar and Asha Bhosle and to some extent with Geeta Dutt and Shamshad Begum. His duets with other singers like Suraiya, Mubarak Begum or Sudha Malhotra or Madhubala Zaveri are relatively few in numbers. So is the case with his duets with other male co-singers. In some of cases like, Rajkumari, Surinder Kaur, Sulochana Kadam, Meena Kapoor, Nirmala Devi or Amirbai Karanataki the song was only one of its kind.  Talat Mahmood’s duets with other male singers also range from very popular to quite obscure songs. His presence in Triads / Triads + songs also remains noteworthy.

(L to R) Meena Kapoor- Geetadutt- Talat Mahmood-VanShipley

For the present episode we will focus on Talat Mahmood’s duets with co-singers who can be considered as ‘rare’ combinations.

Purwai Pawan Laharaye – Tum Aur Main (1947) – with Syperwa Sarkar – Robin Chaterjee – Zakir Hussain

One can find Talat Mahmood – Superwa Sarkar duets in a couple of more films, till 1949. The music directors of these films are from Bengal. Was this the hangover effect of Talat Mahmood’s Calcutta days?

Dil Mera Tera Diwana – Apni Izzat (1952) – with Madhubala Zaveri – Hansraj Bah – Pt. Phani,

Madhubala Zaveri has around 110 songs, spread over a span of 1951 to 1958, in 55 Hindilms plus 27 Marathi and 3 Gujarati films. Incidentally, her debut song – Tum Kaun Ho Rajkumari Ye Chanda Sa Mukhda Idhar To Karo (Rajput, 1951) in Hindi films was under the baton of Hansraj Behl, a duet with Talat Mahmood. She was just 16 years old at that time.

Ghir Ghir Aaye Badarwa Kaare – Daak Babu (1954) – with Mubarak Begum – Dhaniram – Prem Dhawan

Talat Mahmood – Mubark Begum Duets is a good study in the very contrasting qualities of voice.  Though not ‘many’ in numbers, there are a few very evergreen songs to the credit of this duo, but that is perhaps a subject of an independent post in the future.

BTW, the song would have been portrayed on screen by Talat Mahmood himself as well.

We find two versions of the song on YT. This one has Mubarak Begum accompanying Talat Mahmood.

And this version has Talat Mahmood almost in solo mode.

Jab Yahaan Se Jaaunga Main Aur Kya Le jaaunga – Hatimtai Ki Beti (1955) – with S. Balbir – A R Quereshi – Shewan Rizvi

Talat Mahmood does not have many really joyous boisterous songs to his credit. But, whichever few such songs one gets to listen, he does not dissatisfy his fans.

Ek Bar To Mil Lo Gale Bichchad Hum Chale, Na Koi Fariyad Rahe – Andheri Nagri Chopat Raja (1955) – with Sudha Malhotra – Avinash Vyas – Bharat Vyas

Sudha Malhotra is one of many playback singer stars who got overshadowed by the full-moon glory of Lata Mangeshkar sisters.

Main Hun Alibaba – Char Chand – with Asha Premlata – (Shaukat Dehlvi) Nashaad – A Karim

We find one more of a light-toned, dance song, which may not be very difficult to recall by the core Talat Mahmood fans- even if they do not recollect who his co-singer was.

Tum Pe Quaraban Dil Tum Pe Sadake Nazar – Sakhi Lutera (1959) – with Usha Balsavar – B N Bali – Aziz Ghazi

The ‘rare’ co-singer, ‘rare’ music director, an obscure forgotten film and light-hearted tune would possibly make up an ideal recipe for the delicious dish to get deep into the recesses of the memory.

Mere Shareek-E-Sahar – Wali-E-Azam (1965) – with Hemlata – Chitragupta – Ahmed Wasi

Several indications mention this as possibly the last film song that Talat Mahmood recorded.  It seems that the shoe-string budget of the film has landed the music director and the co-singer with Talat Mahmood’s the then recently found popularity with ‘Jahanara’.

An interesting aside:

The official Talat Mahmood site has a handwritten note which Talat Mahmood had written down on a letterhead of Chitragupta at the time of recording the song.

