Categories
Centenary Celebrations

Sahir’s Songs of Romance – Two Film Association(s)

Sahir Ludhianvi is regarded as a poet whose poetry typically did not have the joy or colour in the traditional sense of a poem.  His poems did follow the broad traditions of Urdu Nazm, or that of a Hind film song. If his poetry tended to ring a note of reality, his films songs sounded a very distinct note, that set Sahir’s film songs into a very different orbit. Here is a case in point:

hazār barq gire laakh āñdhiyāñ uTTheñ
vo phuul khil ke raheñge jo khilne vaale haiñ

Let thousands ice fall, lakhs of dust-storm rise
The flower shall blossom that is so destined.

Sahir Ludhianvi’s association with as many as 31 music directors, for the 122 films for which he penned songs, certainly provided Sahir to blossom into as many different shades that he was destined to blossom into.

Presenly, we will take up Sahir Ludhianvi;s Songs of Romance with the music directors with who he did films in his career. These music directors re, in the sequence of their first year of association, are: Usha Khanna, Rashid Are, Chitragupt, Kalyanji Anandji and Sapan Chakravarty

Usha Khanna (B: 1942), is a member of the rare elite club of female music directors in the Hindi films. Her first ever Hindi film was Dil Deke Dekho (1959).the two films where she worked with Sahir Ludhianvi are Hum Hindustan (1960) her second film and then Lakshmi a good 22 years later.

Hum Jab Chale To Ye Jahan Jhume, Aarzu Hamari AasmaN Ko Chume – Hum Hindustani (1960) – Mohammad Rafi – Music: Usha Khanna

Sahir has penned only this song for ‘Hum Hindustani’!

hamse hai fizaoN meein rang-o-bu
ham hai is jamiM ki aarzu
nadiyo ki ragini hamse hai
har taraf ye tajhgi hamse hai
hum chale to chal pade jhindagi

Halat Se Ladna Mushkil Tha, Halat Se Rishta Jod Liya– Lakshmi (1982) – Asha Bhosle – Music: Usha Khanna

The song is set to a mujra composition, but the lyrics have a profound sense of regret for not having been able to fight the circumstances. As such, this is not a song of romance that has happiness of love, but has the quintessential poetic bitterness of reality, and hence would stand excluded from the present series.

However, as noted in the preamble to the preamble, Sahir ‘s film songs sound a very different note even when they depict the bare realities of the world. Here is one such illustration.

chunri ranga li maine bindiya sajali maine
….. ….   …    ….. …
jhumar ki mang patti dil se saja li maine
…. ….  ….. …..
kar liye solah
kar liye solah singar singar singar
najro ki pyas bujhalo jamane walo
jalwo se dil bahlalo jamane walo

Rashid Attre (a.k.a. Abdul Rasheed Attra, B: 15 February 1919 – D: 18 December 1967) possessed varied musical talents.  His initiation to Hindi films took place in Calcutta in 1942. He moved to Bombay (as it was then called) in 1943 and worked successfully till 1947 when he migrated to Pakistan. His last film in Bombay was Shikayat, which was released in 1948. In his second innings at Pakistan, he composed for as many as 80 films.  Rashid Aatre and Sahir Ludhianvi have combined in two Pakistani films – Solah Anne (1960) and Farangi (1964). In the absence of the authentic source for the songs, I have refrained from presenting any song here.

Chitragupt (a.k.a. Chitragupt Shrivastava -B: 16 November 1917 – D: 14 January 1991) has composed music for more than 150 films, in a career spanning from 1946 to 1988 (his one film was released posthumously in 1998) but does not seem to have received the credit duet to him. Chitragupt’s two films with Sahir Ludhianvi are Vaasana (1968) and Sansar (1971).

I have picked up two songs each from Vaasna and Sansar, each presenting different mood within the shade of romance.

