A tribute to Mukesh on his 42nd death anniversary (22 July 1923 – 27 August 1976)
R
oshan and Madan Mohan were in tandem in relation to Mukesh at least in one respect: Both used him very prominently in 1950 – Roshan in Bawre Nain, which was his second movie, in which Mukesh sang a solo, Teri duniya mein dil lagta nahi, and two duets, Mujhe sach sach bata (Rajkumari) and Khayalon mein kisi ke is tarah aya nahi karte (with Geeta Roy/Dutt); Madan Mohan in Aankhen, which was his debut movie, in which Mukesh sang a solo, Preet laga ke maine ye phal paya and a duet, Humse nain milana B.A. pass kar ke (with Shamshad Begum). The songs of Bawre Nain went on to become all-time great classics; those of Aankhen, too, are quite popular till this day. With such beginning, one would have expected them to use Mukesh consistently. But for inexplicable reasons, their trajectory diverged completely – while Roshan remained steady with Mukesh, giving him a large number of everlasting songs, Madan Mohan almost blocked him out of his radar screen, bringing him back in fits and starts after a gap of several years.
Roshan and Mukesh:
In the very next year, 1951, Roshan again created sensation with Mukesh. Songs of Bedardi (Dil ne to diya dokha, mohabbat ne saza di) and Hum Log (Apni nazar se unki nazar tak, ek zamana, ek fasana, and Dil ki pareshaniyan ishq ki veeraniyan) were very melodious, but with Malhar a dam burst, and Mukesh was all over with his solos – Hota raha yun hi agar anjam wafa ka; Tara toote duniya dekhe, dekha na kisi ne dil toot gaya; Dil tujhe diya tha rakhne ko – and his duets with Lata Mangeshkar – Bade arman se rakha hai balam teri kasam, Ek baar agar tu kah de, and Kahan ho tum zara aawaz do hum yaad karte hain. Next year in Sheesham (1952), Mukesh had two great songs: Satayega kise ru aasman jab hum nahin honge, and a cult song, Ek jhoothi se tasalli wo mujhe de ke chale mera dil le ke chale.
Roshan continued giving Mukesh songs which became landmarks of his career, such as Tere pyar ko is tarah se bhulana (Maine Jeena Seekh Liya, 1959), Bahut diya denewale ne tujhko aanchal hi na samaya to kya keeje (Soorat Aur Seerat, 1962), till we reach Dil Hi To Hai (1963). With Raj Kapoor being in the lead, and Mukesh already established as his voice, the film had several glorious songs: solos Dil jo bhi kahega manenge, duniyua mein hamara dil hi to hai; Tum agar muhko na chaho to koi baat nah, tum kisi gair ko chahogi to mushqil hogi; Gusse mein jo nikhara hai us husn ka kya kahna; Bhoole se mohabbat kar naitha naadan tha bechara dil hi to hai; and duets Chura le na tumko ye mausam suhana (with Suman Kalyanpur) and Tumhari mast nazar gar idhar nahi hoti (with Lata Mangeshkar).
By now Roshan was creating some of the most outstanding songs for Rafi, but he never severed collaboration with Mukesh – in Nai Umar Ki Nai Fasal (1965), in the midst of great Rafi songs, he gave a niche Mukesh song, Dekhati hi raho aaj darpan na tum pyar ka ye muhurat nikal jayega; Devar (1966) was only memorable because of two Mukesh songs, Aya hai mujhe phir yaad wo zalim and Baharon ne mera chaman lootkar khizan ko ye ilzaam kyon de diya. And in his last film Anokhi Raat (1968), Mukesh was there in his full form with Oh re taal mile nadi ke jal mein and Dulhan se tumhara milan hoga.
With such a line-up of Mukesh’s greatest songs it is inevitable a number of these songs have already appeared on the blog, in year-wise reviews for 1950, 1951, 1953 and 1955, and in a Mukesh-specific post Mukesh and his romance with ‘Dil’.
Mukesh sang about one-fourth of the total songs sung by Rafi. Roshan’s Mukesh songs are about one-third of Roshan-Rafi songs. Thus, we can clearly say Mukesh was Roshan’s most preferred singer after Rafi. In relative terms, Roshan gave no less importance to Mukesh than Rafi. His best songs for Mukesh are as good as any other composer’s.
