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

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

It is a great pleasure to open the curtains of June 2017 post of blog carnival series with Songs of Yore completes seven years that presents what has by now been a well-established tradition of presenting some quite unusual songs and songs of some unique personality form the world of music on the occasion of celebration of the birth anniversary of this blog. Master Madan is the case in point this year.

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

‘Not very beautiful but vivacious’: How Nargis was cast in her breakthrough movie ‘Taqdeer’Kishwar Desai –  June 1 marks the birth anniversary of Nargis, one of Indian cinema’s greatest actresses. Nargis had appeared in a few films in small roles before Taqdeer, which was directed by Mehboob Khan. She was 14 at the time, and was paired with Motilal.

The Spontaneity of Nutan That Rose Above ‘Acting’Antara Nanda Mondal pays a tribute to the legendary actress Nutan with a brief journey through some of her immortal songs – in which she essayed an amazing variety of roles. Her spontaneity and versatility made her rise above the accepted norms of ‘acting’ in mainstream cinema.

Nutan speaks about Bimal Roy is recently added by the Youtube channel WildfilmsIndia which features many videos of a geographical, historical and cultural nature.

KA Abbas, ‘biggest bulk buyer of tickets’ of his own films and eternal dreamerJuhi Saklani– The medium was always the message for Khwaja Ahmed Abbas (June 7, 1914-June 1, 1987), the celebrated writer, filmmaker and columnist.

Chaar Rahein – K A Abbas at the junction between tradition and progress – is one of the most structurally interesting Hindi films of its time, with separate stories coming together through the device of the crossroads and the personal journeys of the characters passing it. Two years earlier, Hrishikesh Mukherjee’s debut film Musafir had used a house and its landlord to link three discrete narratives. If the “makaan” in that film represents a society made up of many types of people, Char Dil Char Rahein is about the tradition-modernity conflict facing a nation; it is, literally and otherwise, set at the intersection between old roads and a new one.

Sajjad Hussain, the composer whose music has endured ‘with a tenacity that defies reason’Rudradeep Bhattacharjee – June 15 marks the birth centenary of the multi-instrumentalist and legendary composer of the movies ‘Sangdil’ and ‘Rustam Sohrab’. …Hussain’s work in the film, a historical titled Daiwayogaya (1959) (a Sinhala film), has largely escaped our attention. This, among other things, means that most of us have been bereft of the pleasure of listening to the spellbinding Adarayai Karunawai.

Sudhir, in his tribute post on Atul’s Songs a Day remembers Sajjad Hussain  thru’  Chali Pawan Purvaai, Chali Pawan (Dharam, 1945; Singers – Naseem Banu, Ratanbai).

Gaddeswarup Blog adds Sajjad Hussain: A biography and his perhaps most popular song…

Ye Hawa Ye Chandani Teri Ek Nazar Ka Khumar Hai – Sangdil (1952) – Talat Mahmood

The June 2017 episode of Fading Memories, Unforgettable Songs was dedicated to V Balsara, known probably more for his mastery in playing different musical instruments.

Here are posts on other subjects as well:

Documentary retraces the journey of the woman from Faizabad who became Begum AkhtarNandini Ramnath – Nirmal Chander’s visually sumptuous (documentary) ‘Zikr Us Parivash Ka’ is a cradle-to-grave account of one of India’s most celebrated classical music artist.

Two snake dances from S.D. Burmam and one from Naushad

O Pardesiya..Pyar Ki Bahar Leke, Dil Ka Qarar Leke… – Bahar (1951) – Shamshad Begum – S D Burman

Serpent Dance – Guide (1965) – S D Burman

Snake Dance – Dastan (1950) – Naushad

Film Songs Based on Classical Ragas (12) – A morning with Asavari/Jaunpuri in which the guest author Subodh Agrawal decodes the similar ragas Asavari, Jaunpuri and Dev Gandhar with his characteristic clarity.

‘Roop Tera Mastana’ simply refuses to grow oldArun Fulara  – ‘Aradhana’ director Shakti Samanta filmed the song in a single audacious take.