Ye ParabatoN Ke Dayare, Ye Sham Ka DhuaaN, Aise Mein Kyon Na Chhed De Dilo Ki DastaaN – Vaasana ((1968) – Mohammad Rafi, Lata Mangeshkar – Music – Chitragupt

jara si zulf khol do, fiza me itr ghol do
najar jo baat kah chuki woh baat munh se bol do
ki jhum uthe nigaah me bahaar ka sama

yeh chup bhi ek savaal hai, ajib dil kaa haal hai
has ik khayaal kho gaya, bas abb yahi khayaal hai
ki fasala na kuchh rahe hamaare darmiya

yeh rup rang yeh paban chamakte chaand sa badan
bura na mano tum agar toh chum lu kiran kiran
ki aaj hausalo me hai bala ki garmiya

Itni Nazuk Na Bano.. Had Ke Andar Ho Nazakat To Adaa Hoti Hai… Had Se Badh Jaye To Apni Sazaa Hoti Hai – Vaasana (1968) – Mohammad Rafi – Music: Chitragupt

jism kaa bojh uthaaye nahi uthta tumse
zindgaani kaa kada bojh sahogi kaise
tum jo halki si hawaao me lachak jaati ho
tez jhonko ke thapedo me rahogi kaise

koi rukta nahi thahre hue raahi ke liye
jo bhi dekhega voh katraake guzar jaayega
hum agar vaqt ke hamraah naa chalne paaye
vaqt ham dono ko thukraake guzar jaayegaa

Mile Jitni Sharab Main To Peeta HuN, Rakhhe Kaun Ye Hisaab Main To Peeta HuN – Sansar (1970) – Kishore Kumar – Music: Chitragupt

koi apna ager ho to toke mujhe
main galat kar raha huN to roke mujhe
kise dena hai jawab …..
main to pita huN

Raja Jani Raja Jani Na Maro Nayanawa Ke Teer Re – Sansar (1971) Krishan Kalle – Music: Chitragupt

abhi nadan hu mai najuk jan hu
mujhe aise na maro yuhi halkan hu
mujhe aise na maro aise na maro
tikhi tikhi nazroN se dekho na sawriya
…  …..   ….  …
sah na sakungi abhi kachi hai umariya kachi hai umariya
maro na katari do dhari uthe teer re raja jani dilbar jani

Kalyanji Anandji carved their path of success in the face of stiff competition from the array of top-line music directors. They have composed music for over 250 films. With Sahir Ludhianvi, they have two films – Nanha Farishta (1969) and Shankar Shambhu (1976).

O Re Sharabi Tujh Mein Ek Kharabi… Sikha Na Tune Kisi Se Pyar Karana… Tujhe Aa Main Pyar Sikha DuN – Nanha Farishta (1969) – Asha Bhosle – Music; Kalyanji Anandji

ho sake to samjhle raat kya kah rahi haiN
raat kya kah rahi hain
ye dhadkati khamoshi baat kya kah rahi haiN
kya kah rahi haiN
thoda sa ishaara ho to palbhar mein
abhi laakho rang luta duN
aa main pyar sikha duN

Bheege Hue JalwoN Par Aise Na Najhar Dalo, Dil Chahe Idhar Rakhkho Par Aankh Udhar Rakhkho.. – Shankar Shambhu (1976) – Lata Mangeshkar, Mohammad Rafi – Music: Kalyanji Anandji

in garam nigaho se jajbat bhadakte hai
ahsaas sulagta hai arman dhadkate hai
ruk jao ruk jao
ruk jao abhi dil par itna na asar dalo

soyi hui dhadkan ko khud tumne jagaya hai
sanso se pukara hai najro se bulaya hai
mat apni khatao ko
mat apni khatao ko ab aur ke sar dalo

kab hamne kaha tumse hum tum pe nahi marte
tum kuch bhi kaho tum par ilzam nahi dharte
beraham ho beraham ho
beraham ho katil ho ye katal bhi kar dalo

Sapan Chakravarty (a.k.a. Swapn Chakraborty), though known more as assistant to R D Burman, and two of the more known songs in his voice – Mere Saath Chale Na Saya (Kitab,1977) and Preetam Aan Milo (Angoor,1982) – has composed music for 5 Hindi and 15 Bengali films.