Madan Mohan and Mukesh:
While one can reel off Roshan-Mukesh songs, with Madan Mohan one has to struggle. After Ankhen (1950) I can think of Duniya Na Maane (1959) which had Hum chal rahe the wo chal rahe the and Tum chal rahe ho hum chal rahe hain magar duniyawalon ke dil jal rahe hain (duet with Lata Mangeshkar). Sanjog (1961) had some nice songs: Bhooli hui yaadon kujhe itana na sataao, and Ek manzil rahi do phir pyar na kaise ho (duet with Lata Mangeshkar). There was a joyful song, Chal chal chal mere dil pyar teri hai manzil in Akeli Mat Jaiyo (1963). Ferreting out more Madan Mohan-Mukesh songs requires a Mukesh-expert like Mahesh Mamadapur. Talking of numbers, Madan Mohan’s Mukesh songs are less than one-tenth of his songs for Rafi. It is surprising he blanked out Mukesh so conspicuously because he did compose songs that are quintessential-Mukesh. Hans rightly says in his comment with detailed statistical analysis in an earlier post that ‘Madan Mohan’s case with Mukesh is most intriguing‘. As per his count they had 3 solos and 6 duets. I recall Mahesh in his post on ASAD had mentioned more songs. (My recollection is wrong. Mahesh confirms Hans’ numbers. – AK)
(P.S. Now we can give precise relative figures with more specific information available from Mahesh’s comment #8. Roshan’s Mukesh songs are 39% of his songs for Rafi – 36/92. Madan Mohan’s Mukesh songs are 5.35% of his songs for Rafi – 9/168. – AK)
While his association with Lata Mangeshkar became the stuff of the legend, among male playback singers he did not seem to have any particular favourite after Rafi. Though he gave some of Talat Mahmood’s career-best songs, it is perhaps more correct to say that for him, after Rafi, all other male playback singers were ‘others’.
Thus, the Roshan-Madan Mohan tandem is quite asymmetric when it comes to Mukesh, but MM, too, did compose some outstanding songs for Mukesh. Continuing our tribute to them, let me also pay my tributes to Mukesh on his 42nd death anniversary with his best songs by them. I would try to avoid repetition as far as possible.
Roshan-Mukesh songs
1. Teri duniya mein dil lagta nahi from Bawre Nain (1950), lyrics Kidar Sharma
This is a clear repetition; but I have to make an exception for this song, because it sets the bar very high for anyone trying to compose a song for Mukesh. An everlasting song, if ever there was one.
2. Apni nazar se unki nazar tak ek zamana ek fasana from Hum Log (1951)
Roshan changes the tempo and creates a joyous song. I have a queer feeling that Shankar-Jaikishan used this tune for Kahta hai joker sara zamana, aadhi haqeeqat aadha fasana.
3. Bahut diya denewale ne tujhko aanchal hi na samaya to kya keeje from Soorat Aur Seerat (1962), lyrics Shailendra
This is one of the great favourites of Mukesh fans.
4. Tum agar mujhko na chaho to koi baat nahi, tum kisi aur ko chahogi to mushqil hogi from Dil Hi To Hai (1963), lyrics Sahir Ludhiyanavi
Any lyrics with a very long meter is difficult to set to music. But Roshan-Mukesh combination cross this hurdle admirably. The setting is a common cliché in Hindi films – the heroine is going to be married to the other guy, the hero is asked to sing a song on the occasion. Without bothering for the delicacy of the situation, our heroes have been quite forthright in pouring their emotions for the lady. Raj Kapoor lip-synching Mukesh sings befittingly in a recitation style, a puzzled Pran is nudging Nutan to know, is there anything afoot? (Hans informs me that my description of the scene is completely off. Thanks Hans for the correction. – AK)
5. Tumhari mast nazar gar idhar nahi hoti (with Lata Mangeshkar) from Dil Hi To Hai (1963), lyrics Sahir Ludhiyanavi
A typical romantic duet between the lead pair in the garden, amidst fountains and flowers. This film had another great duet, Chura le na tumko ye mausam suhana (Mukesh-Suman Kalyanpur) which I like more, but that has appeared earlier.
6. Dekhati hi raho aaj darpan na tum pyar ka ye muhurat nikal jayega from Nai Umar Ki Nai Fasal (1965), lyrics Neeraj
It was difficult to be noticed among Rafi-Roshan-Neeraj cult song Karwan guzar gaya gubar dekhate rahe and Aaj ki raat badi shokh badi natkhat hai, but Mukesh makes a mark with this melodious song.
7. Aya hai mujhe phir yaad wo zaalim from Devar (1966), lyrics Anand Bakshi
Now I come to a perennial favourite, which has pathos, a great tune and superb picturisation. You can make out Dharmendra and Sharmila Tagore were childhood lovers, he has recognised her and can’t help himself singing out his feelings; she is oblivious, and till the end Dharmendra can’t bring himself to tell her because of the sensitivity of the new relationship.
8. Dulhan se tumhara milan hoga from Anokhi Raat (1968), lyrics Indivar
Who says Mukesh was good only for sad songs? Here is a nice peppy song from Roshan’s last film. He had not lost his magic touch.
Madan Mohan-Mukesh songs
9. Tum chal rahe ho hum chal rahe hain magar duniyawalon ke dil jal rahe hain (with Lata Mangeshkar) from Duniya Na Maane (1959), lyrics Rajendra Krishna
Pradeep Kumar and Mala Sinha are cavorting around in natural surroundings, and they don’t care if the entire world is burning with jealousy.
10. Hum chal rahe the wo chal rahe the magar duniyawalon ke dil jal rahe the from Duniya Na Maane (1959), lyrics
But the lovers have to live in this world. At some point they get affected by the attitude of the world around them. Similar lyrics, but now Pradeep Kumar is sad and Madan Mohan creates a contrasting song of melancholic mood.
