Best songs of 1948: Wrap Up 2

And the Songs of Yore Award for the Best Female Playback Singer goes to?

The readers may recall from my Overview post, and the detailed review of the best songs of 1949, that one significant difference between the two consecutive years was in Lata Mangeshkar coming as a tsunami wave in 1949, leaving her competitors awestruck, whereas in 1948, i.e. just a year before, she was behind Shamshad Begum in terms of ‘Memorable Songs’. Suraiya, not far behind, can be regarded as the third leg of the Triad Power that dominated the female playback singing in the year. Surinder Kaur and Lalita Deulkar had a short-lived career in Hindi films, but their best was in 1948. Uma Devi and Amirbai Karnataki also had noticeable presence in the year. Given this overall picture of the female playback songs, I have decided to do away with separate posts for Lata Mangeshkar and ‘Others’. In the remaining three years of my planned review, i.e. 1947, 1946 and 1945, there would be no dilemma – Lata Mangeshkar sang (and acted) some songs, but she would be virtually invisible.

My list of 114 songs had 53 female solos divided between singers as follows:

Shamshad Begum    15
Lata Mangeshkar      11
Suraiya                              9
Others                              18
    TOTAL                          53

The ‘other’ singers include Uma Devi (5), Surinder Kaur (5), Amribai Karnataki (4), Lalita Deulkar (3) and Zohrabai Ambalewali (1). The readers have generally not gone beyond my selection. There was no such suggestion from my side. In the earlier years, the readers added several songs from outside my Master List, some of which also made it to the final selection. I should think it is because, even with a much shorter list, I manged to include all the well-known songs in 1948.

One surprise addition was by Gaddeswarupji. His choice for the best female song of the year was Ban ke aazad panchhi by Geeta Dutt from the film Hua Savera. I had not heard this song, nor do I think others would have. Other readers’ choices for the best song was from the familiar songs. Arunji chose two songs as his choice for the best – both by Lata Mangehskar: Chanda re ja re ja re (Ziddi) and Yaad rakhana chaand taaro (Anokha Pyar, Anil Biswas). Shalan Lal’s Best Female Playback Singer is Shamshad Begum for her overall performance, and she mentions her two songs: Gham ka fasana kisko sunaayein (Mela) and Kaahe koel shor machaye re (Aag).

KS Bhatiaji mentions five songs: Two by Shamshad Begum – Kaahe koel shor machaye re and Mohan ki muraliya baaje; one song each by Zohrabai Ambalewali (Phir aah dil se nikali tapka lahoo jigar se), Suraiya (Tere nainon ne chori kiya) and Lata Mangeshkar (Chanda re ja re ja re). Among the five, his vote for the best female singer goes to Zohrabai Ambalewali for her unique rendition to the demand of the story and screenplay. Venkataramanji shortlists 12 songs, and his best is Chanda re ja re ja re by Lata Mangeshkar.

I have to make a special mention of Mumbaikar8’s comments. She has a complaint that I have attributed the songs of Anokha Pyar to Lata Mangeshkar, whereas in the film these songs were in Meena Kapoor’s voice (which were recorded in Lata’s voice for records). I am not the only culprit, even the uploader of two songs on the YT displayed the symptoms of ‘AK syndrome’ when he erroneously attributed the Meena Kapoor’s songs to Lata Mangeshkar. My case was not one of mistake, I had done it consciously, because that is how the songs had registered in my mind, and I think in most people’s minds.

Many scholars of Hindi film songs hold that because of decoupling of the singing voice from the lip-synching voice on the screen, the technological evolution of playback singing, recording the song separately for record companies, and its dissemination primarily through the radio and gramophone records (later through cassette tapes), the songs acquired an independent existence from the films in which they were located. Hindi film songs became the predominant form of popular music and the binding factor on social occasions and festivals. Therefore, to my mind, it would not be accurate to describe Yaad rakhna chaand taaron is suhaani raat ko by Lata Mangeshkar as a ‘version’ song.

Is there anything unethical in Lata Mangeshkar being described as the singer of Yaad rakhna chaand taaro? For Hollywood, this might be a dilemma. Audrey Hepburn was denied Oscar nomination for her role in My Fair Lady because most of her ‘singing’ was dubbed by Marni Nixon. For us, it is puzzling that this should be an issue at all. We know Nargis ‘singing’ on the screen is not her voice, but it is another person. In 1948 itself, sometimes it is Shamshad Begum, some other time Meena Kapoor or Lata Mangeshkar. We are equally comfortable with these wide differences. I had responded to Mumbaikar8 that it would be perfectly all right for someone to prefer Meena Kapoor’s version to Lata Mangeshkar’s.

Let me go down the list of MEMORABLE SONGS in my overview post, and shortlist those which are melodious, extremely popular to this day and have acquired a permanency. I list the songs singer-wise.

