Best songs of 1947: Wrap Up 2

And the SoY award for the Best Female Singer goes to?

This was the year of female playback singers. Compared to 19 male solos as discussed in the Wrap Up 1, female solos numbered 67 (N Venkataraman counted 69) in the list of 117/119 Memorable Songs (referred to also as Master List) in my overview post . They were from immense variety of voices. The year saw the departure of the Malika-e-tarannum Noorjehan post-partition. It also saw the entry of Lata Mangeshkar as a ‘playback’ singer with the film Aap Ki Sewa Mein, composed by Datta Davjekar. As is too well known, this 18 year old girl would sweep all the established vintage singers aside in a couple of years, and, for two decades thereafer, she would be the undisputed queen of female playback singing. Her debut song Paaon lagun kar jori re has come to public consciousness only during the Internet era, but connoisseurs have acclaimed it as an outstanding song.

Here some explanation about Lata Mangeshkar’s ‘debut’ is in order, because her earlier songs are available on the net, which often cause confusion. After her father’s early death, the entire burden of supporting the family fell upon her when she was only 13 years old. She started acting and singing in Marathi films on 1942, moved on to Hindi films in 1945 in which she did bit singing roles for a couple of years. Aap Ki Sewa Mein was the first film in which she sang playback for another actor. Sudhir Kapur has written a very comprehensive post on her various ‘first’ songs on Atul Song A Day. To summarise, her ‘first’ songs are as under:

1. First song – Marathi in a Marathi film, recorded but then not used in the film: ‘Naachu ya gade, khelu saari, mani haus bhaari’ (‘Kiti Hasaal’, 1942)
2. First song – Marathi in a Marathi film, recorded and performed by her on screen: ‘Natali chaitrachi navalaai’ (‘Pahli Mangalagaur’, 1942)
3. First song – Hindi in a Marathi film, presumably recorded and performed by her on screen: ‘Mata ek sapoot ki duniya badal de tu’ (‘Gajabhau’, 1944)
4. First song – Hindi in a Hindi film, group song, recorded and performed by her on screen: ‘Mata tere charnon mein’ (‘Badi Ma’, 1945)
5. First song – Hindi in a Hindi film, solo song, recorded and performed by her on screen: ‘Chidiya bole choon choon choon’ (‘Jeevan Yatra’, 1946)
6. First song – Hindi in a Hindi film, solo song, as a playback: ‘Paaon laagun kar jori re’ (‘Aap Ki Sewa Mein’, 1947)

The songs of 1947 are dominated by Suraiya, Amirbai Karnataki, MS Subbulakshmi, Zohra Ambalewali, Shamshad Begum, Noorjehan, Geeta Roy and others in my overview post. From the songs added by the readers, two are especially charming, and they should find a place in the long list: Amirbai Karnataki’s Main jaanati hun tum na aaoge kabhi piya (Leela, C Ramchandra), added by Mumbaikar 8; and Kanan Devi’s Panghat pe madhu barsaye gayo re (Faisala, Kamal Dasgupta) added by Venkataramanji. Taking these into account the female playback songs of the year (in the Master List) are distributed as follows:

Suraiya                 –            11
Amirbai Karnataki    –    10
MS Subbulakshmi      –     9
Zohra Ambalewali     –     8
Shamshad Begum       –    7
Noorjehan                    –     5
Geeta Roy (Dutt)       –     4
Others                           –    15
TOTAL       –    69

MS Subbulakshmi deserves a special mention. I can do no better than quote from Venkataramanji’s outstanding post on her, titled ‘MS Subbulakshmi: A journey from Kunjamma to Meera’ in her centenary year: “With Meera came the transformation of MS. MS’s aesthetic changeover was clearly visible – the transcendence and actualizing Meera in herself. She deeply immersed herself in the role of Meera and that association would never leave her. Meera was a national success, launching a small-town south Indian singer into the national headlines. Sadasivam ensured that MS never acted again, thus etching the image of Meera, an image of divinity and dignity, forever on the frame of MS. Thus the makeover from Kunjamma to Meera was complete.” Her nine songs from Meera I have included in the list of Memorable Songs have this divine quality Venkataramanji has so eloquently described. Therefore, I agree with him that she should be kept out of any comparison.

The remaining 60 songs present immense variety of choices. Many of these songs have achieved everlasting fame. It is natural that most obvious choices would come from such songs. As a first cut, I list the most memorable songs and the songs specially mentioned by the readers in the order of signers’ names.