11. Bhooli hui yaadon mujhe itana na satao from Sanjog (1961), lyrics Rajendra Krishna
If you hear these songs, you feel Madan Mohan was meant to compose for Mukesh. It is surprising why he turned so indifferent towards him. Another all-time great song of Mukesh.
12. Ek manzil raahi do phir pyar na kaise ho (with Lata Mangeshkar) from Sanjog (1961), lyrics Rajendra Krishna
But before the above sad song, the lovers were enjoying themselves without any roadblocks. You can notice an uncanny similarity between Duniya Na Maane and this film. A happy romantic duet, and later a sad solo by the hero when some obstacles come in their affair, is repeated in this film. But there is no monotony, Madan Mohan manages to create four outstanding songs in the two films.
Disclaimer: The song links have been embedded from YouTube only for the listening pleasure of music lovers. The copyright rests with the respective owners.
{ 48 comments… read them below or add one }
Oh wow! what a treasure is the list of Mukeshji’s songs with Roshan Saab, and am familiar with most of them as they were super hits and well appreciated. Rightly mentioned, Mukeshji seems to have had no songs post Akeli Mat Jaiyo which released 1964 in the Madanji repertoire. However, I do recall one trio song from the film Chowkidar which also had Mohd. Rafi and Asha Bhosle along with Mukesh and this released 10 years later in 1974. …Zindagi, zindagi, choti ho ya lambi ho…
I cannot find any Youtube link to the above song, so sharing the mukhda of the song in the link below, which has Mukesh and Asha Bhosle…..
http://www.madanmohan.in/audio/85_Chowkidar/06_Zindagee%20Zindagee%20Chhotee%20Ho%20Yaa%20Lambee%20Ho.mp3
One does wonder why Mukeshji was not used during the period of the 10 year gap. the relations between the two were great. the only reason I can think of is that Madanji thought his compositions suited Rafi Saab more, and he would have been the best judge for his creations.
Sangeetaji,
Thanks a lot for your appreciation. You should be able to throw more light on why Mumesh went off MM’s radar screen, other than that Rafi suited his music more.
AKji,
A great article on Mukesh.
You have covered majority of the Mukesh – MM combos
But I would like to add some songs for Roshan Mukesh combo.
First
From Chandani chowk
Humein ae dil Kahin le chal
And sheesham
Satayega kise to aasman
Ek jhooti si tassali
All are sad songs, but are my favorites.
So I mentioned them.
I think we can’t answer the question why was a particular singer wasn’t used by a particular composer.
They may have their own reasons to do so.
Right from availability of a singer on a particular date to the budget of the film offering only a limited range of singers. Of course, composer chooses a singer
that he thinks would suit his imagination of the song and expected results.
I think when a composer repeatedly uses a singer, his style gets slightly influenced by that singer’s style. He tends to compose further with that particular singer in mind.
Of course, these are my thoughts !
Let’s see others and you think similar or not!
🙂
Anup,
Thanks a lot for your appreciation. I have described Ek jhoothi si tasalli wo mujhe de ke chale as a ‘cult’ song in my write-up.
The MM-Mukesh puzzle arises because whenever MM composed for Mukesh, it became a memorable song.
No clue at all, as I said, they had a very healthy and friendly relationship as we know, so I am as much at a loss as you are.
Sangeeta Guptaji
For your interest
https://www.youtube.com/watch?v=SvX1x4tnfVY
Regards and blessings
Uma
AKji:
This post truly is a ‘hit parade’. Nearly every song above was a mega hit and a major favourite of mine. Here is ‘Aadhe udhar hai’ in “Ghar ghar mein diwali” (1955):
https://www.youtube.com/watch?v=o7QE3yoirBU
AK ji,
Many Thanks for the post.
With humility, I am pasting both composers links from ASAD here as they are very much relevant to the discussions.
The numbers and details that more knowledge readers have provided above are correct. In case of Roshan its 36 timeless classics.
https://atulsongaday.me/2015/10/05/lo-mil-gayi-degree-pyaar-ki/
https://atulsongaday.me/2015/07/01/insaanon-se-kyun-jhukte-ho/
Roshan did not use Rafi saab for his first 12-14 films. Thereafter he relied on him heavily. But Mukesh was always there right up to his swan song. I personally feel Mukesh ought to have sung at least 2 dozen more songs for him.
Lata was close to both Mukesh bhaiyya and Madan bhaiyya. I can understand this has nothing to do with the selection of a singer for a particular film or a song. But then there are only 3 Lata-Mukesh duets for MM in 26 years.!!!. How do you explain this ?.
Regarding the reasons for the paltry numbers of Mukesh with various composers other than SJ, KA and LP et. al., well there could be quite a few reasons or none at all.
My own take would be like.
1. It was just happenstance. (Something similar to why Anil Biswas never composed for KL Saigal or Noorjahan. It just did not happen. In case of Mukesh it did happen, but for few numbers only with most composers)
2. Mukesh’s decision in early fifties to sing only his own songs on the screen cost him dearly for the rest of his singing career.
3. The above was coupled with the exponential trajectory growth of Rafi saab with all composers.
4. Mukesh was less versatile than Rafi saab and his range was not very wide.
5. He took time for rehearsals.
There is lot of wrong information out there on the net. People on dedicated web-sites do not even bother to differentiate between Naushad and Nashaad. It pains to read such info and thus a minuscule effort from self for a few composers. I depend a lot on Harish ji, Sudhir ji, Atul ji, Arun sir etc. and am no expert at all.