No article on Talat Mahmood would be complete without mention of his Non-Fim Songs.

Wo Jo Roothhen To Manaana Chaahiye   – NFS(1969) – with Mukesh – Murli Manohar Swaroop  -Jigar Muradabadi/ Mirza Ghalib,

Talat Mahmood and Mukesh have collaborated in several triads / triads + songs in films like Pagle, Biwi Aur Makan, Love and God etc. However, we find their duets only in the NFS domain.

The wholly Talat Mahmood devoted site – talatamahmood.net – has mentioned a few more duets of Talat Mahmood that we would have loved to cover in this episode. Unfortunately, I have not been able to find a soft to link audio link of these songs:

  • Ab Mushkil Ha Phir Se Milana Bhul Jao To Achha Hai – Saaya – with Ashima Banerjee – Ram Ganguli – Verma Malik
  • Auron Ke Liye – Taxi 555 – with an unidentified female singer – Sardar Malik

Talat Mahmood and Mohammad Rafi have several duets – and most of them very popular then and remembered now. So their duets cannot really be listed under ‘rare’ tag. But every rule has an exception. And we have one here, a Talat – Rafi duet, which is relatively less remembered, that helps us to comply with out other tradition of end our episodes with a Mohammad Rafi Song.

Bhar De Jholi Allah Naam – Laila Majnu (1953) – Mohammad Rafi – Ghulam Mohammad – Shakeel Badayuni

The song perhaps epitomizes two distinct phases of Shammi Kapoor’s career. His pre-Tumsa Nahin Dekha phase hadTalat Mahmood was his default playback singer. Here,  the initial part of the songs, mostly by the fakirs on the screen is in the voice of Mohammad Rafi.  When Shammi Kapoor gets to sing the second interlude, it is Talat Mahmood who takes over @ Jaan-e-tamanna jalwa Dikha De…

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

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

Categories
Carnival of Blogs on Golden Era of Hindi Film Music

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

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

We will begin our present episode on a lighter note with You’ve never heard the demonetized version of this famous song from Guru Dutt’s ‘Pyaasa’. As a parody, ‘When it was our turn in the queue, the bank’s coffers were empty‘ is a part of sort of mini cottage industry – These Bollywood spoofs on demonetisation will tide you over the cashless blues.

December, 2016 also had another major event- passing away of Tamil Nadu CM, J Jayalalithaa.

Wadia and Nadia: How love kicked in pre-Bollywood filmdom – Nadia was a JBH discovery. But it was Homi (May 22, 1911 – December 10, 2004) who gave this memsahib with a thick Scottish accent, a voice. “Homi realised her language was her ‘body’,” says film theorist and curator Amrit Gangar. “He kept Nadia’s dialogue to a bare minimum because of her difficulty with Hindi.”

mary-ann-evans-aka-fearless-nadia-in-a-still-from-carnival-queen-1955
Mary Ann Evans aka Fearless Nadia in a still from Carnival Queen, 1955

Happy Birthday Dharmendra: As he turns 81, we bring you his various filmi moods – He was probably the first Indian male star who appeared bare-chested in a song in Phool Aur Patthar. From Anupama (1966) to Satyakam (1969), Dharmendra tried to create a space for himself as an actor. Hrishikesh Mukherjee’s Chupke Chupke is another film which proved that the actor could balance subtle comedy just as well as slapstick elsewhere.

MS Subbulakshmi: A journey from Kunjamma to Meera – is N Venkataraman’s tribute on her birth centenary (16 September 1916 – 11 December 2004).

December is also a month of birth dates of Dilip Kumar and Raj Kapoor, two fulsome actors of the Great Triad.

dilip-kumar

Dilip Kumar – Leaves from My Diary in an interview conducted in 1957.

prithivi-raj-kapoor-with-sons-and-a-grand-son

Prithivi Raj Kapoor with sons and a grand son

15 Songs of Shailendra: The Art of Simply Expressing Deepest Thoughts – On Shailendra’s death anniversary,Antara Nanda Mondal and Peeyush Sharma have compiled a brief list of 15 songs that give a glimpse of his massive range – encompassing songs of love and romance, songs of introspection and philosophies, songs of spiritual awakening and harsh social realities, songs of that celebrate liberation and songs that express the anguish of entrapment.

sitara-devi

We have an excellent career-sketch of Sitara Devi: The Twinkling Star profiled by Karan Bali on her second death anniversary on 25th November.  Some of her memorable films are Judgement of Allah (1935), Achhut (1940), Pagal (1940) and India Today (1940)., Roti (1942), Najman (1943) or her snake dance in Anjali (1957) or the Holi dance in Mother India (1957).