FIRST CUT

Shamshad Begum
1. Kaahe koel shor machaye re (Aag)
2. Waah ri duniya waah re zamane – (Grihasthi, Wahid Qureshi, Ghulam Mohammad)
3. Pardes balam tum jaaoge – (Mela)
4. Gham ka fasana kisko sunaaun – (Mela)
5. Mohan ki muraliya baaje – (Mela)
Lata Mangeshkar
6. Yaad rakhna chaand taaron (Anokha Pyar)
7. Mere liye wo gham-e-intezaar chhod gaye (Anokha Pyar)
8. Chanda re ja re ja re (Ziddi)
Suraiya
9. Door papiha bola (Gajre)
10. Tere nainon ne chori kiya (Pyar Ki Jeet)
11. O door jaanewale (Pyar Ki Jeet)
12. Kaali ghataao jaao (Shakti)
13. Kinaare kinaare chale jayenge (Vidya)
Other Singers
14. Kaahe jiya dole – Uma Devi (Anokhi Ada)
15. Dil ko laga ke humne kuchh bhi na paya – Uma Devi (Anokhi Ada)
16. Maai re main to madhuban mein – Uma Devi (Chandraekha)
17. Ae dard zara dum le karwat to badalne de – Amirbai Karnataki (Ghar Ki Izzat)
18. Dardmandon ka jahan mein koi aasra nahi – Amirbai Karnatakai (Veena)
19. Bachpan ki yaad dheere dheere pyar ban gayi – Lalita Deulkar (Shaheed)
20. Ankhiyan mila ke ankhiyan roye din ratiyan – Surinder Kaur (Nadiya Ke Paar)
20. Taqdeer ki aandhi..Hum kahan aur tum kahan – Surinder Kaur (Shaheed)
21. Ana hai to aa jaao gar ab bhi na aaoge – Surinder Kaur (Shaheed)
22. Badnam na ho jaaye mohabbat ka fasana – Surinder Kaur (Shaheed)
23. Ek nazar wo yaad hai unki – Surinder Kaur (Naao)
24. Phir aah dil se nikli tapka lahu jigar se – Zohra Ambalewali (Mela)

Pruning it down to the ten best songs is an extremely difficult task because whatever you leave out would be as good as those in. Going by the general popularity and recall, Shamshad Begum’s Kaahe koel shor machaye re; Lata Mangeshkar’s Yaad rakhana chaand taaron and Chanda re ja re ja re; and Suraiya’s O door janewalo and Tere nainon ne chori kiya make sure entry. That leaves five slots. With Shamshad Begum’s overall dominance, she deserves at least one more song in the list. Mela is the obvious choice, which had several excellent songs. All the five songs of Suraiya I have shortlisted here are my great favourites, Door papiha bola having two posts dedicated to it. All the eleven songs by five ‘Other singers’ are very dear to my heart. For Lalita Deulkar and Surinder Kaur, who had a very brief singing career with Hindi films, the songs of Shaheed represent their career best; therefore, they deserve a place too. Something has to give way, and I would solve the problem by including some songs as ’Special songs’, before I get down to the Best Ten.

Special songs

1. Ban ke aazad panchhi by Geeta Roy (Dutt) from Hua Savera, lyrics Bhagawati Prasad Vajpeyee, music Gyan Dutt

Since a respected senior Gaddeswarupji has discovered this song and also put it as the best of the year, I am starting my list of special songs with Ban ke azaad panchhi by Geeta Roy (Dutt).

2. Kaali ghataao jaao by Suraiya from Shakti, lyrics Asad Zafri, music Ram Prasad and Azam Beg

Ram Prasad was an unknown name to me, until I read this article by Arunji. Ram Prasad was a very well-respected musician in Bombay from whom many well-known music directors took lessons. If you want to place him in context, Pyarelal of LP duo and Ganesh are his sons. However, I am still completely clueless about Azam Beg. My main interest is the song where Suraiya is as sweet and poignant as ever.

3. Ae dard zara dam le by Amirbai Karnataki from Ghar Ki Izzat, lyrics IC Kapoor, music Pt Govind Ram

I would have included this song in the Best Ten, but I had mentioned in my overview post that it was played on the radio in the scene in this film, having been first composed for Zamana (1938). Venkaramanji also drew our attention to this technical difficulty. Therefore, let us enjoy this superb song in the ‘Special’ category.

4. Ankhiyan mila ke ankhiyan by Surider Kaur from Nadiya Ke Paar, lyrics Moti B.A., music C Ramchandra

There was a mystic quality to Surinder Kaur’s singing. C Ramchandra is at his best in this Dilip Kumar-Kamini Kaushal-starrer film.

5. Ana hai to aa jaao gar ab bhi na aaoge by Surinder Kaur from Shaheed, lyrics J Naqshab, music Ghulam Haider

Not all songs of Shaheed can be included in the Best Ten; therefore, here is another gem by Surinder Kaur.

6. Ek nazar wo yaad hai unki from Naao by Surinder Kaur, lyrics DN Madhok, music Gyan Dutt

Can you ever have enough of Surinder Kaur? Here is another deeply moving song by her.