Mahesh,
Thanks a lot for your comments and the two links which give a comprehensive picture of Mukesh’s association with Roshan and Madan Mohan. The best explanation of Madan Mohan’s paltry songs for Mukesh is your first explanation.
A small correction. You have said repeatedly that Roshan did not use Rafi in his first 12-14 films. It seems he gave a Rafi-Asha Bhosle duet in his second film Bawre Nain. It’s video is also available.
Mohabbat ke maaron ka haal ye duniya mein hota hai by Rafi & Asha Bhosle from Bawre Nain (1959), lyrics Kidar Sharma, music Roshan
https://m.youtube.com/watch?v=F_IGvCriUEU
Canasya,
Thanks a lot for your appreciation. Such overviews tend to become a hit parade, especially because most of the songs of Mukesh for these two composers were superhits.
AK,
Good tribute to Mukesh. I am surprised they had only 36 songs, they have so many hits to their credit, means they have a very high percentage of hits.
I cannot understand what is so so inexplicable, he had worked with them all, had correct understanding of what he wanted even insisted for Talat Mahmood for Jahan Ara in 60s and opted for Rafi in Laila Majnu in 70s and Manna Dey in Hindustan Ki Kasam for Har taraf ab yahin afsane hai.
Anil Biswas not collaborating with Rafi is far more inexplicable, he gave the verdict that Rafi was not his type of singer before very early in Rafi’s career without working with him and later in 60 used Mahendra Kapoor it was like OP saying Lata is not my kind of singer and working with Suman Kalyanpur.
.
Mumbaikar8,
Thanks a lot for your appreciation. Your last part of comment is interesting.
Ms. Mumbaikar8, AK ji ;
There is no easy way for a singer to sing better than the best ; but at any point of time it can happen ! Many a time we are stuck spellbound hearing songs of Suman kalyanpur which we never want others to have sung. Likewise Mohinder Kapoor too excelled many a times in the company of Sahir Ravi and others. I will quote Ms. Mumbaikar ‘s comments made elsewhere…..the lyrics matter most…..and I entirely agree with her views. The other things that matters is the screen presence of actors singing the song . While the Mukesh song …..Dekhti raho aaj darpan na tum……is beautiful to the core of its composition content and meaning , the onscreen actor just diluted it as if he is reciting a poem and not singing as a passionate lover .
AKji
Great tribute to great singer Mukesh with
details of his songs with two great composers.
Good information.
Pdineshj,
Welcome to SoY and thanks a lot for your appreciation.
KS Bhatiaji,
The actor doing the song has become more prominent now. Khaike paan Bnaraswala; Pag ghunghroo baandh Meera naachi re; Rang barse etc. are very much Amitabh Bachchan songs.
Very interesting comments and greatly enriches one’s analysis and perspectives on the subject matter. Thank U All..
My two takes:
While I too like some Mukesh numbers, let’s be objective and admit that , honestly, when it came to quality of voice, sweetness, impact, range, pitch, sur, etc. etc. etc. (I am a novice in music), even without going into nuances, one can easily see that there is no comparison between Rafi and Mukesh. This is not to degrade Mukesh, but put facts as they are.
Given these realities, it is only natural that MDs found Rafi to be The Choice of the most of the songs and accompanying situations, and as many learned observers will admit, MDs would have had a better judgment. For e.g., while Roshan hardly used Rafi early on, Rafi was indispensable for MM, until his demise. Also, see once, Roshan started using Rafi, Rafi simply overtook others in aggregate stats, in the list of Roshan songs.
Above all, let’s see facts – 90% of the MDs of the relevant period used Rafi the most as he was the best. After all, consensus view is largely correct !
I think the idea of a singer from a point of view of Indian films is that primarily the voice should fit an idealized version of the hero or heroine. Hence singers who strayed/stray from this idealization had/will have fewer chances. And this model hero/heroine will change according to time. A Saigal would not have done a carefree 60’s hero justice perhaps, or a Rafi suited a angry young Bacchan. So MD’s too unconsciously look at the market. India never had a thriving popular song market divorced from films and that is the reason why some singers dominate.
Mukesh, Rafi, Manna dey etc. were all great singers in their own right. Take S D Burman with his nasal voice, now who can imagine somebody else singing “Mere saajan hai us paar”.
Ksbhatiaji @13
For me songs are more of an audio medium than visual, YouTube is more like a search engine for extinct songs, there are few exceptions though like Nain lad jaiyen from Ganga Jumna, Pyaasa , Guide, Mughal E Azam few more, otherwise I enjoy my music on my mp3 all the time doing my chores too.
SSW,
I sometimes wonder whether the singers determined the ‘time’ or the other way around. In the 30s and 40s, we had KL Saigal, Pankaj Mullick, KC Dey, Pahadi Sanyal and Asit Baran in Bombay, and even in Bombay we had Surendra, GM Durrani and Khan Mastana, and that determined the kind of music of those days. Female singing had its own flavour of courtesan style singing.