We will also take note of A Short Film Tribute to Sitara Devi   

Karan Bali has also profiled PC Barua, who is most easily remembered for K L Saigal’s songs of Devdas (1935) or Saigal’s So Ja Raajkumari So Ja (Zindagi).

The December, 2016 episode of Fading Memories, Unforgettable Songs was dedicated to Mohammad Rafi’s solo song from the first film with the music director. This part of the article covered the first three years of the first-five-year-period of 1944-1948. The second part of the article, has covered songs from 1947 and 1948 @ Mohammad Rafi’s Solo Song From The FIRST Film With The Music Director ||2||.

Here are posts on other subjects as well:

Shyam Benegal’s ‘Ankur’ and the beginning of a film movement – A Book Review by Sangeeta Datta – A script written during the filmmaker’s college years became the foundation of his sparkling career as one of cinema’s greatest realists.

smita-patil-image-credit-jhelum-paranjape

Smita Patil as a child: Mischievous, adventurous, emotional and an excellent mimic – In her review Maithili Rao notes that  Smita Patil biography reveals that the acclaimed actor, whose death anniversary is on December 13, was ‘prem mayee’: a being suffused with love.

More Delicious Chutney Covers of Hindi Film Songs – After the introductory piece, we can now expect this to be a regular fare.

Southern Spice in Hindi Music highlights key aspects of South Indian music that have been absorbed in Hindi film songs, that have added what one would call as a dash of Southern spice in Hindi film music. This is not about the vocal styles from South India, but instruments from South India. LINK TO PLAYLIST FOR SOUTHERN SPICE IN HINDI FILM MUSIC takes us to 12 such songs from 1940s to’60s, with one exception.

I have been able to land upon this quite an imaginative subject – “Samne waali khidki” songs rather belatedly.

Shankar-Jaikishan’s multi-faceted genius with ‘other’ singers – have covered so far their best songs for his leading singers, Lata Mangeshkar, Mukesh, Rafi and Manna Dey. also presented his best dance songs for Lata Mangeshkar and female dance duets. presenting my final tribute to SJ with their songs for ‘other’ singers which give a glimpse of their multi-faceted talent.

My Favourites: Heroes – 1 (40s-70s)  is the pairing list of earlier  My Favourites: Heroines – 1 (40s-70s) , based on an idea of Stars and Songs, that the author, Ava Suri, particularly like featuring the actress. In the continuum, Zeenat Aman – My favorite Songs is a collection of Baker’s dozen songs that have matching visuals to the catchy lyrics with Zeenat Aman in the focus and Ashok Kumar – 10 favorite songs that the actor sang as well as performed on the screen.

‘Diya Na Bujhe Ri Aaj Hamara’ – Kumkum The first song I got as a dancer was the song “Angana Baaje Shehnai Re, Aaj Mori Jagmag Atariya” in the film Sheesha which was sung by Shamshad Begum. ‘Raat Ke Raahi’s song ‘Daayein Baayein Chhup Chhupa Ke Kahaan Chale’ was picturized on Kumkum’s younger sister Radhika and Shammi Kapoor.Radhika also stays with her family in Mumbai.

Trios, Quartets, and More: Ten of my favourite songs has presented songs such as:

Bas mujhko mohabbat ho gayi hai (Biwi aur Makaan), 1966); Mukesh, Manna Dey, Hemant, Talat Mahmood. There is one more such experiment in the same film – Nahi Hota… Aa Tha Jab Janam Liya – Mukesh, Manna Dey & Hemant Kumar

The Legends: Asha Bhosle sets the tone with the help of solos and The Legends: Asha Bhosle – Part 2 has her duets.

We end today’s episode with a short film on songs and life of Mohammad Rafi: Part 1| Part 2 | Part 3. 