Amirbai Karnataki
1. Ayi azal ae zindagi gham ka fasana (Elaan, Naushad)
2. O preetam pyare chhod chale gharbaar mujhse door (Leela, C Ramchandra)
3. Main jaanati hun tum na aaoge kabhi piya (Leela, C Ramchandra)
4. Maar katari maar jana (Shehnai, C Ramchandra)
5. Koi roke use aur ye kah de (Sindoor, Khemchand Prakash)
6. O roothe huye Bhagwan tumko kaise manaaun (Sindoor, Khemchand Prakash)
Geeta Roy (Dutt)
7. Humein chhod piya kis des gaye (Do Bhai, SD Burman)
8. Mera sundar sapna beet gaya (Do Bhai, SD Burman)
9. Yaad karoge yaad karoge ek din humko yaad karoge (Do Bhai, SD Burman)
Noorjehan
10. Humein to sham-e-gham mein kaatani hai zindagi apni (Jugnu, Firoz Nizami)
11. Aa ja tujhe afsana judaai ka sunaayein (Mirza Sahiban, Pt Amarnath, Husnlal-Bhagatram)
Shamshad Begum
12. Jhumka gira re (Dekhoji, Tufail Farooqi)
13. Man bhooli kathaayein yaad na kar (Doosri Shaadi, Govind Ram)
Suraiya
14. Beech bhanwar mein aan phansa hai (Dard, Naushad)
15. Chale dil ki duniya jo barbaad kar ke (Dard, Naushad)
16. Hum the tumhare tum the hamaare wo bhi zamana yaad karo (Dard, Naushad)
17. Jab se chale gaye hain wo zindagi zindagi nahin (Natak, Naushad)
18. Jab tum hi nahin apne duniya hi begani hai (Parwana, Khursheed Anwar)
19. Paapi papiha re pi pi na bol (Parwana, Khursheed Anwar)
20. Mere mundere na bol (Parwana, Khursheed Anwar)
Zohrabai Ambalewali
21. Pardesi piya re haye ab mose guzare na rain (Bela, Bulo C Rani)
22. Ayi milan ki bahaar re (Naiya, Anil Biswas)
23. Unhein bi raaz-e-ulfat ki na hone di khabar maine (Nateeja, Rashid Atre)
Others
24. Paaon laagun kar jori re (Lata Mangeshkar, Aap Ki Sewa Mein, Datta Davjekar)
25. Afsana likh rahi hun (Uma Devi, Dard, Naushad)
26. Dilwaale dilwaale jal jal kar hi mar jana (Uma Devi, Natak, Naushad)
27. Kabhi bhoole se na poochhi man ki baat sakhiya (Paro Devi, Do Bhai, SD Burman)
28. Bhool jaate hain bhool jaya karein (Rajkumari, Neelakamal, B Vasudev)
29. Maine laakhon ke bol sahe (Binapani Mukherjee, Leela, C Ramchanda)
30. Panghat pe madhu barsaye gayo re (Kanan Devi, Faisala, Kamal Dasgupta)

Canasya’s choice for the best female playback singer is Noorjehan for Mirza Sahiban, though he has not named the song. I had three in my overview post, I have taken one that was the most popular in the above list – Aa ja tuhe afsana judai ka sunaun. Arunji’s choice was Uma Devi’s Afsana likh rahi hun. That song has achieved an iconic status and Uma Devi (Tun Tun) has forever become identified with this song. KS Bhatiaji has mentioned five best songs, not in order of merit: Chale dil ki duniya (Suraiya, #15 above), Mera sundar sapna baat gaya (Geeta Roy, #8 above), Ye afsana nahin zaalim (Shamshad Begum, not in the above list, but #20 in the Master List), Dilwale dilwale jal jal ke hi mar jana (Uma Devi, not in the above list, but #78 in the Master List) and Kya batayein kitni hasrat (Zohrabai Ambalewali, not in the above list, nor in the Master List). Venkataramanji has given a list of ten songs, the top three are in the order of preference: Paaon laagun kar jori re (#24 above), Umangein dil ki machalin (Noorjehan, Jugnu – not in the above list, but #49 in the Master List) and Beech bhanwar mein (Suraiya, #14 above). In his remaining seven songs, five figure in the above shortlist (#1, 3, 8, 25 and 29), the rest two are in the Master List. Therefore, his list has a grat deal of overlap with the above shortlist.

The above choices follow the convetional pattern. But there were some unconventional choices too. KM Ashraf chose Meena Kumari as the best female voice. I did include her Saawan beet gayo (Duniya Ek Sarai, Hansraj Behl) in the list of ‘Special songs’, and DP Rangan’s comprehensive post on Meena Kumari mentioned several of her songs. That indicates she had the potential to continue singing, but to my mind it would be quite a stretch to put her at the top of the galaxy of singers/songs listed above.