Technology played a big role in this equation. ‘Playback’ led to the decoupling of acting and singing, and that gave rise to the great playback singers of the Golden Era. The next watershed was electronic and digital sound which made the ‘musicians’, music sessions and rehearsals with MDs redundant. The technology which allowed experimentation with sound also led to a different kind of music, some of which was cacophonous.
Such articles have now become routine with AK. When it is Mukesh and especially with Roshan, there could be nothing produced but gems. With reference to Rafi-MM tuning, Anup has made a very sensible comment that through time MD and singer develop a special bonding which is hard to break. That almost explains lesser songs to Mukesh.
But there is another reason which has been hinted by Mahesh. Mukesh after his initial success in the end 40s turned producer with Malhar in 1951, but that film flopped. Then he landed with Mashuka opposite Suraiyya, who was till then producing hits after hits and Mukesh thought his career as singer-actor would be made with this film. So he signed a contract by which he was not to sing for others till the release of the film. The release of the film was delayed and Mukesh suffered a long disconnect from singing. This film was a complete flop either because law or averages had caught up with Suraiyya or because Mukesh’s bad luck overshadowed Suraiyya’s luck. Songs were not coming and Mukesh compounded the matters further by producing another film Anuraag. As he was also the MD there he had very little time left till its completion.
As a result of all that you would find that Mukesh had only 43 songs in the six years from 1952 to 1957. Out of these 10 are by Roshan, 2 he is MD and 12 are either RK/SJ or both. Since Roshan was made MD by Mukesh for Malhar and he was also MD for Mahsuka also, it could be no surprise that Roshan would give him songs wherever he got a chance, especially when he was not using Rafi much under Lata/CR influence. RK/SJ/Mukesh bonding is well known. So there were just 19 songs for Mukesh in the remaining bollywood spectrum in these 6 years.
After his return to singing MM gave Mukesh chance in Duniya na mane and Sanjog. But, till now Rafi tornado had blown off everything and even Roshan had shrugged off the negative influence to go whole hog for Rafi. In such a scenario it would have been insanity in MM – who was already short of success – to discard a singer who had not only a special bonding with him but who ensured success too. Even Roshan gave Mukesh just 7 songs post 1960 besides the 6 in Dil Hi To Hai in which RK was acting.
Mumbaikar8 (11)
Anil Biswas did not say that Rafi was not his type of singer, he said Rafi is no singer at all and that too in some party after the release if Pyaasa. Later he changed his stance when pestered with questions and his aplogists who were naturally Rafi-haters later picked up this storyline. By the time he made the remark he had even done Heer (1956) with Rafi. But about Heer Raju Bharatan – the eternal liar – tells a story in his book ‘A Journey Down the Melody Lane’, that Biswas wanted Lata to sing all songs for the heer Nutan but that request was turned down by S. Mukderjee and Lata got only two solos. According to Bharatan all Rafi songs were recorded by his assistant Ram Singh. In the same paragraph Bharatan also claims that all the three solos of Doraha were recorded by Biswas in the voice of Rafi but later he recorded them in Talat’s voice. This on the face of it seems to be a lie. So you can judge for yourself about the status of Biswas.
But, whether the Heer story is true or not, Biswas from the start took up arms against Rafi and alongwith the Dulari smitten Lata ( in Dulari Rafi’s sole solo ‘suhani raat dhal chuki’ so overshadowed Lata’s seven solos that the regular questions being asked in the matter incensed the highly egoistic Lata for life against Rafi who from time to time aggravated this dulariaria disease in Lata by his top class renderings ) made a formidable team in which CR soon joined. The sole business of this was to put Rafi out of bollywood singing. Biswas so earnestly took up the cause that he ignored the original job for which he had come to Bombay viz. composing music and soon found himself out of business. And when he saw his nemesis Rafi had reached an unassailable position in 1965, he took refuse in the serene AIR rooms of Delhi.
@19
Though for the sake of comfort and also to save ones eyes everyone listens to audios but if you are listening to playback singing it is always better to know the situation.
AK @16
Rang barse was his own song. The others were sung by KK. It all depends on the singer and his/her rendering of the song. Did the songs by Rafi ‘koi aur duniya men tumsa haseen hai’ (1971), ‘mere dost kissa ye kya ho gaya’ (1980), ‘john jany janardan’ (1981) or ‘mere desh premiyo’ (1982) ever looked like the actor (Amitabh) doing the song.
AK @20, I don’t know. I was just responding to comparison of merits and demerits of singers in some post. I think popular music allied to a visual medium can have different demands on the producer of the music than a purely aural medium, because the consumer has more than one sense to appreciate/consume with. So perhaps people used an ebullient Rafi because he was more the voice of a hero of a certain time than say an introspective Mukesh. It wasn’t that Rafi was classically perfect or could turn out a thumri better than Manna Dey. But he was more allied to the voice of popular heroes of a certain period.
Not that anything I say should be taken seriously. 🙂
I don’t quite understand the point in the second part of your post.
SSW,
Just that technology is a primary driver now, overshadowing the singer. Every potboiler has to have an item number or a Punjabi party song.