I take this opportunity to wish a great 2017 to all of you and look forward to your valued suggestions to keep our content more engrossing…

Categories
I Liked Music from films

The Micro View of the Best Songs of 1949 @ SoY – Male Solo Songs – G M Durrani + Talat Mahmood

Male Solo Songs

We commence our detailed journey for the year 1949 with Male Solo Songs. I would place the full video clip for those songs that I have heard for the first time or that I do not recollect much. For the songs that are well-known even today, I plan to hyperlink to the song. Once all major songs of each of the principal singers are covered, we will take up an overall summary of the specific category to present my views on the Best of the Category.

The game of numbers does not seem to work in favour of male solo songs in comparison with female solo songs. My review of the available songs for the year 1949 present 5 major male playback singers in so far as solo songs are concerned.

We take up Solo Songs of G M Durrani first.

Jigar Ke Tukde,Ye Dil Ke Tukde – Aaiye – Nashad (a.k.a. Shaukat Ali Haidari) – Nakhshab Jarachvi

Itani Si Kahani Hai Itna Mera Afsana – Aaiye – Nashad – Nakhshab Jarachvi

Nazron Se Mili Nazarein, Dil Ho Gaya Diwana – Aaiye – Nashad – Nakhshab Jarachvi

Zindgani Ka Maza Shaadi Mein Hai – Aparadhi  –  Sudhir Phadke – Amar Varma

Pi Aaye Aa Kar Chale Gaye – Bazaar – Shyam Sunder – Wali Saheb

Ye Rahen Mohabbat Katon Si Bhari Hai – Sawan Bhadon – Husnlal Bhagatram – Ravindra Dave –Duet

Solo Songs of Talat Mahmood

The songs do reveal the silken magic of Talat Mahmood, but certainly seems to await Anil Biswas’s ‘Arzoo’ touch to emerge as The Dominant Player, irrespective of numbers. It also appears to be no coincidence that music directors of two of the three films here belong to the Calcutta school.

Teri Gali Se Bahut..Dil Par Kisi Ka Teer-e-Nazar Kha Ke Rah Gaye – Rakhi – Husnlal Bhagatram – Sarshar Sailani

Jo Beet Gaya So Beet Gaya & Din Beet Chale – Swayam Siddha – Prafull Kumar Chaudhary – Bhawani Prasad Misra

Hai Ye Maine Kya Kiya – Samapti – Timir Baran ~ Pandit Bhushan

Man Ki Naina Bol Rahi Hai – Samapti – Timir Baran ~ Pandit Bhushan

In the next post we will listen to solo songs of Surendra along with the isolated solo songs of ‘the other singers’.

Categories
Carnival of Blogs on Golden Era of Hindi Film Music

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

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

We take up the tributes first.

Suraiya - A personally autographed pictureSuraiya: The Last Singing Star of Indian Cinema – a tribute to her on her death anniversary on 31st January – By Parag Sankla“Almost eighty five years ago, God must have said “Today I am sending three great artists to this world. A natural actress, a beautiful lady and a melodious singer! Acting, beauty and singing. These are not three different persons, this is one girl! And here I present you Suraiya.”… Along with Kanan Devi and Noor Jehan, she was one of the most prominent female singing stars of the golden era of Hindi films….Her first two songs as a singer (“Aao aao hil mil kar khushiyan manayein” and “Rana ji ki jai jai se”) came for a film titled Taj Mahal (1941) composed by Madhavlal Damodar. This golden period of Suraiya’s career (1941 – 1946) is often ignored in many of the articles on her……I love the song “Suno more raja, nazariya milaaike” for composer Neenu Majmudar from “Main kya karoon” (1945).”…..From among other songs that have find mention in the article, we pick up Jab badal ghir ghir aayenge, kaho jee kit jaayenge – Daak Bangla. 1947 – Naresh Bhattacharya as a song that is we get to hear less.

Waheeda Rehman and Soumitra Chatterjee in Abhijan (1962)Waheeda Rehman: Quintessential Beauty with Intense Acting Prowess – By Antara Nanda Mondal – Impressed by her enigmatic screen persona and acting panache, Satyajit Ray picked her for the role of Gulabi in his celebrated Bengali film Abhijan (1962).

