After reviewing the best songs of 1955 and 1953, which were gap years in the Filmfare Awards (Baiju Bawra, 1952 was the first film to get the Filmfare Awards for the best music, but in the later years no films of 1953 and 1955 won these awards), I come to the pre-Filmfare era with 1951. This briefly explains my odd selection of years. Henceforth, it is going to be yearwise review in reverse order until 1945, which is the task given to me by the readers.
Musical landmarks
While there was some ambivalence with regard to the quality of the music of 1953, there should be no such doubt about 1951 with musical landmarks like Awaara (Shankar Jaikishan), Albela (C Ramchandra), Deedar (Naushad), Malhar (Roshan), Bahaar, Baazi, Naujawan and Saza (SD Burman) and Aaram and Tarana (Anil Biswas).
SJ had stormed the music scene with their debut with RK banner two years ago with Barsaat. They were young, in sync with Raj Kapoor’s musical sensibility; they had Mukesh and Lata Mangeshkar in their 20s, and a new team of lyricists Shailendra and Hasrat Jaipuri. If Raj Kapoor was the master of weaving dreamy romance with social message, SJ clothed that with their lilting music. Awara hun became an international rage and made Raj Kapoor the cultural ambassador of India to Soviet Union and several other countries.
C Ramchandra was a maverick in music. He could traverse from Western tunes to pure Indian classical; from Shamshad Begum to Lata Mangeshkar. His music was as unpretentious as the movie Albela, but he had awesome talent to compose great music effortlessly.
Naushad settles on Rafi for Dilip Kumar with Deedar. It has remained a puzzle for me why he jettisoned Mukesh and Talat Mahmood after having spectacular success with them in Anokhi Ada and Andaaz (Mukesh) and Babul (Talat Mahmood). Naushad-Rafi combination has earned great fame for Baiju Bawra, which came a year later. But it is in Deedar where you first see the fluid vocals of Rafi tune so perfectly with Naushad. Naushad continues another jettisoning, albeit with some face-saver songs to his erstwhile favorite singer, Shamshad Begum, in favour of the new girl Lata Mangeshkar.
Lata Mangeshkar bandwagon grows with Roshan, who gave superlative music a year earlier in Baawre Nain without her, but switches completely to her in Malhar for the female voice. Roshan continues his magic with Mukesh with some of his career best songs in this perfectly B-grade film, starring Shammi, Arjun, Moti Sagar etc.
One thing which distinguishes SD Burman from his peers is that he was never fixated on any Singing Emperor or Empress. He was himself the Emperor and chose a mix of singers all through his career. So, while there is no Lata Mangeshkar in Bahaar and Baazi, he gave the iconic Ye thandi hawayen lahra ke aayen and Tum na jane kis jahan mein kho gaye for her in Naujawan and Sazaa. The multifarious talent that he was, he could also create the iconic Shamshad Begum song Sainya dil mein ana re (Bahaar) and a good number of everlasting songs for Geeta Dutt in Baazi.
Anil Biswas in the 50s makes almost a complete break with his singers of the 40s – Surendra, Parul Ghosh and Amirbai Karnataki – and goes full force with his protégés Mukesh and Talat Mahmood, and, like everyone else, with The Female Playback Singer Lata Mangeshkar, to create some immortal music in Aaram and Tarana.
Other important musical compositions
The above list is enough to transport you to a blissful world. But there is much more to 1951. Outside RK Banner too SJ created great music for Baadal, Kali Ghata and Nagina. SJ would be credited with composing some of the greatest film songs for CH Atma – Roun main sagar ke kinare and Dil beqaraar hai mera dil beqaraar hai (Nagina). C Ramchandra-Lata combination in the early 50s had a stamp entirely his own. You see it in Khazana (Ai chaand pyar mera) and Sagaai (Koi kisi ka deewana na bane). Naushad gave another superhit score in Jadoo, continuing his mix of Shamshad Begum and Lata Mangeshkar. Talking of Lata Mangeshkar bandwagon, Madan Mohan had started a year earlier without her with Ankhen, but you see his special tuning with Lata in Saanwri surat man bhai re piya and Preetam meri duniya mein do din to rahe hote (Ada). He also comes up with some great Talat Mahmood songs in the year. I reckon Meri yaad mein tum na aansoo bahana (Madhosh) as one of his greatest. It was a bumper year for SD Burman too. Jhan jhan jhan jhan jhan payal baje (Buzdil) is a career landmark of Lata. So is Roshan’s Bahe ankhiyon se dhar for her in Hum Log. And so is Sajjad Hssain’s Aaj mere naseeb mein (Hulchul)
I have to repeat that even this is not all. Among the Lata songs that mesmerize me is Khushiyon ke din manaye ja.. abhi to main jawan hun (Afsana; Husnlal Bhagatram). And who can forget Sulochana Kadam’s Chori chori aag si dil mein laga kar chal diye (Dholak, Shyam Sundar), or Mukesh-Lata Mangeshkar duet Kahe nainon mein kajra bharo (Bari Bahoo, Anil Biswas) and Rafi-Amirbai Karnataki duet Aansoo thi meri zindagi (Bikhare Moti, Ghulam Mohammad). One can go on and on like this. Contrast this with how many songs you remember of the year just gone by i.e. 2013, their singers and music directors? Even youngsters clued to the current music would be hard pressed to name a few compared to the dozens we can recall of 1951.