My Favourites: Memorable Scenes From Hindi Films, depicting many moods; scenes that, if you tell the name of the film, are the ones one will immediately recollect.

Before ‘Tubelight’, ‘Dr Kotnis Ki Amar Kahani’ dreamt of Hindi-Chini bhai bhaiNandini Ramnath – V Shantaram’s 1946 movie retraces the journey of Indian doctor Dwarkanath Kotnis from Sholapur to the Chinese battlefield.

Homes and Houses: Ten songs Hindi cinema has done ample justice to the concept of ‘home’ and ‘house’, from songs like Ek bangla bane nyaara to films like Dastak, Biwi aur MakaanHamaara Ghar, Gharaunda and Tere Ghar ke Saamne. The author has picked pre-1970 songs of Homes that are envisioned, homes that are hoped for, homes that light up with joy because of the coming of a festival or the arrival of a loved one, homes destroyed. Here are a couple picks form the list:

Cycle trails of BollywoodAfter taking us through horses, tongas and steam engine, DP Rangan now logically takes us on a joy-ride of cycle songs. Along the way, he also writes a dissertation on its history.

Nain se nain from generation to generation

Ustad Fateh Ali Khan of Patiala – Raag Darbari

Raag Darbari fusion with rock music – composed by his nephews Wali hamid ali khan & Kamran Akhtar

Shah Rukh Khan’s Doodle Among Stunning Rare Film Collectibles, Stills, Artwork in Osian’s Auction –  Antara Nanda Mondal– Among the rare collectibles in the auction are a bunch of original artworks by renowned filmmakers Satyajit Ray and Mani Kaul. Besides there are original publicity-material art for Andaz (1949), Anari (1959), Guide (1965), Deewaar (1975) and others. A huge collection of rare posters, showcards, lobby cards, photographic stills from the golden 1950’s period to the era of Amitabh Bachchan to the current trinity of Salman, Shah Rukh and Aamir Khan go under the hammer at the prestigious auction on 22 June, 2017.

SIKENDER. 1941 starring Prithviraj Kapoor in title role
Sepia toned Photographic Stills Mounted on Lobby Cards, probably used for early re-release publicity ({Pic: Osians)

In our series Micro View of Best Songs 1948 @SoY, we have commenced the detailed posts on Male Solo songs with those of Mohammad Rafi and Mukesh.

To end the today’s post with an article on Mohammed Rafi, I have zeroed upon an old post – Seven of My Favorite Rafi Songs– from Dances on Footpath. The author also has noted that these seven songs are not appreciated as Rafi songs go. Well, of the seven songs mentioned therein YT link 4 links have become dysfunctional. At least two songs do certainly would not be qualified as “unappreciated” So here are just two songs that stand out:

Nazron Ke Teera Maare Kas Kas – Do Ustaad (1959) – with Asha Bhosle – O P Nayyar – Qamar Jalalabadi

My Dearo Dearo Mummy Nahin – Nagina (1951) – with Shmashad Begum – Shanker Jaikishan

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

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Fading Memories…. Unforgettable Songs: June, 2017

V Balsara – Sunaye Hal-e-Dil Kya Hum Hamara

It was in 70s that whenever I could sneak out from my official work during visits to Bombay, I used to be in look out for a sneak pick into(the then) Rhythm House at Kalaghoda, even if for a few minutes. On one such visit I was on a quick look out for records of Manna Dey’s Hindi NFS. I was quickly shown one EP record that contained these songs:

Ye Aawaara Raaten Ye Khoyi Si Baaten (1960)

Nazaaron Mein Ho Tum Khayaalon Mein Ho Tum

I listened to these songs briefly and purchased the record. On way back I read its back cover to see who the music director of these songs was. When I read that it was V Balsara, the name was new to me then.

I kept listening to the record several times on reaching home. One of my friends then took it to his home. There his father also liked the songs. Few days later when he returned the record, it was accompanied by one more record. That record was an LP of his instrumental tunes, which among others, had the following:

We all were now very devout fans of V Balsara. I then went on to add a few more of his instrumental LPs.