Jaaney Aaj Kya Hua Aisa Kabhi Hua Na Tha, Sanso Mein Ghule Nasha Jaisa Kabhi Ghula Na Tha, Tumhi Bolo Kya Karein Aisa Hoga Pata Na Tha – 36 Ghante (1974) – Kishore Kumar, Asha Bhosle – Music: Sapan Chakravarty

chhaya chhaya dur tak
rango ka gubbar hai
aisa toh na tha jahan
ho na ho yeh pyar hai
khawabo ka sama saja
jaisa kabhi saja na tha

Tum Bhi Chalo Hum Bhi Chale, Chalti Rahe Zindagi, Na ZamiN Manzil Na AasamaN, Zindagi Hai Zindagi – Zameer (1975) – Kishore Kumar, Asha Bhosle – Music Sapan Chakravarty

behte chale hum masti ke dhaaroM mein
gunje yahi dhun sada dil ke taaroN mein
ab ruke na kabhi pyar ka kaarwa
neet nayi rut ke rang mein dhalti rahe jindagi

Before we end our present episode, a detour to Sahir Ludhianvi- Khayyam’s two films – out 7 they did together – is in order. Phir Subah Hogi (1958) and Shagoon (1964) are the films belonging to the Golden era period of Hindi films whereas other five films belong to the post-golden era period.

Phir Na Kije Meri Gustakh Nigahi Ka Gila
Dekhiye Aapne Phir Pyar Se Dekha Mujhko

Main Kaha Tak Na NigahoN Ko Palatane Na Deti
Aapne Kai Baar Pukara Mujhko – Phir Subah Hogi (1958)- Mukesh, Asha Bhosle – Music: Khayyam

Is kadar pyar se dekho na hamari janib
dil agar aur machal jaye to mushkil hogi

tum jahaN meri taraf dekh ke ruk jaaoge
vohi manjil meri taqadir ki manjil hogi

ek yunhi si nazar dil ko jo chhu leti hai
kitne armaan jagati hai tumhe kya maalum

ruh bechain hai kadmo se lipatne ke liye
tumko har saans bulati hai tumhe kya maalum

har nazar aap ki jazbaat ko uksati hai
maiN agar hath pakad luN to khafa mat hona

meri duniya-e-mohabbat hai tumhare dam se
meri duniya-e-mohabbat se juda mat hona

Itane Qareeb Aake Kya Jaane Kis Liye
Kuchh Ajanabi Se Aap haI Kuchh Ajanabi Se Hum

Woh Ek Baat Thi Jo Faqat Aap Ke Liye
Woh Ek Baat Kah Na Sake Aap Hi Se Hum – Shagoon (1964) – Talat Mahmood, Mubarak Begum – Music Khayyam

aisi to koi qaid nahi dil ki baat par
apas ki baat hai to dare kyo kisi se ham

tum dur ho to maut bhi aaye na ham ko raas
tum paas to jaan bhi de de khushi se ham

maut ek vaham, aur haqikat hai zindagi
ik dusare ko maangege is zindagi se ham

Shagoon has two more romantic gems – ParabatoN Ke PedoN Par Sham Ka Basera Hai (Mohammad Rafi, Lata Mangeshkar) and Tum Chali Jaogi ParchhaiyaN Rah Jayegi (Mohammad Rafi).

As we once again traversed across the whole career span  of Sahir Ludhianvi, it is observed that Sahir has been able to maintain the quality of lyrics across each different music directors, even during the last, post-Golden Era. One may presume the pressures changing tastes of the cine-going public. However at no time one can say that he got away with ‘filmy-style’ lyrics even for Sahir’ songs in’70s..

We end here our present episode of homage to Sahir Ludhianvi, through his romantic songs with the five (plus one) 2-film-association music directors.