More about Waheeda Rehman :

Indurani, a star of the 1930s is a rich tribute on death anniversary of Ishrat Jehan Imamuddin aka Indurani on 18th February by film historian Arunkumar Deshmukh, enriched by photographs and posters by Harsh Raghuvanshi.

Ye Sama Ye Khushi Kuchh Bolo Ji Bolo Ji” – Azra – now known as “Farhana”, for the most part, acted in second heroine and character roles in around two dozen movies viz. ‘Junglee’, ‘Ganga Jamuna’, ‘Ganga Ki Lehrein’, ‘Ishara’, ‘Baharon Ke Sapne’, ‘Bandish’, ‘Wapas’, ‘Raja Saheb’, ‘Mahal’, ‘My Love’ and ‘Ilzam’ and finally bid adieu to Filmdom after she got married. In ‘Ganga Jamuna’, she was the second lead opposite Nasir Khan. Movies ‘Shaan-e-Khuda’ (1971) and ‘Pocketmar’ (1974) released after her marriage. ‘Shaan-e-Khuda’ was directed by her father Nanubhai Vakil.

Happy Brithday, Cuckoo! – Some readers of the blog Dances on the Footpath know about the incredible Cuckoo news and trivia post that have developed there. It started with so many comments to the 2011 Cuckoo birthday post (linked to below). And here are a couple of the Cuckoo birthday posts, both of which include a bunch of really good song clips. …. This blog contains a whole lot of Cuckoo…. 2011 Cuckoo Birthday Post ǁ   2014 Cuckoo Birthday Post

The Unlucky Genius Ghulam Mohammad’s best songs for Talat Mahmood – If you associate Anil Biswas, C Ramchandra, Madan Mohan and SD Burman for the best of Talat Mahmood, Ghulam Mohammad would rank at the equal footing with them.

The article is a tribute to the Unlucky Genius with his best songs for Talat Mahmood as a tribute to the singer, too, with velvet voice on his 92nd birth anniversary.

Here are some of the less heard songs:

Meri Yaad Mein Tum Na Aansoo Bahana: Remembering Talat Mahmood – Talat Mahmood was grand-uncle, naani’s (maternal grandmother’s) brother of Sahar Zaman. She reminisces her association with Talat Mahmood over the years in this article.

Talat Mahmood, the photogenic ghazal superstarManish Gaekwad notes that Talat Mahmood sang over 700 songs in his career, including a rare solo “Kadale Neelakadale” in the Malayalam film Dweepu for composer MS Baburaj. His last recording was “Mere Shareek-e-Safar”, a duet with Hemlata, for the film Vali-E-Azam (music by Chitragupta). Lyricist Ahmed Wasi writes, “Mere shareek-e-safar, ab tera Khuda hafiz” (My companion in this journey, I take your leave now). It turned out to be Mahmood’s swan song. He died on May 9, 1998, at the age of 74.

मण्टो का बम्बई” narrates the 21 minute docudrama directed by Dharmendra Nath Oza, which was first aired on TV on Sahara Samay on 3rd April, 2005. The documentary can be seen on Dharmendra Nath Oza’s YouTube Channel in six clips.

Nalini Jaywant – Down Memory Lane – is based on interview was conducted in 1960.

Remembering Nadira: The Diva Who Didn’t Want to be Rescued – Ranjib Mazumder – Remembers Nadira on her death anniversary – Two Jewish women stood out in the race among many prolific names starting from the early days of cinema. In the silent era, Ruby Myers was the most successful star known in film history as Sulochana, and in the post-independent Hindi cinema, Florence Ezekiel, better known as Nadira shone the brightest…..She was the anomaly in a society where women didn’t dare. The viewing public limited her career in a swift stroke of judgment in Shree 420, and in real life, men couldn’t gather the courage to handle an informed mind…..She craved companionship without having to be rescued, but we didn’t have enough imagination to understand that.