Debut, Fact-file and Trivia
Jamal Sen had a remarkable debut as the music director of Shokhiyan. We have seen him earlier in my series on Forgotten Composers Unforgotten Melodies. He could not achieve his full potential in the heavily crowded field of great composers. But the debut of Vyjayanthimala in AVM’s Bahar (which was a remake of the Tamil film Vazhkai) was the beginning of her glorious career as the leading lady for about two decades. Kalpan Kartik in Baazi and Beena Rai in Kali Ghata also debuted this year. Having been forced to sever all connections with Suraiya, a dejected Dev Anand found solace in Kalpana Kartik and married her. Bina Rai, who was renowned as one of the most beautiful woman of her time, also had some landmark films in later years such as Anarkali. Incidentally, the year also brought the curtain down finally on Dev Anand-Suraiya romance, with Do Sitare being their last movie together.
If the year marked the end of Dev Anand’s romance with Suraiya, it heralded the beginning of his friend Guru Dutt’s love affair with Geeta Dutt at the song recording of Baazi, which was incidentally his first directorial venture. Guru Dutt would go on to be known as one of the greatest film makers, but his personal life, as of his love and wife Geeta Dutt, would end up in shambles.
Chic Chocolate, who had been C Ramchandra’s assistant, got his first assignment as an independent composer on the latter’s recommendation in Nadaan. Goa gave to Bombay film music a large number of talented musicians who played a variety of instruments or worked as assistant or arranger. Chic Chocolate was among the more prominent ones, who was the man behind many of C Ramchandra’s Westernised songs.
Sahir Ludhiyanvi, a renowned Urdu poet, entered the film world as a lyricist in the year and started his great association with SD Burman in Naujawan and Baazi. (Note: Venkataramanji corrects that Sahir Ludhiyanvi’s association with SDB started this year, but he debuted as a lyricist in 1948 in the film Azaadi Ki Raah Par. See comment #17.) So did Indivar with Malhar (though I recall reading somewhere that he had debuted earlier, but he used the name ‘Indivar’ for the first time in this film). A very interesting debut of a lyricist is of Kaifi Azmi, who wrote his first song Rote rote guzar gayi raat re (Buzdil) jointly with Shailendra. On Kaifi Azmi’s debut in films, an interesting anecdote has been mentioned by Moti Lalwani earlier on this blog. The requirement of writing lyrics to a pre-set tune bewildered him no end: it was as if, he said, the grave has been already dug, you lie down in it, the only thing remains is to put a coffin on it.
This year saw the first duet of Lata Mangeshkar-Asha Bhosle, Ye ruki ruki hawayen ye bujhe bujhe sitare (Daaman, K Datta). K Datta would also be associated with the debut of Jagjit Kaur, in a duet with GM Durrani, in the film Gumashta (Dil naache aur gaye jawani).
In Pyar Ki Baatein Khayyam gave music in the name of Sharmaji, alonwith Bulo C Rani (though the songs are separately identified). As per HFGK, Bulo C Rani sang some songs in Hindi films under the name Bhola though he composed only under the name Bulo C Rani, but in some songs the name of music director has been mentioned as Bhola. Khayyam’s first song for Asha Bhosle was also in this film – Humein chhod ke na jana, hua dil ka nishana.
Mere dil ke tadapne ka tamasha dekhanewale by Lata Mangeshkar from Ek Thi Ladki (1949) was reused in 1951 Sabzbagh made by the same team.
Amjad Khan had his first acting role as a child artiste in Naazneen.
Multiple version songs make an appearance in this year too. While Qusoor aapka huzoor aapka is a Twin version song (Kishore Kumar/Shamshad Begum solo versions in Bahaar), Aa teri tasweer bana lun (Naadaan) has a fast and slow version by the same singer, Talat Mahmood and Dheere se aa ja ri (Albela) has a Lata solo and a Chitalkar-Lata duet version. A unique song is Jagmagati diwali ki raat aa gayi (Stage), which has happy and sad versions by Asha Bhosle, and a third sad version by Lata Mangeshkar
The Central Board of Film Censors was established in 1951.
The year also saw the tragic death (on 25 April 1951) of the dashing hero of those days, Shyam, of injuries suffered due to falling off a horse while shooting for Shabistan.