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: July, 2019

Mohammad Rafi’s First Solo Song With The Music Director: 1959 -1960

To commemorate Mohammad Rafi’s anniversaries, [Born: 24 December, 1924// Death: 31 July, 1980] we commenced a series of articles on Mohammad Rafi that essentially tried to bring the solo song of Mohammad Rafi from the first film with the music director.  Beginning 2016, we have taken up one five-year slot every year, in the chronological order, starting from 1944, the year in which Mohammad Rafi sang his maiden solo song in Hindi Films. Till now we have covered 1st Five-Year Period: (1944 -1948) , 2nd Five-Year Period: 1949-1953 and 3rd Five-Year period of 1954 – 1958.

Our purpose is to revisit Mohammad Rafi’s solo songs across the start point of his career till the end. We have been able to cover Mohammad Rafi’s association with around 90 music directors in these first three periods. Presently, we take up the first two years of 4th Five-Year Period 1959-1963. While looking for the first solo song with music director for each of the five years of this Five-Year Period, I have also listed some of the very popular or not-so-popular but quite remarkable songs for the music directors who have already appeared in the past three Five-Year Periods. Most of these songs we remember so well that just three words of the first line of the song is enough for us to create the whole song in our minds. There are some which you love to listen again and re-enjoy the beauty of the song, as I did.

With every passing year, the list of the solo songs with the music directors who already have appeared in the previous periods is swelling up. So even at the cost of digressing from the titled-course of the post, we will take the tour of the very-well known and not-so-known but very-good-to-listen-again songs. The sequence is – name of music director, the film and (the song). I have included here only those films which had one or more songs to take note of, to my liking, of course.

I have followed the name of the films in the alphabetical order while listing the songs in this post.

1959

Noteworthy songs for the year were –

Chitragupta – Barkha (Sur Badle Badle Kaise ) / N Dutta – Dhool Ka Phool (Tu Hindu Banega) / Shankar Jaikishan – Chhoti Bahen (Main Rickshawwala), Love Marriage (Kahan Jaa Rahe The), Shararat (Ajab Hai Dastan) / Vasant Desai – Goonj Uthi Shenai (Kahe Do Koi Na Kare) / S D Burman – Insaan Jaag Utha (Dekho Re Dekho Ajuba), Kagaz Ke Phool (Dekhi Zamane Ki Yaari) / Hans Raj Behl – Sawan (Dekho Bina Sawan),

1959 has (technically) seven (but effectively six) music directors who had the maiden solo song for Mohammad Rafi.  Of these six music directors, two music directors did achieve commercial acknowledgement from the industry.

Kalyanji Virji Shah commenced his career as independent music director in 1958 with ‘Samrat Chandra Gupt’. The film had three Rafi/ Lata duets, but the solo song(s) with Mohammad Rafi came up only in 1959, for two films – Bedard Zamana Kaya Jaane and Ghar Ghar Ki Baat.

Bedard Zamana Kya Jaane – Bedard Zamana Kya Jaane – Lyrics: Bharat Vyas

Mohammad Rafi gets to sing the background song, which is a title song as well.

Uparwale Ne Jaldi Mein Likh Di Meri Taqdeer – Ghar Ghar Ki Baat – Lyrics: Gulshan Bawra

This is a song in a totally different mood.

Kalyanji – Anandji

After having worked solo in some more films like P B No. 999, Chandra Sena etc. Kalyanji Virji Shah teamed up with his younger brother Anandji. The brother duo gradually created their own style of compositions and went on to record many successes, including some of the iconic songs.

Suno Bhai Aankade Ka Dhandha Ek Din Teji  – Satta Bazar – Lyrics: Gulshan Bawra

This is classic Jhonny Walker song.

Usha Khanna

Usha Khanna is another debutant for the year 1959 who scaled peaks in her first foray. She did have a very long active career, which may not fall within the textbook definition of ‘success’ in the Hindi film industry, but she was certainly successful in creating her own space, in an otherwise male dominated domain.