The Real and Reel Life of Pran, Bollywood’s Villain Extraordinaire – Ranjib Mazumder looks at some of the interesting aspects of the real and reel life of the villain extraordinaire who would have been 96….Here is one example …. “Pran was very close to Dilp Kumar and Raj Kapoor owing to their long association in the film industry……. When Dilip was getting married, Pran was shooting in Kashmir. Despite heavy rain, he managed to reach Bombay to attend his friend’s wedding. The entire gang including Raj Kapoor got drunk, banged on Dilip’s nuptial-night bedroom door relentlessly till he opened up to say hello to them.”

We now move over to the blog spots on other subjects.

Multiple Versions Songs (24): Songs having versions across different films – similar initial lyrics in mukhada – is a presentation of interesting variety of songs which have multiple versions across different films. In some cases these may be a traditional bandish, where you may find some versions outside films.

One can come across widely differing versions on the circumstances that led to the actual performance of Aye Mere Vatan Ke Logo. Subhash K Jha presents one more – India’s most patriotic song: How Lata Mangeshkar almost turned down ‘Ae mere watan ke logon’ .

Shankar-Jaikishan’s dance songs for Lata Mangeshkar – SoY now picks up one music director around him one set of posts remain anchored during the year. 2014 was the year of Anil Biswas, 2015 was that of Naushad with C Ramachndra in tandem with. S D Burman was organically covered concurrently. Now, 2016 has been dedicated to Shanker Jaikishan, with a limit of the year 1959 for the selection of the songs.

My Favourites: ‘Me Tarzan, You Jane’ Songs creates a list with ‘I am…, you are…’ motif.

Here are a few songs that typically represent the theme while not being heard often enough.

Ten of my favourite romantic duets – of pure, outright romance…Nothing to adulterate the headiness of being in love, of being confident, too, that one’s love is returned.

Ten of my favourite ‘Jaa’ songs – begin with ‘jaa’ (and being strict about this; no variations, like jaaiye or jaao). What or who is being sent away differs, but the crux of the matter remains: go. Go away. This post sprang out of an earlier post on ‘Aaja’ songs….Some interesting coincidences…Jaa tose nahin boloon Kanhaiyya (Parivaar, 1956) has, interestingly, another song in another film begins with exactly the same words: in Samrat Chandragupta, a song picturized on Nirupa Roy and Bharat Bhushan begins Jaa tose nahin boloon…..Jaa Jaa re chanda jaa re from Private Secretary (1964), is created by music director, Dilip Dholakia He has another jaa song from the same film, fabulously rendered by Manna Dey – Ja Re Beiman Tujhe Dekh Liya Jaa.. Another song, nearly decade earlier, which is similar to that of the Lata song from Private Secretary is Ja jaa re chanda teri chandani jalaye from Albeli (1955) – music director – Ravi.

Sadanand Kamath also recites similar interesting coincidence in Kaliyon mein Raam mera kiranon mein Raam hai –-It was a surprise to know just a few days back that Amirbai Karnataki, the Kannada Kokila as she was known in Karnataka, had faced a situation when she was required to lip sync in Sudha Malhotra’s voice for the song ‘Kahaan nahi Ram hai’ from the film PAWAN PUTRA HANUMAN (1957). The song is written by Saraswati Kumar Deepak and is set to music by Chitragupta. Apart from Amirbai Karnataki, the other actor in the role of Hanuman is S N Tripathi. Incidentally, Chitragupta assisted S N Tripathi before he got independent assignment as music director in 1946. Here is the song that provides the title to the post: Kaliyon mein Raam mera kiranon mein Raam hai – Pawan Putra Hanuman – Geeta Dutt .

‘Gata Rahe Mera Dil was Patchwork’: In Conversation With Vijay Anandnever-before-published interview of Vijay Anand – in conversation with Peeyush Sharma we have some interesting aspects of S D Burman’s music. “No one could dictate Burman Dada about which song must be sung by which singer. He had his own style of testing and selecting the voice. Once he would conceptualize a song and decide on the singer for the particular song, no one could influence that decision. He would go to the final limit of even scrapping the song altogether. He would then create a new song but he would not change his decision on the singer. He had the courage of his conviction. He knew which song would best suit a singer. And that decision would be the best decision and the song of course, would be a hit….There was no singer of his calibre in the entire film industry. The kind of highly complex ‘murkiyan’ (tonal embellishments) or ‘gayaki’ (rendering style) he would come up with was simply out of this world. But when he would sing the same tune for Lata or Rafi or Kishore or Asha, he would make it simpler than before.