Considering that Lata Mangeshkar’s songs were admittedly unknown before the Internet era, Shalan Lal and Venkataramanji’s choce for Lata Mangeshkar’s Paan laagun kar jori re, too, I would put in the unconventional category. Venkataramanji also gives his reasons: “This song deserves to be on the top of the list. Just travel 70 years back and place yourself among a panel, listening to the songs of 1947. As soon as you listen to the song, you would sit up and at once ask the question, who is this singer. A fresh voice, different from the established female singers ruling the roost then and very accomplished too. A slow vilambit style start in Raag Piloo, she negotiates every ornamentation or alankars with the munshiana of an experienced singer. She again displays expert rendition skills when there is tempo shift at 02:10 and rounds off her singing deftly”. Shalan also gave a similar reasoning.

For coming down to ten from the shortlist of thirty, I leave a slot for Paano laagun kar jori re, for its historical place and the affirmation of its musical merit by the experts, and another for Kanan Devi’s Pangaht pe madhu barsaaye gayo re, because it is so good that it overrides its anonymity. For the remaining eight fortunately we have several iconic songs of many singers. Afsana likh rahi hun (3) and Mera sundar sapna beet gaya (4) have become signature songs of Uma Devi and Geeta Roy respectively. Each of the seven songs of Suraiya I have shortlisted is as good as any other; let me choose Chale dil ki duniya jo barbaad kar ke (5). Amirbai Karnataki will surely make an entry. Her songs of Shehnai became extremely popular. However, I have been especially fond of songs of Leela, but the more I hear Ayi azal ae zindagi (6), the more I find it rising above others. Noorjehan’s songs from Jugnu and Mirza Sahibaan are everlasting; let us take Aa ja tunhe afsana judaai ka sunayein (7). Shamshad Begum’s Jhumka gira re has a traditional predecessor, and an Asha-Bhsole successor. Because of its ambivalent legacy, I choose Man bhooli kathayein yaad na kar (8), as great a song as ever. Since the year has all the flavours of the vintage era singers, let us add a Zohra Ambalewali song. Trust me, all the three songs are absolutely outstanding. I was very familiar with Unhein bi raaz-e-ulfat ki na hone di khabar maine, but the audio quality of the song on YT is poor. Let me take Ayi milan ki bahaar re (9), which is one of her peppier songs and has all the characteristics of her unique voice. Continuing in the same vein, adding Rajkumari would have expanded the vintage flavour, but a fairer judgment seems to be to take another song of Suraiya who had so many outstanding and ultra-popular songs in the year. Jab tum hi nahi apne duniya hi begaani hai (10) encapsulates the underlying pathos in her life, thus giving her the privilege of having two songs in the Final Ten.

Special songs

This category serves a useful purpose of presenting sone great songs which are rarely heard, and also songs that do not make it to the list of final ten for some reasons. I had three female solos in the ‘Special songs’ in the overview post. Here are some more.

1. Bhool jaate hain bhool jaya karein by Rajkumari from Neelkamal, lyrics Kidar Sharma, music Snehal Bhatkar

I mentioned Rajkumari to complete the colours of vintage. Let me start the ‘Special songs’ with this wonderful song picturised on Madhubala.

2. Humne tumne kiya tha jo abaad, wo chaman aaj ho gaya barbaad by Parul Ghosh from Tohfa, lyrics Afghajani Kashmiri, music MA Rauf

What a ghazal! This film had a relaxed Mukesh ghazal Kahan tak jafa husnwaalon ki sahate. This able female counterpart is even more unhurried and gives you a soothing feeling.

3. Mohabbat jataane ko ji chaahata hai by Paro Devi from Amar Asha, lyrics Kabil Amritsari, music Shanti Kumar Desai

Here is another gem from her namesake, who is a different singer, now with a faster tempo. It reminds you of Nigaahein milaane ko ji chaahta hai. The ghazal is in the typical vintage style patented by many singers. It bears resemblance to Begum Akhtar’s Deewana banana hai to.

4. Ek naye rang mein dooje umang mein by Lata Mangeshkar from Aap Ki Sewa Mein, lyrics Mahipal, music Datta Davjekar

Lata Mangehskar’s debut song as a ‘playback’ singer, Paon lagun kar jori re, from Aap Ki Sewa Mein has been discussed in detail. Here is another song from this film which indicates her promise.

5. Ab dil mein hai barbaad mohabbat ke siwa kya by Munavvar Sultana from Menhdi, lyrics Sagar Nizami, music Ghulam Haider

This Munavvar Sultana is different from the actress by that name. A nice ghazal in the vintage style.

6. O chaand Eid ke mera salam kah dena by Naseem Bano from Mulaqat, lyrics Qamar Jalalabadi, music Khemchand Prakash

7. Balam mohe la de sajan mohe la de chunariya hari by Shamshad Begum from Dekhoji, lyrics Wali Saheb, music Tufail Farroqui

Anything from Shamshad Begum is enjoyable.