The debut film is Dil Deke Dekho, for which she lined up a slew of Moahhamd Rafi songs, filmed  on Shammi Kapoor. The title song Dil Deke Dekho and other quite popular Bolo Bolo Kuchh To Bolo, Hum Aur Tum Ye Sama and a back-to-back pair of songs Megha Re Bole Chhanan Chhanan- Bade Hai Dil Ke Kale

Rahi Mil Gaye Raho Mein – Dil Deke Dekho – Lyrics: Majrooh Sultanpuri

Usha Khanna very deftly handles an OPNayyar-styled lilting tune, customized to the theatrics of Shammi Kapoor. Usha Khanna’s musical insight can be seen very well in the prelude of the song, wherein Rafi’s alaap is blended with whistling.

Gajanan Karnad

From very sketchy information that I could collect, Gajanan Karnad was an ace violinist and is known as the most-used support violinist fir Hindi film songs recordings. A more strenuous Google search provides a few links to his violin recordings.

Ye Sach Hai Ae Jahanwalo Hamein Jeena Nahi Aaya – Kal Hamara Hai –– Shailendra

There is one more Asha Bhosle mujhra recorded composed by Gajanan Karnad – Irada Katl Ka Hai (Aise Na Dekho Rasiya) – which has several, very distinct accompaniment of tabla

The present song would be a major find for Hind film song fans, in general, and those of Mohammad Rafi, in particular.

The other songs of the film have been composed by Chitragupt.

Bipin Dutta (Datt ?)

Bipin Dutta, and Babul, who have also been assistants to Madan Mohan, have independently paired too, to give some outstanding songs. Bipin Dutta seems to have forayed individually too. Other films to his individual credit are – Diamond King (1961) and Baaghi Shahazada (1964).

Ye Bambai Shahar Ka Bada Naam Hai – Kya Ye Bambai Hai – Lyrics:  Noor Devasi

A Johnny Walker styled song that is filmed on Maruti, who, along with Nishi plays the lead role in the film.

This mundane trivia has, very rightly, any importance today Joy is to relish the half-a-century back Mumbai and the lyrics that highlight Mumbai USPs!

Nirmal Kumar

Hardly any information is available about this music director or the fllm – Lal Nishan.

Teri Nazar Ki Chhabi Ne Khola Dil Ka Tala – Lal Nishan – Lyrics: Anand Baxi

The song has shades of Naam Bade Darshan Khote, in the basic tune and interlude orchestration..

Prem

Here is one more totally obscure name!

Duniya Chala Chali Ka…Do Din Ki Zindagi Hai Is Par Na Phool Pyare – Zimbo Ki Beti –Lyrics: Preetam Dahelvi

Hindi film industry had some very typical fad for certain names – Sindabad, Zimbo etc. are a few such names which were used to make films like ‘Son of ..’ Duaghter of .. ‘ ‘..In town etc.

Mohammad Rafi sings a text-book background song in right earnest.

1960

Some well-known and some still-good-to-listen solo songs of Mohammad Rafi for the year 1960 –

S D Burman – Bombai Ka Babu (Saathi Na Koi Manzil), Kala Bazar (Uparwala Jaan Ke, Khoya Khoya Chand) / Roshan – Babar (Tum Ek Baar Muhabbat Ka), Barsaat Ki Raat (Maine Shayad Pahele Tumhe, Jindagi Bhar Nahi, Mayoos To Hoon) / Ravi – Chaudhvin Ka Chand (Chaudhvin Ka Chand), Ghunghat (Haaye Re Insaan Ki) / Kalyanji Anandji – Chhalia (Gali Gali Sita Roye) / Shankar Jaikishan – Dil Apna Aur Preet Parai (Jaane Kahan Gayi), Ek Phool Char Kante (Tirchhi Nazar Se Na Dekh) / Usha Khanna – Ham Hindustani (Ham Jab Chale To) / Naushad – Kohinoor (Madhuban Mein Radhika), Mughal-e-Azam (Zindabad..Ae Mohabbat Zindabad) / S N Tripathi – Lal Quilla (Lagata Nahi Dil Mera, Na Kisi Ki Ankha Ka) / Chitragupt – Patang (Ye Duniya Patang),

1960 seems to yield only three music directors that fit our basic selection criteria of composing the solo song for Mohammad Rafi for the first time. G S Kohli is a noteworthy name in these three music directors.