LIST OF MEMORABLE SONGS
Let me present a long list which I think captures all the songs of the year which can be considered worthwhile and memorable. But as we have seen in the earlier years, Songs of Yore forum has some amazingly knowledgeable people, and I would not be surprised if they add many more beyond this list and which need to be brought out of hidden vaults.
Aaraam: Lyrics – Rajendra Krishan, Prem Dhawan; Music Anil Biswas
1. Ae jaan-e-jigar dil mein samane aa ja – Mukesh
2. Shukriya ae pyaar tera shukriya – Talat Mahmood
3. Balamwa nadaan.. balmaa ja ja ja – Lata Mangeshkar
Aawara: Lyrics – Shailendra/Hasrat Jaipuri; Music – Shankar Jaikishan
4. Aawara hun – Mukesh
5. Ek do teen aja mausam hai rangeen – Shamshad Begum
6. Jab se balam ghar aye – Lata Mangeshkar
7. Dam bhar jo udhar munh phere O chanda – Mukesh and Lata Mangeshkar
8. Ghar aya mera pardesi – Lata Mangeshkar
9. Aa jao tadapate hain armaan – Lata Mangeshkar
10. Ek bewafa se pyar kiya – Lata Mangeshkar
11. Hum tujhse mohabbat karke sanam – Mukesh
Ada: Lyrics –Prem Dhawan, Saraswati Kumar ‘Deepak’, Behzaad Lakhnavi, Raja Mehdi Ali Khan; Music – Madan Mohan
12. Main na jaanu – Lata Mangehskar
13. Sanwri surat man bhai re piya – Lata Mangeshakr
14. Jise dil mein basana chaha tha – Talat Mahmood
15. Preetam meri duniya mein do din to rahe hote – Lata Mngeshkar
Afsana: Lyrics – Asad Bhopali, Saraswati Kumar ‘Deepak’, Gafil Harnalvi, Chandar Oberoi; Music – Husnlal Bhagatram
16. Kismat bigdi duniya badli – Mukesh
17. Wo aye baharein laye baji shahnaai rut piya milan ki ayi – Lata Mangeshkar
18. Mohabbat ka dono ke dil pe asar hai – Shamshad Begum
19. Khushiyon ke din manaye ja..abhi to main jawan hun – Lata Mangeshkar
20. Chowpaati par kal jo tumse ankh matakka ho gaya – Rafi and Shamshad Begum
21. Wo paas bhi rahkar paas nahi hum door bhi rahkar door rahe – Lata Mangeshkar
Albela: Lyrics – Rajendra Krishna; Music – C Ramchandra
22. Dheere se aa ja ri ankhiyan mein – Lata Mangeshkar/ Chitalkar and Lata Mangehskar
23. Deewana parwana shama pe le aya dil ka nazrana – Chitalkar and Lata Mangeshkar
24. Haseenon se mohabbat ka bura anjaam hota hai – Chitalkar
25. Dil dhadke nazar sharmaye – Lata Mangehskar
26. Sham dhale khidki tale – Lata Mangeshkar and Chitalkar
27. Balma bada nadaan re – Lata Mangeshkar
28. Bholi surat dil ke khote – Lata Mangehskar and Chitalkar
29. Shola jo bhadke dil mera dhadke – Lata Mangeshkar and Chitalkar
Baadal: Lyrics – Shailendra, Hasrat Jaipuri; Music – Shankar Jaikishan
30. Aaj maane, aaj maane na mora jiya – Lata Mangeshkar
31. Main raahi bhatakanewla hun – Mukesh
32. Unse pyar ho gaya – Lata Mangeshkar
33. Ae dil na mujhse chhupa – Lata Mangeshkar and Mukesh
34. Do din ke liye mehman yahan – Lata Mangeshkar
35. Duniya badal rahi hai aansoo bahanewale – Lata Mangeshkar
Baazi: Lyrics – Sahir Ludhiyanvi; Music – SD Burman
36. Sharmaye kahe ghabaraye kahe – Shamshad Begum
37. Ye kaun aya ki mere dil ki duniya mein bahaar aayi – Geeta Dutt
38. Tadbeer se bigdi hi taqdeer bana le – Geeta Dutt
39. Aaj ki raat piya dil na todo – Geeta Dutt
40. Mere labon pe dekho aaj bhi tarane hain – Kishora Kumar
41. Dekh ke keli mohe barsa sataye – Geeta Dutt
42. Lakh zamanewale daaleyn dilon pe taaley – Geeta Dutt
43. Suno gajar kya gaaye – Geeta Dutt
Bahaar: Lyrics – Rajendra Krishna; Music – SD Burman
44. Duniya ka mazaa le lo duniya purani hai – Shamshad Begum
45. Chhodoji chhodoji chhodoji Kanhaiya kalaiyan hamaar – Shamshad Begum
46. Qusoor aapka, huzoor aapka – Kishore Kumar/ Shamshad Begum
47. Bhagwan do ghadi zaraa insaan ban ke dekh – Geeta Dutt
48. Saiyan dil mein ana re – Shamshad Begum
49. O pardesiya, pyar ki bahaar le ke – Shamshad Begum