7. Haye mori daiya jiya ghabraye by Manik Verma from Aage Badho, lyrics Amar Verma, music Sudhir Phadke

Vintage mujra from a classical singer.

8. Aha more baalam ne mujhko bulaya by Geeta Dutt (Roy) from Dil Ki Rani (1947), lyrics Harikrishna Premi, music SD Burman

This was the year of SD Burman-Geeta Dutt’s iconic melancholic song Mera sundar sapna beet gaya. Here is a contrast from this pair. A lively dance song pictusied on a very young Madhubala.

9. Mere pahlu main hai zindagani by Zohrabai Ambalewali from Elan, lyrics Zia Sarhadi, music Naushad

No one had a better tuning with Zohrabai Ambalewali than Naushad. After some couplets in recital style, she starts off on a fast mujra dance-song. The dancer is equally vivacious, with matching naughty lyrics.

Final Ten

I have already disucssed how I have selected the best ten songs of the year. No order would have universal support. I go by a combined weightage of readers’ views, popularity and my own preferences.

1. Bahaar khatm hui…Chale dil ki duniya jo barbaad kar ke by Suraiya from Dard, lyrics Shakeel Badayuni, music Naushad

I place this excellent song at the top, as it does justice to Suraiya who had the largest number of memorable songs in the year.  This has slow recital interspersed with antaras as was typical in several songs of Suraiya.

2. Afsana likh rahi hun by Uma Devi from Dard, lyrics Shakeel Badayuni, music Naushad

There is hardly another song that has become more synonymous with a singer than Afsana likh rahi hun has for Uma Devi (Tun Tun). This one song has made her immortal as a singer, though she became famous as a comedienne.

3. Ayi azal ae zindagi by Amirbai Karnataki from Elaan, lyrics Zia Sarhadi, music Naushad

We have discussed this song in detail in the series on Naushad-C Ramchandra. One of the best of Amirbai Karnataki.

4. Aa ja tujhe afsana judaai ka sunaayein by Noorjehan from Mirza Sahiban, lyrics Qamar Jalalabadi, music Pt. Amarnath and Husnlal-Bhagatram

This is the only film for which the three brothers – HB duo with their elder brother – gave music together. HB had to step in when Pt. Amarnath took ill and passed away during the making of the film. All the ten songs of the film, including some more songs of Noorjehan, were superhits. Another big Noorjehan favourite is Humein to shaam-egham mein katani hai zindagi apni from Jugnu (music Firoz Nizami).

5. Man bhooli kathayein yaad na kar phir saawan ke din ayenge by Shamshad Begum from Doosri Shaadi, lyrics IC Kapoor, Pt. Govind Ram

Shamshad Begum’s forte was open-throated fast songs with Punjabi-style beat. But she was equally charming when she sang serious and poignant songs. Govind Ram was one of the major 3G’s for her, with Ghulam Haider and Ghulam Mohammad. Contrast this with Special song #7 to appreciate her range.

6. Panghat pe madhu barsaye gayo re by Kanan Devi from Faisla, lyrics ‘Pran’, music Kamal Dasgupta

We have to thank Venkataramanji for introducing this song to us. It is surprising it had been hidden so far. It can rank with the best of Kanan Devi. Therefore, I had to include it in the Final Ten.

7. Mera sundar sapna beet gaya from Do Bhai, lyrics Raja Mehdi Ali Khan, music SD Burman

This is another one from the long list of iconic songs in the year, and it became forever identified with Geeta Roy.

8. Ayi milan ki bahaar re by Zohrabai Ambalewali from Naiya, music Anil Biswas

I do not associate Anil Biswas with Zohrabai Ambalewali, but I remember from the series on him that he was the one to have given her first song in Hindi films. This one has Zohrabai all over. The uploader seems to have erroneously mentioned AR Qureshi as the music director

9. Jab tum hi nahi apne duniya hi begani hai by Suraiya from Parwana, lyrics DN Madhok, music Khursheed Anwar

The leading female singing star and the legendrary actor-singer, KL Saigal, came together in three films, the other two being Tadbeer (1945) and Omar Khayyam (1946). In their last film, Suraiya’s songs were as popular as Saigal’s.

10. Paaon laagun kar jori re by Lata Mangeshkar from Aap Ki Sewa Mein, lyrics Mahipal, music Datta Davjekar

I end this list with this debut song of Lata Mangeshkar as a ‘playback’ singer. The lyricist Mahipal was the same person known more as the actor in myhtological and fantasy films.

To conclude,

The Soy Award for the Best Female Playback Singer of 1947 goes to Suraiya.

Since she, and other singers too, had a good number of equally outstanding songs, it is not prudent to name one best song of the year.

Disclaimer: The song links have been embedded from YouTube only for the listening pleasure of music lovers. The copyright over these songs rests with the respective owners.

Tagged as: Best female solos