G S (Gurusharan Singh) Kohli

A very able tabla-player and music arranger, G S Kohli worked as assistant to O P Nayyar for almost his whole career, even when he had started composing music for films independently. He belongs that class of assistants who could not evolve their own distinctive styles. These music directors could shine for a few songs but could never make their own permanent space, even in the 2nd or 3rd rows.

Pyar Ki Rah Dikha Duniya Ko Roke Jo Nafrat Ki Andhi – Lambe Haath – Lyrics: Anjaan

The song shows all the talent that GS Kohli possessed as music composer. The film has a couple of more Rafi, light-mood, solo songs – Are Bus Mein Nazar Takraai and Sone Jaise Pyar Ko Samaj Liya Tambaa, that would vouch for his versatility as well.

Ramlal Heera Panna

In all probabilities, he is same famous flute and shehnai plyer who once worked with Ram Ganguly in Prthivi thaters. As destiny of Hindi films’ ways are, he kept struggling with C grade mythological films.

Aaj Yahan Kyun Andhkaar..Tera Mera Amar Pyar Hai – Maya Machhindar – Lyrics: Pt. Madhur

Mohammad Rafi gets his usual background song.

T G (Thiruchirappalli Govindarajulu) Ligappa

T G Ligappa was a noted music director who scored music for Tamil, Kannada and Telugu films.

Chhod Chale.. Ram Ayodhya Chhod Chale – Ramayan –Lyrics: Saraswati Kumar ‘Deepak’

This film appears to be the remake of Tamil film. Mohammad Rafi gets to once more sing a background song.

Before we end today’s episode, I am not able to resist temptation to present a recitation song from Barsat Ki Raat (1960).

Kya Gham Jo Andheri Hai Raatein, Kuchh Shamm-e-Tamanna Sath To Hai

I am sure you will be able to feel the shadow of other famous song by Roshan / Sahir combination!

We will continue with the first solo song of Mohammad Rafi for music director(s) for the other three years – 1961, 1962 and 1963 – of the 4th Five-Year Period of 1959 to 1963 in our December 2019 episode.

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

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

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – October 2015

Welcome to October, 2015 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We have a fairly long list of anniversaries of the playback singers this month. But before we take them up, there is one a very unique tribute that must take the precedence over all those. So, we open our account of anniversaries for the current episode of blog carnival with –

First male dancer of Hindi films: Mumtaz Ali, which is the tribute to this great artiste from the vintage era with some dance-songs picturized on him.

On the other end, we open our account of posts on birthdays / anniversaries of the playback singers with –

We begin with Lata Mangeshkar’s birthday:

The Great Mughal and The Empress of playback singing – an exclusive post on Lata Mangeshkar’s best songs by Naushad, on her 86th birth anniversary (b. 28 September 1929). The previous ones, wherein other music directors have been chosen are : Chitragupta, C Ramchandra, Roshan, SD Burman and Anil Biswas.

Ten of my Favorite Lata Mangeshkar Songs from the Films of V. Shantaram is a fairly representative list.

Celebrating a legend: A century of MS Subbulakshmi through 10 songsVeejay Sai – tracks her journey from a child prodigy to a singing movie star to the Carnatic icon she became in her lifetime…. MSS specially recorded Hari Tum Haro for Gandhiji’s birthday on 1947.

Interestingly, we have several posts that were in fact sent in by our friends, primarily to remember a song of the particular singer or the music director, but each of the post inherently is also a commemoration of the anniversary. We will take up the underlying song separately along with other songs forwarded by our friends.

Tera Mera Pyaar Koi Aaj Kal Ki To Baat Nahin – by Mahesh Mamadapur on Usha Khanna’s 74th birthdayFor some reason, Usha Khanna never received the recognition and fame that she so rightfully deserves. She is not the first, but definitely is the most successful and talented of a handful of female composers in the Hindi film industry, having composed something like about 973 songs in total.

[We have separately documented Mukesh’s songs composed by Usha Khanna for easy access.]

Lo Mil Gayi Degree Pyaar Ki by skapur01 while tastefully narrating the circumstances how Mukesh got associated with this song, the post goes onto list 36 songs that Roshan composed for Mukesh.