Badi Bahoo: Lyrics – Narendra Sharma, Prem Dhawan, Rajendra Krishna, Bharat Vyas, Safdar ‘Aah’, PN Rangeen, Meerabai; Music – Anil Biswas
50. Kaahe nainon mein kajraa bharo – Mukesh and Lata Mangehskar
51. Badli teri nazar to nazaare badal gaye – Lata Mangeshakr
52. Ramaiya bin neend na aawe – Rajkumari
Bedardi: Music – Roshan
53. Dil ne to diya dhokha – Mukesh (lyrics – Kedar Sharma)
Bikhare Moti: Music – Ghulam Mohammad
54. Aansoo thi meri zindagi – Amirbai Karnataki and Rafi (Lyrics – Akhtar-Ul-Iman)
Buzdil: Lyrics – Shailendra, Kaifi Azmi; Music – SD Burman
55. Jhan jhan jhan jhan payal baje – Lata Mangehsar
56. Dar laage duniya se balma ho – Lata Mangehskar and Talat Mahmood
57. Rote rote guzar gayi raat re – Lata Mangehskar
Daaman: Music – K Datta
58. Yaad aane lagi dil dukhane lagi – Lata Mangeshkar, Rafi (Lyrics – Ehsaan Rizvi)
59. Ye ruki ruki hawaayen ye bujhe bujhe sitaarey – Lata Mangeshar and Asha Bhosle (Lyrics – Rajendra Krishna)
Dashavtaar: Music – Avinash Vyas
60. Khel re khilone teri kaya aani jaani re – Rafi and Sulochana Kadam (Lyrics – Saraswati Kumar ‘Deepak’)
Deedaar: Lyrics- Shakeel Badayuni; Music – Naushad
61. Bachpan ke din bhula na dena – Lata Mangeshkar and Shamshad Begum
62. Hue hum jinke liye barbaad – Rafi
63. Nazar phero na humse – GM Durrani and Shamshad Begum
64. Naseeb dar pe tere aazmane aya hun – Rafi
65. Chaman mein rah ke veeraana mera dil hota jata hai – Shamshad Begum
66. Le ja meri duayein le ja pardes janewale – Lata Mangehskar
67. Dekh liya maine kismet ka tamasha dekh liya – Rafi and Lata Mangeshkar
68. Meri kahani bhulnewale tera jahan abaad rahe – Rafi
Dholak: Lyrics – Aziz Kashmiri, Shyamlal Shams; Music – Shyam Sundar
69. Ki ek pal ruk jana sarkar – Lata Mangeshkar and Rafi
70. Chori chori aag si dil mein laga ke chal diye – Sulochana Kadam
71. Mausam aya hai rangeen – Sulochana Kadam and Satish Batra
Ek Nazar: Lyrics – Rajendra Krishna; Music – SD Burman
72. Dard laagey pyara pyara pahla pahla pyar ka – Lata Mangeshkar
73. Bus chupke hi chupke se pyar ho gaya – Geeta Dutt
Ghayal: Music – Gyan Dutt
74. Hazaron khwahishein aisi ki har khwahish pe dum nikle – GM Durrani (Lyrics – Ghalib)
Hulchul: Lyrics – Khumar Barabanqvi; Music – Md Shafi, Sajjad Hussain
75. Ek jhoothi si tasalli wo mujhe de ke chale – Lata Mangeshkar
76. Aaj mere naseeb ne mujhko rula rula diya – Lata Mangeshkar
77. Haye sadke tere O baanke mere – Lata Mangeshkar
Hum Log: Lyrics – Vishwamitra Aadil-Udhav Kumar; Music – Roshan
78. Chhun chhun baaje payal mori – Lata Mangeshkar
79. Apni nazar se unki nazar tak – Mukesh
80. Bahey ankhiyon se dhaar jiya mera beqaraar – Lata Mangeshkar
81. Gaaye chala ja gaye chala ja ek din tera bhi zamana aayega – Lata Mangeshkar and GM Durrani
Jadoo: Lyrics – Shakeel Badayuni; Music – Naushad
82. Ae ji thandi sadak hai thandi sadak – Shamshad Begum
83. Gin gin taarey main haar gayi raat ko – Lata Mangeshkar
84. Jab nain miley nainon se aur dil pe rahey na qaaboo – Shamshad Begum
85. Roop ki dushman paapi duniya maarey mohe – Shamshad Begum
86. Lo pyar ki ho gayi jeet – Lata Mangeshkar
87. Nadaan mohabbatwalon ke armaan badalte rahte hain – Lata Mangeshkar
Kaali Ghata: Lyrics – Shailendra, Hasrat Jaipuri; Music- Shankar Jaikishan
88. Dil mein tu dil mein tu sapnon ki mahfil mein tu – Lata Mangeshkar
89. Humse na poochho koi pyar kya hai pyar kya – Lata Mangeshkar
90. Kali ghata ghir ayi re – Rafi and Lata Mangeshkar
Khazana: Lyrics – Rajendra Krishna; Music – C Ramchandra
91. Ae chand pyar mera mujhse ye kah raha hai – Lata Mangeshkar
Malti Madhav: Lyrics – Pt Narendra Sharma; Music – Sudhir Phadke
92. Baandh preeti phool dor – Lata Mangeshkar
Madhosh: Lyrics – Raja Menhdi Ali Khan; Music- Madan Mohan