7. Dil mera toda by Lata Mangeshkar from Majboor, lyrics Nazim Panipati, music Ghulam Haider

I have not included this song in my shortlist, but my reason for including it in ‘Special songs’ is the folklore associated with the song. Ghulam Haider is supposed to have ‘discovered’ Lata Mangeshkar, and, when rebuffed by S Mukherjee of Filmistan from using her in Shaheed on the ground of her voice being too thin, he gave her a ‘break’ in Majboor. This song is often mentioned in this context. Since this story has also been mentioned by Lata Mangeshkar in her interviews, I have no reason to doubt its veracity. My interest in this story is because I find this song underwhelming, and nowhere near her immortal songs by Khemchand Prakash and Anil Biswas that I have included in the above list. I also consider it a stroke of good luck, in retrospect, for music lovers, because we got some everlasting songs by Lalita Deulkar and Surinder Kaur in Shaheed. Nevertheless, in deference to the history, here is the song.

Now it is the time to come to the Ten Best songs of 1948.

Best Ten songs

1-2. Chanda re ja re ja re by Lata Mangeshkar from Ziddi, lyrics Prem Dhawan, music Khemchand Prakash

The song retains its appeal even after about 70 years. A universal favourite.

1-2. Kaahe koel shor machaye re by Shamshad Begum from Aag, lyrics Behzad Lakhanavi, music Ram Ganguly

A song from ‘A’ (Aag) to another from ‘Z’ (Ziddi) coming at the joint first two positions, one by the old guard Shamshad Begum in vintage style, and another by the new girl Lata Mangeshkar, is a befitting description of the year 1948. In the following year, the transition and shift would be unambiguous.

3. Yaad rakhana chaand taaron is suhani raat ko by Lata Mangeshkar from Anokha Pyar, lyrics Zia Sarhadi, music Anil Biswas

After the long explanation in my write-up, I hope I am not riling Mumbaikar8 if I attribute this song to Lata Mangeshkar. Frankly, I always regarded it as her song, even after knowing that in the film it has been sung by Meena Kapoor. Be that as it may, it is among Lata Mangehskar’s all-time great songs. Interestingly, here is a video clip of the song. I can bet my last penny that it sounds like Lata Mangeshkar.

4. O door jaanewale wada na bhool jana by Suraiya from Pyar Ki Jeet, lyrics Qamar Jalalabadi, music Husnlal-Bhagatram

The SoY readers are aware that H-B composed more songs for Suraiya than any other music director. Pyar Ki Jeet had some of her career best songs.

5. Tere naino ne chori kiya by Suraiya from Pyar Ki Jeet

From a poignant O door jaanewale, HB shift to a joyous song in her voice in the same film, with their characteristic orchestration.

6. Gharibon par jo hoti hain zafaayein kaun sunta hai…Gham ka fasana kiso sunayein by Shamshad Begum from Mela, lyrics Shakeel Badayuni

I would have preferred Mohan ki muraliya baaje. But after listening carefully, I agree with Shalan Lal’s choice, as Gham ka fasana reflects the mood of sadness permeating the film.

7. Maai ri main to Madhuban mein nirakh liyo Nandlal by Uma Devi from Chandralekha, lyrics Pt Indra and Bharat Vyas, music Rajeshwar Rao

Uma Devi aka Tuntun has become so famous for Afsana likh rahi hun and other Naushad songs, that I think most readers may not be familiar with her songs in Chandralekha. Besides the spectacle, lavish sets and the famous drum dance, I remember this film for its songs by Uma Devi. Maayi ri main to Madhuban mein always gives me goosebumps, and I am using my privilege to give it a wild-card entry in the main list of the Best Ten.

8. Phir aah dil se nikli tapka lahu jigar se….Shayad wo ja rahe hain chup kar meri nazar se by Zohra Ambalewali from Mela, lyrics Shakeel Badayuni, music Nuashad

I dedicate this song to our passionate reader KS Bhatiaji. In a flood of so many outstanding songs, I might have missed it. As the lives of the lead actors are shattered, here is a pensive Nargis looking towards the sound of this song sung by Zohrabai as a part of the group of itinerant singers.

9. Bachpam ki yaad dheere dheere pyar ban gayi by Lailta Deulkar from Shaheed, lyrics Qamar Jalalabadi, music Ghulam Haider

Some incidents in history have unintended happy consequence. I regard Lata Mangeshkar being rejected for Shaheed as one such event, because it gave us this bonus in the voice of Lalita Deulkar.

10. Badnam na ho jaaye mohabbat ka fasana by Surinder Kaur from Shaheed, lyrics Qamar Jalalabadi, music Ghulam Haider

This song by the great singer Surinder Kaur completes our good luck story.

To conclude,

The Songs of Yore Award for the Best Female Playback Singer of 1948 jointly goes to Lata Mangeshkar and Shamshad Begum.

And the Best songs are:
1.    Chanda re ja re ja re
2.    Kaahe koel shor machaaye re