[We have also separately documented Roshan’s songs of Mukesh.]

MukeshGitKoshN.B. – Both these compilations have been provided none other than Shri Harish Raghuvanshi, from his one of the several painstakingly researched books Mukesh Geet Kosh. Here is a video clip wherein Shri Raghuvanshi talks about this epochal work.]

Dekha Hai Jab Se Aapka Chehra Ye Chaand Saskapur01 – Remembering Mahendra Kapoor on the anniversary of his passing away – 27th September……He got his debut break under the music direction of V Balsara in the 1953 film ‘Madmast’, with a duet with Dhan Indorewala – “Kisi Ke Zulm Ki Tasveer Hai Mazdoor Ki Basti” and a qawwaali with SD Batish – “Unhen Dekhen To Weh Munh Pher Lete Hain”. …..Next came his first solo song by Snehal Bhatkar in ‘Diwaali Ki Raat’(1956) – “Tere Dar Ki Bhikmangi Hai Daata Duniya Saari”.  In 1956 again, he recorded a duet with Sabita Bannerji for the film ‘Lalkaar’ – music director Sanmukh Babu Upadhyay – “O Bedardi Jaane Ke Na Kar Bahaane”.  The music competition and the associated assignments with major league music directors came later.

In Phir Mohabbat Ke Pyaam Aane Lagey, skapur01 remembers Hemant Kumar on the anniversary of his passing away – 26th September – by delving way back to ‘Iraada’ (1944) – the first Hindi film for which Hemant Kumar sang playback.

October 17 would have been 60th birthday of Smita Patil, who would certainly be ranked in the history as one of the most talented artist of the (what we know as) new, post-1970s cinema. We take note of some of the posts on this occasion to pay our tribute:

Smita Patil loved the camera and it loved her right backScroll Staff – Rare images from the key films of the late celebrated actress.

Songsstoriesbooksandmore has reviewed Sangtye Aika (You ask, I tell: An autobiography) by Hansa Wadkar transl. by Jasbir Jain and Shobha Shinde.

YT also has Smita Patil – Biography.

UpperStall had posted a decade back a very vivid profile of Smita Patil by Karan Bali.

If there has to be one song that can sum up the essence of Smita Patil’s acting talents, Tumhare Bine Jee Na Lage Ghar Men (Bhumika – 1977, Preeti Sagar- Vanraj Bhatia) can easily be the one.

Shammi Kapoor – In Perpetual Motion – It is not just that Shammi Kapoor didn’t know how to stand still; it is that he seemed to have an inordinate number of songs that were picturised in/on some mode of transport or the other. Last year, on this same date, the author had done a post on Shammi Kapoor and various musical instruments. Now it is time to chronicle his trysts with travel, whether in vehicles or on animals. In any case, whether they moved or not, Shammi definitely did.

We now move over to other posts from our regular blogs –

Arre kahaan chali – Arun Kumar Deshmukh – Film Jaalsaaz-59 was the first of three films with the same title. The second movie by this title came in 1969 and the third in 2000. Similarly even film Jaal was made 3 times- in 52, 67 and 86.

Unvoiced Emotions, Expressed Feelings has ten songs that fitted this category. Each song listed here has the lead characters’ ‘feel’ what they feel, and those emotions are ‘spelled’ out by others’ voices, even if the underlying mood is not similar (and in fact, is quite the opposite) in some cases. No, these are not ‘background songs’, but songs that are actually sung on screen by other characters.

Ten of my favourite ‘credits songs’ – are not necessarily ‘background songs’ as well: some of them are ‘sung’ by people onscreen. They run the gamut from songs that introduce the film’s ethos or primary theme, to—well, just another song to add to a list of romantic to philosophical to patriotic songs the film already boasts of..

All USTADJIs, who made us happy and will continue to make happy in all our coming generations.