93. Pagadi pahan ke turredaar akadta kyun hai – Shamshad Begum, GM Durrani & othrs
94. Mere dil ki nagariya mein ana – Lata Mangeshkar
95. Meri yaad mein tum na aansoo bahana – Talat Mahmood
Malhaar: Lyrics – Indivar, Kaif Irfani, Shyam Lal; Music – Roshan
96. Bade armaanon se rakha hai balam teri qasam – Mukesh and Lata Mangeshkar
97. Ik baar agar tu kah de – Mukesh and Lata Mangeshkar
98. Kahan ho tum zara awaaz do hum yaad kartey hain – Mukesh and Lata Mangeshkar
99. Hota raha yun hi agar anjaam wafa ka – Mukesh
100. Tara Toote duniya dekhe – Mukesh
101. Dil tujhe diya tha rakhane ko – Mukesh
102. Mohabbat ki qismat banaane se pahle – Lata Mangeshkar
103. Garjat barsat bheejat – Lata Mangeshkar
Mukhadaa: Lyrics – Aziz Kashmiri; Music – Vinod, Shyam Sundar
104. Ankhiyan mila ke ankhiyon ki neend chura ke na ja – Sulochana Kadam
Naadan: Lyrics – PL Santoshi; Music – Chic Chocolate
105. Aa teri tasweer bana lun – Talat Mahmood (fast/slow)
Nageena: Lyrics – Shailendra, Hasrat Jaipuri; Music – Shankar Jaikishan
106. Tune haye mere zakhm-e-jigar ko chhoo liya – Lata Mangeshkar
107. Kaisi khushi ki hai raat, balam mere sath jiya lahraye re – Lata Mangeshakr
108. Roun main sagar ke kinare sagar hansi udaaye – CH Atma
109. Dil beqaraar hai mera dil beqaraar hai – CH Atma
Nand Kishore: Lyrics – Narendra Sharma; Music – Snehal Bhatkar
110. Baajey badhaai aaj Nandji ke dwaar – Lata Mangeshkar
Naujawan: Lyrics – Sahir Ludhyanvi; Music – SD Burman
111. Thandi hawayen – Lata Mangeshkar
Pyar Ki Baatein: Music – Bulo C Rani, Khayyam
112. Mast chandni jhoom rahi hai – Mukesh and Geeta Dutt (Lyrics – ML Khanna; Music – Bulo C Rani)
Raajput: Music – Hansaj Bahal, Husnlal Bhagatram
113. Rastey pe hum khadey hain dil-e-beqaraar lekar – Suraiya (Lyrics – Kaif Irfani)
Sabj Baagh: Lyrics – Aziz Kashmiri; Music – Vinod, Gulshan Sufi
114. Apni tasweer se kah do humein dekha na kare – Rafi and Asha Bhosle
115. Dilliwaaley burey nahi dil lete hain dil dete hain – Shamshad Begum
116. Mere dil ke tadapney ka tamasha dekhnewaaley – Lata Mangeshkar
117. Yaad teri aayi to main chori chori royi re – Asha Bhosle
Sagaai: Lyrics – Rajendra Krishna; Music – C Ramchandra
118. Ek din Lahore ki thandi sadak par – Rafi, Chitalkar and Shamshad Begum,
119. Haseenon ki gadi mein ashiq ka ghoda – Chitalkar and Rafi
120. Martey ko maare duniya… jhukti hai duniya jhukanewala chaahiye – Rafi, Chitalkar and Lata Mangeshkar
121. Dil ki kahani kahna to chaahey haye ri qismat kah na sakey – Lata Mangeshkar
122. Mohabbat mein aise zamaaney bhi aaye – Talat Mahmood and Lata Mangeshkar
Sainyaan: Music – Sajjad Hussain
123. Khayalon mein tum ho – Lata Mangeshkar (Lyrics – Hasrat Jaipuri)
Sanam: Lyrics – Qamar Jalalabadi; Music – Husnlal Bhagatram
124. Dil le gaya ji koi dil le gaya – Suraiya
125. Main tujhe pukaarun sanam sanam – Rafi and Suraiya
Sazaa: Lyrics – Rajendra Krishna, Sahir Ludhiyanvi; Music – SD Burman
126. Ho gayi re teri ho gayi re – Lata Mangeshkar
127. O Roopnagar ke saudagar – Lata Mangeshkar and Pramodini Desai
128. Dhak dhak jiya kare dhak – Lata Mangeshkar
129. Aa gupchup gupchup pyar karein – Hemant Kumar and Sandhya Mukherjee
130. Tum na jaaney kis jahan mein kho gaye – Lata Mangeshkar
131. Aa ja aa ja tera intezaar hai – Talat Mahmood and Lata Mangeshkar
132. Ye baat koi samjhaye re kyun aaj nazar sharmaaye re – Sandhya Mukherjee
Shokhiyan: Lyrics – Kedar Sharma, Himmat Rai Sharma; Music – Jamal Sen
133. Aayi barkhaa bahaar padey bundan phuhaar – Lata Mangeshkar and Pramodini Desai
134. Sapna ban saajan aye – Lata Mangeshkar
135. Door desh se aa ja re – Suraiya and Lata mangeshkar
136. Raaton ki need cheen li aankhon ke intezaar ne – Suraiya