For our present series when I noticed that June (22nd, 1922) is his month of birth day, it was with great apprehension that I started searching for his songs for the article for this month from his maiden film Circus Girl (1943) to other films like O Panchi, Rangmahal, Madmast, Talash, Char Dost, Vidyapati and Pyar. Well, my apprehensions were quite misplaced, as our netizen friends have been able to place many of the songs on net.

So here are a few of the multi-faceted songs in tribute to V. Balsara (Vistap Ardeshir Balsara).

Roothi Hui Taqdeer Ko Ab Kaise – Mukesh (NFS) – Lyrics: Madhukar Rajasthani

It seems that till he started regular work for composing music for Hindi films, V Balsara very rightly adopted the route of publishing records of NFS. These songs went a long a way in keeping V Balsara in to the memory of the listening public. There are a couple of more NFS mukesh songs that can be accessed on YT.

Ye Hawa Ye Fizza Ye Nazare Hum Yahan Tum Wahan… – Geeta Dutt

It is recorded that Geeta Dutt has only 25 NFS in her career. It is our luck that the present song happens to be one of them.

Our big catch happens to be songs of Madmast of 1953.

Chaal Anokhi Dhang Nirale, Tadap Uthe Hay, Aji Dekhane Wale – Madmast (1953) – Asha Bhosle – Lyrics: Madhukar Rajasthani

Kisi Ke Zulm Ki Tasveer Hai – Mahendra Kapoor, Dhan Indorewala – Lyrics: Manav

In our May, 2017 episode on Snehal Bhatkar, we had listened to the first solo song of Mahendra Kapoor. The present song takes on the credit of first ever recorded song of Mahendra Kapoor, much before he came to limelight after having won Murphy contest and then singing on Chand Chuupa Aur Taare Doobe

Main Lal Paan Ki Begum Hu, Begum Begum Begum Hu, Main Lal Paan Ki Begum

Main Baadshah Hu Kalekha, Main Baadshah Hu Kalekha – Shamshad Begum, S D Batish – Lyrics: J C Pant

Sunaye Hal-e-Dil Kya Hum Hamara – Lata Mangeshkar –

We then have Vidyapati (1964) which has one more Lata Mangeshkar gem which is totally forgotten.

More Naina Sawan Bhadon – Lata Mangeshkar – Lyrics: Prahlad Sharma

A song with same mukhda, based on the same raga Sjivranjani has so much of our mind space that listening to this song is so enriching experience.

Chubh Gaya Kanta, Ui Kaise Main Ab Ghar Jaaun – Pyar (1969) – Aarti Mukherjee – Lyrics: Prahlad Sharma

The common listener may have treated the song as too experimental for his liking…

We cannot conclude the episode without taking note of some of the instrumental compositions of V Balsara.

In an interview on Doordrashan Calcutta, V Balsara had narrated his association with Hindi Film world as specialist instrument player.  He has played harmonium like an accordion in several of SJ songs. Here are three such examples:

This is considered to be Solo Piano Concert. Robin De has captured it as a very documentary piece of V Balsara’s association with Bengali Music.

And Madhumati (1958)’s Aja Re Pardesi

Continuing with our tradition of ending every episode with a Mohammad Rafi song, we will end our present episode with the two solos, in two totally different moods, by Mohammad Rafi, composed by V Balsara :

Door Gagan Ke Chanda, Kahiyo Sajan Ke Sandesh…… Mo Se Rooth Gayo Banwaari Jari Gayo Madhuban, Sukhi Jamuna Gali Gali Dukhiyari – Vidyapati (1964) – Lyrics: Prahlad Sharma

Here we have signature Mohammad Rafi song, starting sakhi on a very high note then coming back to a pathos-suited scale, interspersed with scaling peaks.

Rahoge Kab Tak Hamse Dur, Pyar Ka To Aisa Dastur Ishk Pukarega Tumko, Aana Hi Hoga Re Aana Hi hoga Re, Ishq Pukarega Tumko Aana Hi Hoga Re – Woh Ladki (1967) – Lyrics: Prahlad Sharma

This can also be considered a very typical of Rafi romantic song, which we normally associate with his care-free songs.

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

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

Carnival of Blogs on Golden Era of Hindi Film Music – 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 …….