Some sensible film makers are doing away with the songs altogether. Gone are the days of 10 songs in a film.
Hans,
@ 11You have given a lot of information about Anil Biswas’s condemnation on Rafi, but still missing is the one story I had heard when I was in Bandra, that was pre internet days, I tried to find it on the net but have failed.
I would not discuss it in public, if you wish we can discuss it in personal emails.
@19
Bhatiaji said that screen presence would mar the song to which I said it would not affect me that much cause I usually listen rather than watch. You might not understand MOTHERS get so habituated to multi tasking that even when they time for leisure they tend to multi task
I had added two smileys first after “you might not understand” and second at the end. I blame AK for that vanishing 🙂
Mumbaikar8,
You blame me too soon and without reason 🙂 .
If someone has added smileys, I do nothing to it. I didn’t find “you might not understand” in your comments. The expression you have used is “I cannot understand what is so so (sic) inexplicable”.
Before you lay the charge, you have to answer the following 🙂
1. When did you notice your missing smileys? Your comment is instantly visible to you. Was the smiley there when the comment appeared?
I put it to you that the so-called smileys were never there. Therefore, please understand you are liable for prosecution under section 211 of IPC. 🙂
But seriously, what is the issue?
AK ji @9.
I stand corrected. (Frankly, I was not even aware of it)
But, I suppose the larger point remains the same. 🙂
Chellamani ji @ 17:
Critics have often pointed out Mukesh’s limited range. And several listeners (including me) think that he at times went off-key. But nobody has ever said that his voice lacked sweetness (vis-à-vis Rafi). In fact, within his range his was the most melodious voice. After listening to “Chal ri sajani” from ‘Bambai ka Babu’ I find the synthetic pathos in “Babul ki duayen” from ‘Neel Kamal’ a let-down.
AKji has mentioned the use of electronics. I believe the older private albums (Geets, Ghazals, and Bhajans) were recorded with less electronics and perhaps provide a better indication of voice quality of these singers. And I prefer the private songs of Saigal, Talat, Mukesh, and Manna Dey over those of Rafi. (Bengalis will have a different ranking, and rightly so because Bengali songs of Hemant, Kishore, and Manna Dey are superb).
Mahesh,
Yes, the minor details do not affect the larger story. I myself concentrate more on the trend than statistical details.
Canasya,
Babul ki duayein is an interesting case. All the literature on Rafi cite this song as an example of supreme pathos recalling/imagining his own daughter’s vidaai. But I am with you on this, and so is Subodh very categorically, and I guess there must be some others. But Rafi could also show natural pathos in his songs, starting from Suhani raat dhal chuki to his famous Heer songs, to Main ye sochkar uske dar se chala tha.
AK, @28
You are right I blame you too soon and at times without reason. As you know I was not serious of my charges (this time)
It was, one of those glitches that happen, I had smileys inmy statement but after submitting it was missing in my uploaded comment.
My statements would create some misunderstanding without the smileys. I wanted to edit my comment …..who else to blame for that but you?
AK @31
In comedy as well as expressing pathos it’s a very fine line between perfection and exaggeration and Rafi is guilty of crossing that fine line many times like Sanjeev Kumar, but both Rafi and Sanjeev Kumar are admired by their fans for that, a fine example of that ( I find ) is Khilona jaan kar from Khilona.
Coming back to Chal ri sajni and babul ki dua,ayen I think there cannot be any comparison between the two. Not only Chal ri sajni the album of Bambai Ka Babu ( I think) is well crafted piece of art.
Canasya @30, I don’t think electronics played a great part in the songs of the 60s, the term electronics was just getting into vogue then. So one can hardly claim Rafi was helped by electronics. Nor do I think bhajans and ghazals are the epitome of musical merit. Music in both cases is only a vehicle. I don’t know what category geets belong to.
I abhor “babul ki duuaaein” too but to me pathos is not restricted to bridal farewells , in the culture I come from we don’t have any of that and we are none the worse for that.
My favourite song in “Bambai ka babu” is “Saathi na koi manzil” and I daresay it conveys a sense of desolation to me that I can relate to more than “Chal ri sajni”. A life without moorings, friends, and no discernible destination….beautifully sung. Such beautiful flute counterpoints in the song.
For me Mukesh singing lesser songs than others matter less . Say , when Madan Mohan and Roshan were giving pause to Mukesh other Mds like Ravi , KA, LP and many others composed excellent songs like
….main khush naseeb hun mujhko kisi ka pyar mila.
…Tum si hi ghar ghar kahelaiya…..Jo pyar tune mujh ko diya thaa.
….do roj mein wo pyar ka aalam guzar gaya.
…Ek woh bhi diwali thi.
….Saranga teri yaad mein.
..Woh tere pyar ka gaam….and many more .
Not only Mukesh excelled in sad songs he sang many happy and faster numbers like
…..Yeh to kaho kaun ho tum kaun ho tum etc.
So for me it is a feeling that creates a pleasure listening to song irrespective of who the singer is . All these years we have enjoyed the songs of practically all the singers of vintage and golden eras …..it has never came in my mind who the best is one . Yes, some time visuals adds to the merit of the song and a few time the song gets diluted too.