Stage: Lyrics – Sarshar Sailani; Music – Husnlal Bhagatram, Sardar Malik
137. Jagmagati diwali ki raat aa gayi – Asha Bhosle (happy/sad versions)/ Lata Mangeshkar (sad)
Tarana: Lyrics – DN Madhok, Kaif Irfai, Prem Dhawan; Music – Anil Biswas
138. Nain hue nain miley baawrey – Talat Mahmood and Lata Mangeshkar
139. Bol papeehey bol hai kaun tera chitchor – Lata Mangeshkar and Sandhya Mukherjee
140. Mose rooth gayo mora saanwariya – Lata Mangeshkar
141. Beimaan torey nainwa nindiya na aaye – Lata Mangeshkar
142. Seeney mein sulagatey hain armaan – Talat Mahmood and Lata Mangeshkar
143. Jali jo shaakh-e-chaman.. Ek main hun ek meri bekasi ki – Talat Mahmood
144. Wo din kahan gaye bataa jab is nazar mein pyar tha – Lata Mangeshkar
Special songs:
Now I present some special songs of the year which may not figure in any conventional category for awards, but deserve mention either for some quirkiness, or some special feature about them, or simply because they are too good but hidden and need to be brought out. Most of the songs in the list I heard for the first time while researching for this post.
1. Magar ae haseena-e-bekhabar by Rafi and Sulochana Kadam from Dholak (1951), lyrics Aziz Kashmiri, music Shyam Sundar
This is a fabulous duet by Rafi and Sulochana Kadam. Its beauty is enhanced by Rafi’s voice being exact copy of his once idol, GM Durrani. I have mentioned somewhere that Ajit got to ‘sing’ some of the best songs in films.
2. Hazaron khwahishein aisi ki har khwahish pe dam nikale by GM Durrani from Ghayal, lyrics Ghalib, music Gyan Dutt
Now let us have the originl GM Durrani, singing a famous Ghalib ghazal, which has been sung by many singers. His version has a sweetnes which was Durrani’s trademark. A top singer in the 1940s, this song shows that while he might have lost his position, he had not lost his talent.
3. Bogi bogi bogi by GM Durrani and Shamshad Begum from Humlog, lyrics Vishwamitra Aadil, music Roshan
Since he may not figure in the conventional top awards, let us have more of GM Durrani. Roshan and Rock n’ Roll is a very unusual combination in a film in which he gave Lata Mangehskar’s Bahe ankhiyon se dhaar.
4. Damdi damdi paisa paisa jod jod kar by Kishore Kumar, Talat Mahmood and GM Durrani from Hamaari Shaan, lyrics Anjum Jaipuri, music Chitragupta
Continuing the GM Durrani trip, here is an atypical triad song with Kishore Kumar and Talat Mahmood. They represent three entirely different styles. While Kishore Kumar was naturally funny, GM Durrani would have to make efforts, and Talat could never be. How many songs we can think of which are sung by three male singers? So let us have this unusual triad fun song. (Picturised on Aga, David and Maruti?)
5. Aa teri tasweer bana lun by Talat Mahmood from Nadaan, lyrics PL Santoshi, music Chic Choclate
Talat Mahmood is a misfit in a comic song. So we come to a style which is his forte.This song has a fast and a slow version. In the slow version Talat is in his elements. This was his peak period, when he belted out a large number of such ghazals in his velvet voice. Chic Choclate was C Ramchandra’s assistant. Picturised on Dev Anand, but video is not of good quality. So I am presenting its audio.
6. Saqi saqi aa mere… dekho pyala mer chhalke by Shamshad Begum from Shabistan, lyrics Qamar Jalalabadi, music Madan Mohan
When Shamshad Begum starts with a slow preamble and comes out of a huge cup you don’t know what to expect, but she switches to a full-throated, yet extremely melodious Dekho pyala mera chhalke. Cuckoo’s dance is irresistible, making Shyam almost jump out of his box seat. Madan Mohan was later found copying OP Nayyar in some songs, but does this song have the seeds of Kaun pardesi mera dil le gaya?