Three Tandav dances feature Anada Bhairavi 1983 || Damini 1993 || Sivaanai Seemai 1959

‘Pyaasa’ is the Guru Dutt gift that keeps givingNasreen Munni Kabir – A new restoration of the 1950s classic provides an opportunity to appreciate all over again its many achievements.

The Namesakes: Musicians and the raags named after themAneesh Pradhan – Renditions of Mia ki Todi. by Faiyaz Khan, Amir Khan, Bhimsen Joshi and Kishori Amonkar.

‘Vaishnav Jan to Tene Kahiye’: One of Gandhi’s favourite bhajans played by classical maestrosAneesh Pradhan – Featuring duets by Bismillah Khan and VG Jog, and Rashid Khan and Shahid Parvez

Making Indian classical music relevant to the contemporary | Manasi Prasad | TEDxHyderabad – Manasi Prasad connects us to our roots by infusing the beauty of music from different times to present day creating relevance for us to understand it nuances better.

After the overview post on the Best songs of 1950, Wrap Up 1 on the best male solos, and Wrap Up 2 on the best female solos by ‘other’ singers have been the stage wise review of the readers’ views as well as SoY’s own analysis. .  Continuing the series, here is the third Wrap Up on the best songs of Lata MangeshkarBest songs of 1950: Wrap Up 3

We take of note of the review of Mem Didi (1961) for Salil Chaudhary’s songs –

Now we move over songs remembered by our friends in this month –

Bhagvan Thavrani

Ajab hai yeh duniya – Naya Aadmi (1956) – Lata Mangeshkar – Madan Mohan. Naya Aadmi, Hindi version of Santosham (1955), had 10 songs. 6 of them were composed by Madan Mohan and the rest by South Indian duo of Vishwanathan / Ramamurthy . Hemant Kumar – Lata Mangeshkar duet – laut gaya gham ka zamana – was the creation of the duo. They also created Lata solo – dile betaab thahar – while Madan Mohan created Rafi solo – gharibo ka paseena bah raha hai . The film had NT Rama Rao (NTR) had in the lead.

Samir Dholakia

Arre kahaan chali -Jaalsaaz (1959) – Kishore Kumar, Asha Bhonsle – N Datta – Majrooh Sultanpuri – The tune is based on “Lavani” songs of Maharashtra.

Sumant (Dadu) Vashi form Chicago (U S A) had sent in –

Dil Jalega To Zamane Mein Ujala Hoga – Yeh Basti Yeh Log (1965) -Lata Mangeshkar – Bhola Shreshtha

Harish Raghuvanshi

Tera Mera Pyaar Koi Aaj Kal Ki To Baat Nahin  – (Dada) (1966) – Mukesh, Usha Khanna – Usha Khanna – Asad Bhopali

Koi Kushnaseeb Na Hoga – Malkin (1953), Kishore Kumar, Mukesh, Ram Kamlani – Roshan – Rajendra Krishna

Yeh khaamoshi kyun ye madhoshi kyun – Hamaare Gham Se Mat Khelo (1967) – Jaidev – Nyay Sharma – Geeta Dutt’s only solo in Hindi films by Jaidev is the subject of Bharat Updhyay’s post.

[This film had a very well-known Talat Mahmood solo – Ansoo Chupaye Aankh Mein Khoon-e-Jigar Piya Karoon.]

Dekha Hai Jab Se Aapka Chehra Ye Chaand Sa – Husn Ka Ghulam (1966) – Mahendra Kapoor – Robin Banerjee – Anjaan

Phir Mohabbat Ke Payaam Aane Lagey Iraada (1944) – Hemant Kumar – Pt Amarnath – Aziz Kashmiri.

[There is another wonderful solo song “Aaraam Se Jo Raaten Kaaten” from this film.]

Jab tum hi chali England -Meri Asha (1950) –Agha – K Narayan Rao – a parody song posted by Atul Kumar Deshmukh

In the end, we have (our customary) very special songs of Mohammad Rafi, remembered Naresh Mankad, from Naqli Nawab (1964) [Music Director: Babul]:

There are a couple of very enjoyable Rafi – Asha Duets:

We continue our pursuit of the golden period of Hindi Film Music …….