Mr.Bhatia @34 I am in complete agreement with you.
Bhatiaji @13
You mentioned ‘dekhti hi raho aaj darpan na tum’. Without any doubt that is a good song. You blame the actor but the fact is that the romantic feelings are missing in the song itself. Have a look at the other song ‘aaj ki raat badi shokh badi natkhat hai’ which was sung by Rafi. Do you find tha actor bland in that song. He is the same actor. Same composer same lyricist, but look how Rafi transforms the song. In fact ‘dekhti hi raho’ should have been more romantic than ‘aaj ki raat’ because of the situation. If Rafi had sung it he would have brought in it the same intensity which he put in songs like ‘tu mere samne hai’, ‘door rehkar na karo baat’, ‘abhi na jao chhodkar’ or ‘na jhatko zulf se pani’ or I can name hundreds of his songs. And in fact that was the reason Rafi was so successful. He knew he is a playback singer whose duty is to act through the song. By this ability he raised a number of non-acting actors to a high pedestal.
Once there was a discussion on mohdrafi.com in which I took on a KK fanatic. I mentioned the song ‘mere deewanepan ki bhi dawa nahin’ from ‘mehboob ki mehndi’ and asked him for what kind of situation KK sang the song. He was in the habit of giving prompt answers and he had perhaps not watched the film. So back came his prompt reply that it was a sad song and also praising the pathos and all that put in by KK. When I told him that it was a romantic song which hero was singing in the presence of the heroine in a park, he ran away and never came back. As you are a true Rafi fan you can understand the point I am making easily.
Mumbaikar8
You can always mail me on (jakhar.hans@gmail.com). This offer is open for all friends.
Regarding the smiley, I dont use them and I can understand a joke without them and also cut jokes without as I did recently about AK and he and you both understood. So dont worry about putting smileys when replying to me.
Now about your multi-tasking by mothers, I would say I had a mother and wife and sister and other female acquaintances and I have seen the results of that also in burnt vegetables, kheer, khichdi or pulao or boiling milk overflowing. The worst case of multi-tasking I saw was with respect to a person who worked with me. All the ten fingers of both of his hands had just stubs at the end. He would stick the pen in them and write. When I asked him what happened to these fingers he told me that when he could just crawl he was near the chulha and the shining fire caught his attention and he crawled to the chulha and put both his hands in fire. In that crawling stage he did not have the back gear so he could not remove his hands and his mother was multi-tasking, so his fingers were fully burnt. The stubs he had were the result of later growth.
Though I dont put listening to audio songs in multi-tasking category, yet I would advise you to be careful while multi-tasking too much.
Hans ji ;
We are sometime let down by Actor and even Director in shooting the song . Every time we can’t have perfectionists like Raj Kapoor , Bimal Roy Mehboob and even Shakti Samant and others ….where one gets early assurance for visual treats. Secondly …..to each his own….is best policy . For one ….chal ri sajni ab kya sochhe….and for others….O jjane wale ho sake to laut ke aana . One good to listen but a little over done in its picturisation and other a masterly directed visual treat close to your mind and heart .
Hans ‘ji @ 37;
I may not agree to all the points . Actually those were the Radio days when our respected mother and her colleagues used to maximise their household routines listening to songs…..sort of a helping hand ……even discussing among themselves the lyrics of the songs and story of the movies in the evening when they all meet together .
Hans ji,
Multi tasking is almost every woman’s inherent quality. Yes, vegetables burning, boiling milk overflowing (at times, burning completely and scorching the vessel itself to a stubborn black!) do happen in every household. But, one should give it to them without any argument… more so, the working mothers, single mothers etc. I am a little curious to know the effects of unending serials,non stop mobile conversations and WhatsApping on the multi tasking capacity of home makers!
Hans,
Multitasking for mothers, is not a choice but compulsion, yes we can do away with it later in our lives, but it becomes OCD for some of us.
I totally agree with on all the hazards you have mentioned of multitasking, but I would not attribute the accident of your coworker to multitasking, there may have been some other factors or negligence.
Listening to music may not be multitasking but one can work while listening music but not while watching.
Bhatiaji and Dr. Shetty seem to be on the page too.
Dr.Shetty,
Nonstop mobile conversation with Bluetooth is like listening music but tv serial and WhatApp binge I doubt can be capacity of multitasking it can probably be the advantage of domestic help.
Multitasking ! Aha-aaaa!
I think multitasking is a God-given boon to all of us. It is not just woman’s quality. It is ignorance to think so.
In my students days I was working on the Student News paper and I saw a senior male student working skillfully on many tasks at the press which was not electric at that time. And he was a full blooded male!
I too am a born multi-tasker, I think and still burn my milk pot even I am looking at the milk being rising and overflowing.
With all the dangers and impediments I shall not give up multi-tasking because it is in my making. Why fight to get rid of it when it is a very good gift?
I am very careful about plugging and un-plugging electric things, letting TV not to go on while falling asleep and many other activities which may risk not just my life but those around me and my neighbors as well.