7. Jagmag diwali ki raat aa gayi by Asha Bhosle from Stage, lyrics Sarshaar Sailani, music Husnlal Bhagatram
Early Asha Bhosle, before she found her feet, makes an interesting study. If you are not told, you would think it was Geeta Dutt.
8. Ae dil na mujhse chhupa sach bata kya hua by Mukesh and Lata Mangeshkar from Baadal, lyrics Shailendra, music SJ
Madhubala starts with a very slow call. As soon as she hears Premnath’s response, she knows he is nearby. They come together and the song turns into a joyous duet with beautiful dance by the couple.
9. Baaje badhaai aaj Nandji ke dwar by Lata Mangeshkar from Nandkishore, lyrics Narendra Sharma, music Snehal Bhatkar
Snehal Bhatkar, Sudhir Phadke and Avinash Vyas from Maharshtra/Gujarat brought elegance to film music. This is a beautiful chorus song heralding the birth of Krishna.
10. Hua Raam ka janm badhaai by Asha Bhosle and others from Ram Janma, lyrics Saraswati Kumar Deepak, music Avinash Vyas
What a delight! This year also had a very melodious Ram janma badhaai song, sung by an unrecognizable Asha Bhosle. It has the stamp of Avinash Vyas.
11. Khel re khilone teri kaaya aani jaani re by Rafi and Sulochana Kadam from Dashavataar, lyrics Saraswati Kumar ‘Deepak’, music Avinash Vyas
Another song from Avinash Vyas. While this song may not be very well known, the readers would instantly recall Tora manwa kyun ghabraye re by Geeta Dutt from Sadhana (1958), composed by N Datta. N Datta might have taken Avinah Vyas’s consent. Mr Ashok Vaishnav in his Gujarati-Hindi film version songs has mentioned that this tune goes back to Rakh na Ramakadaane by Geeta Dutt in Gujarati film Mangal Phera (1949).
12. Hamari gali aao Shyam ankhiyan bichhaye by Zeenat Begum from Mukhadaa, lyrics Aziz Kashmiri, music Vinod
When Lata Mangeshkar had overtaken, you have this courtesan style singing from a bygone era.
13. Koi kis tarah raaz-e-ulfat chuupaye by Rajkumari from Hulchul, lyrics Khumar Barabanqvi, music Sajjad Hussain
From the bygone era Rajkumari is my special favourite as well as of many SoY regulars. This old-world mujra sung by her is picturised on Geeta Nizami, who eancts the emotions by sitting. I believe, this meant in the mujra tradition that the performer had reached a high point in art, where she did not have to do a seductive dance. You also see a young girl learning the trade with beautiful rhythmic clapping.
14. Mohabbat jata ke aankhein lada ke ke chale aa rahe hain hajamat kara ke by Rafi and C Ramchandra from Sagaai, lyrics Rajendra Krishna, music C Ramchandra
C Ramchandra was becoming Lata-centric, but there was a lot of variety in him. He had a special talent for the comic and light-hearted. Here he sings a duet with the versatile Rafi, picturised on Gope and Yaqub.
15. Lagi aag hai dil mein…kismet ke sitare doob gaye by Rafi and Lata Mangeshkar from Hulchul, lyrics Khumar Barabankvi, music Mohammad Shafi
I started the special songs with a Rafi duet. I end with an unheard absolutely marvelous Rafi-Lata duet, picturised on Dilip Kumar and Nargis. Everytime I come across such a gem, I shudder to think that but for the internet these songs were lost forever.
My special songs have stretched to 15 instead of the usual ten. There are still many more which I would have liked to include. But I stop here, and throw it open for comments and your views on:
And the winners are?
Best male playback singer
Best female playback singer (You can suggest Lata Mangeshkar and others in two parts)
Best duets (which may include triads and higher, and all males or all female songs)
Best music director
{ 156 comments… read them below or add one }
AK ji,
Many Thanks. Needless to say, it will take several weeks to absorb and analyse the latest series. However, I personally would have no hesitation in jumping the gun for Best Male Playback Singer for the effect and worldwide fame of Mukesh’s solo in Awara.
1. Chairman Mao’s reputed fondness.
2. Separate wiki-page on the song wherein other facts are mentioned..
3. Popularity all over the world.
4. 2nd top song in BBC’s 100 greatest Bollywood song of all time ( I personally don’t like or agree with the list )
Now let me sit back and enjoy experts comments for the whole series.