More to read :

We end our present episode with some (interesting) posts on Mohammad Rafi

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

Categories
I Liked Music from films

The Micro View of The Best Songs of 1950 @ Songs of Yore – Triads and Triads +

Having covered Male – Female duets of Mukesh, Mohammad Rafi, Talat Mahmood, GM Durrani, Chitalkar and others, Male-Male / Female-Female duets, we continue with a very interesting variation in the form of Triads and Triads+, as part of our journey through the Best songs of 1950: And the winners are?

Songs with more than two singers is also a fairly tested form in so far as Hindi Film songs go. We have quite a varied fare this year.

Mohammad Rafi + Geeta Roy + Paro + ChorusKabhi Ye Saath Na Choote YeKisi Ki Yaad Mein

Mohammad Rafi + Shamshad Begum + Talat Mahmood + Chorus – Nadiya mein utha hai shorBabul – Shakeel Badayuni – Naushad

Mohammad Rafi + G M Durrani + Mukesh + ChorusKhabar Kisi Ko Nahin Woh Kidhar Dekhate HainBeqasoor – Ehsan Rizvi – Anil Biswas

Mohammad Rafi, Amirbai Karnataki, Geeta Dutt and (?)Jab nain se nain mile umangein naach uthi man mein Veer Babhruvaaha – Anjum Jaipuri – Chitragupta

Mukesh, Zohrabai Ambalevali and Geeta RoyEk Taraf Jal Raha DeepakPreet ka Geet – Premi – Shyam Babu Pathak

Mukesh, Mohammad Rafi + Shamshad BegumHo kaale kaale baadal chhaye piyaApni Chhaya – P L Santoshi – Hanuman Prasad

Mukesh + S D Batish, Shamshad Begum + ChorusJaao Sidharo He Raadha Ke ShyamArzoo – Jan Nissar Akhtar – Anil Biswas

Talat Mahmood + Surinder Kaur + G M Durrani(?) + ChorusPuchch Rahe Ve Yaar Bibi Kaisi Hoti Hai Shaadi Ki Raat – Sarshar Sailani – S Mohinder

GM Durrani, Suriaya, Ojha & othrs – Teri zaalim nigahon ne humko ghayal kiyaNili – Surjit Sethi – S Mohinder

Khan Mstana, Mukesh and GM DurraniYah aaj ke Laila aur Majnu yun milkarPagle – Anjum Rehmani – BG Bhatkar (Snehal)

Khan Mastana, Talat Mahmood and MukeshKyun shikwa karein kyun aah bhareinPagle – Anjum Rehmani – BG Bhatkar (Snehal)

Surinder Kaur, Premlata, Asha BhosleAmbua ke ped suhaane kya kahein moseSabak DN Madhok – AR Qureshi

Continued…….

Categories
I Liked Music from films

The Micro View of The Best Songs of 1950 @ Songs of Yore – Male Female Duets : Talat Mahmood with other female singers

We continue with the micro-review of Male Female Duets, as part of our journey through the http://www.songsofyore.com/best-songs-of-1950/. In the previous episodes, we have covered duets of Mukesh and Mohammad Rafi.

Today we will take up Duets of Talat Mahmood with

                                                                                             Lata Mangeshkar

1. Shikwa tera main gaaunAnmol Ratan – DN Madhok – Vinod

2. Yaad aanewale phir yaad aa rahe hainAnmol Ratan – DN Madhok- Vinod

                                                                                           Shamshad Begum

3. Milte hi aankhen dil hua deewana kisi kaBabul – Shakeel Badayuni – Naushad

4. Duniya badal gayi meri duniya badal gayiBabul – Shakeel Badayuni – Naushad

5. Jawani Ke Jamane Mein Jo Dil Na LagayegaMadhubala – Rajendra Krishna – Lachchiram

                                                                                  Rajkumari

6. Taqdeer hansi aansoo nikalePagle – Music BG Bhatkar (Snehal)

Continued…..