I remember one art work as now we are in the West and females are getting equal positions in all fields of life, saw the goddess Sarswati with many arms and in her hands symbols of many activities, like the kitchen equipment, Book, Musical instruments, a gun, a political flag and so on.
Some day I shall buy the print-out of that artwork when it will be in the exhibition again and put at the bottom of my landing immediately after the front door so a visitor will know he or she is in a multi-tasker’s country.
Incidentally this artwork is not by an Indian woman but by a French woman.
Sahalan Lal
Without slightest ever attempt to shift the focus of the main article or the ensuing comments, it needs to be noted that Mukesh was indeed (what was then termed as ) one-song master. He has many films where he had only one song, but that song scored very heavily, whether the films itself or other songs scored as much or not.
But he has done wonderful songs where he was the lead singers, particularly with SJ or KA or LP or even Roshan.
Another aspect that needs to be considered alongside that he was essentially a niche singer, unlike very versatile Rafi or Manna Dey.
And then Manna Dey also has suffered so much in his career, for reasons other than his talent.
There remains the charm of Hindi Film destiny!
KSBhatia @13
“The other things that matters is the screen presence of actors singing the song . While the Mukesh song …..Dekhti raho aaj darpan na tum……is beautiful to the core of its composition content and meaning , the onscreen actor just diluted it as if he is reciting a poem and not singing as a passionate lover .”
I fully support the above comment by KSBhatia.
The actors presence is very important right from the Saigal’ s songs.
Out of ten songs of the film Andaz 1949 Dilip Kumar made all the Mukesh songs as if they were coming from his heart, mouth and acting.
And bringing that truth to the intellectuals of the filmy world was done by Raju Bharatan who became a filmy celebrity himself and his books are taken as authority which is a far stretched truth by his fans.
Without Dilip Kumar those songs would hardly mean anything on their own. Even after many years if any of those songs are played we see in our mind Dilip Kumar.
I wonder why Naushad did not continue to invite Mukesh after a very great performance in the film “Mela ” by him.
The combination of Mukesh and Dilip was a better idea than Dilip giving preference to Rafi who was very versatile and did not need any actor to make him a great singer e.g. the song “Ek Dil Ke Tukade Hazar Hue”. Any woodblock actor would have become famous as in the case of Rehman though he was good but did not last long as a hero.
Same could have been said about “Uthaye Ja Unk Sitam” of Lata without Nargis acting in the situation the song would not have been a hit song for Lata.
Most of the songs sung by RK of Mukesh are in the same positions. Simple tunes plain words became great in the acting face of RK.
Dev Aanand made many of the songs of Rafi and Kishore Kumar very alive by his presence on the screen. But he did not do much with the Mukesh song which became famous on its own in the film “Shair” 1949
ये दुनिया है यहाँ दिल का लगाना किस को आता
Dv Anand was very stilted in his acting.
The Devdas songs of Saigal are very important for Saigal to sing. On his own if those songs without his film acting would not have been that great.
Shalan Lal
Ms. Shalan Lal @44 ;
Thanks for your support and encouragements. It is always helpful to hear about genuine comments and observations from you.
Well , Andaz was all Dilip Kumar and Mukesh ….and….Nargis and Lata , each one supporting each other in their best of abilities . The story very well executed spanning between….Darna mohabbat karle….to…Tod diya dil mera …. these two songs really summed up total story line ! In between we have polished direction , excellent performance , great cinematography by Mistry brothers and beautiful modern sets of those times …..of the likes of those found in RK movies. Not to forget the songs from the magic wagons of Naushad who dominately used Piano ….a symbol and an essential part of club life of extended british raj period . The story was ahead of its time ; as such was not found fav.of some section of the audience .
I too feel Mukesh should have continued to sing for Naushad after the success of Mela and Andaz . Trying many years latter in Saathi was not fruitful….probably due to dominance of SJ, SDB and others during that time.
A very interesting and informative comment # 44 . The article in general has highlighted the role and contribution of Mukesh with ref to his utilization by various composers. However I felt that his contribution
was enhanced in the compositions of SJ,Roshan , Chitragupta and Salil Choudhary where as some others although they used him could not do so well. Take for example OP Nayyar who did wonderfully with him in just three songs !
Mumbaikar8
On multitasking I thought you had mentioned that in jest and I also replied in the same vein. I remembered an old incident which I mentioned because I thought it was a weird incident and may be it would interest others too. But Bhatiaji and Dr. Shetty and perhaps you have also taken it seriously which was not my purpose. I agree with you that it was a case of absolute negligence.
Dr. Shetty
I had said the things in jest. But, I would relate here an incident which would prove that such cooking mishaps are not only reserved for women. In 1974 or 75 one of my cousins – when bachelor – lived in a single room accommodation which he used for all purposes. He put two eggs in a pan for boiling on a kerosene stove. Then he went to the terrace so that he could rub soap to his clothes and come back. Unfortunately, one of his neighbours came at the same instant and took him along for some errand. When my cousin returned after more than an hour he faced the same spectacle or burned vessel which you mentioned with two coal like eggs. The stove had spent all its kerosene and he had to go to some shop for breakfast. When I went to see him after about a fortnight he had kept that pan as a souvenir and related the story laughing at his own folly.