Akji,
I was not expecting this post this early. The curtain-raiser post for 1953 appeared on 9th July last year. Three months ahead of my expectation. I forgot that in 2012 you had posted your first article on this subject on 9th April. So last year was rather an exception and I was prepared with lots of statistics and plenty of listening. I will largely depend on your list this year. But your list is quite exhaustive for 1951, 144 songs from 41 films compared to 93 songs from 37 films in 1953 and 84 songs from 26 films in 1955. 55% increase over 1953 and 71% over 1955. That was my initial comment and observation. Will take some time to go through the post and respond.
Mahesh,
Awara hun‘s iconic status is well known. But in retrospect, do we still rate it as the best of the year? I would keep my judgment reserved.
Venkataramanji,
The significant increase in the numbers is for two reasons. First, in the internet era we are becoming aware of many songs for the first time. Second, after the experience of the first two editions, I have tried to tooth-comb more deeply so that nothing of significance is left out, and the list should suffice for the readers. About the timing, there is no intentional pattern.
“Koi kis tarah” song by Raj Kumari from film “Hulchal” has a young girl clapping during the song. Can you identify her ?
Kanti Shah,
Atul Song A Day identifies the young girl as Baby Anwari. No idea who she is, and whether she grew up to do adult roles. As for the mujra singer, Geeta Nizami, a comment on YT gives further information that her real name was Rasheeda Begum, who died in Karachi in 2008.
I just landed on this site today and enjoyed myself thoroughly looking at your great articles and past discussions.
I think 1951 was a wonderful year for music. The two Anil Biswas classics- Aaraam and Taraana – are in themselves sufficient to make this a watershed year. But add to it all the other classics.. its a WOW year indeed.
An immediate reaction on going through your songs- I am rather saddened to see two of my very favorite all-time Lata favorites missing in your song listing – both from Aaram:
1. Man me kisi ki preet basaale
2. Mil mil ke bichhad gaye nain
Anilda has a host of amazing piano-based songs, before and after Aaraam, but “man me kisi ki” is in the highest of highest leagues. The piano is mesmerizing, Lata is sweet as honey and we have a smiling Madhubala rendering it on screen. Can there be anything better?!!
More thoughts to follow on more absorption..
Ak,
It is going to be an uphill task to pick any one song for singers like Lata and Mukesh in 1951 just like it was for Lata and Talat in 1953.
I like your idea of special category and enjoyed each one them, I am sure SOY family will add many more.
Sathya,
Welcome to SoY and thanks for your nice words. Hope you are able to catch up with the old articles.
I agree Man mein kisi ki preet basa le should have been in the list. As you would have noticed form the discussion above, for 1955 and 1953 I had made a list of only 84 and 93 songs respectively. With a big jump to 144 songs from 41 films, I had thought nothing of note has been left out. We are in for a great discussion.
Mumbaikar8,
But what are your favourites category-wise?
AK, you have put us to work. It is not going to be easy to pick winners from such a galaxy of great songs. For the time being I am not even making an attempt – I am only savoring the ‘extra’ 15 songs and I must say each one of them is a gem. Hope to come back later for my nominees. You shouldn’t be in too much of a hurry to finalize the winners.
Subodh,
You are aware there is no hurry in this exercise. You were among those who thought 1953 was a tepid year. I am sure you would have no such complaint with 1951.
AK,
The fun has just begun, what is the hurry?
Not going into any category the best song, for me of the year 1951 is Tum na jane kis jahan me kho gaye.
I have one request to make, I think you should include the lyricist category too, because I truly believe that the lyrics put a song on a different pedestal and also make it memorable.
AK, this is an interesting mix of facts and songs and trivia. What a treasure trove! I have to spend some time listening to each of the songs, and come back later with my picks. As Subodh says, it’s not going to be an easy task.
Mumbaikar8,
Take your time. I have mentioned the name of lyricists of all the songs. But frankly, I find it difficult to relate lyricist to a song. It is unfair, but probably that is how most of us relate to a song – we are mainly concerned with the singer, music director and the film. Since I lack conviction, I would not like to do it, but I would be very happy if you or any other reader would like to do a wrap-up of the best lyricist of the year as a guest article.
AK Ji,
Here is one song which is very very haunting,melodious and not very famous at all,but a real GEM from 1951-
Film- Andolan-1951
Song- Subah ki pahli kiran
Singers- Kishore kumar,Manna Dey,Shanti shudha Ghosh and Chorus
Lyricist- Nayaaz Haider
MD- Pannalal Ghosh
http://youtu.be/jUm1f9NabzM
-AD
Akji,
Thanks for well written introductory piece, interesting facts and trivia and an exhaustive list to ponder over. From your preamble it appears that the best five MDs for 1951 will be settled between S D Burman, Shankar Jaikishan, C Ramchandra, Naushad, Anil Biswas and Roshan.
The 15 special songs were simply fabulous and offered variety. You have said that the special songs you have presented may not figure in any conventional category for awards, I will have to take enough time to listen to the list of songs (144) presented by you. Going by the quality of special songs that you have presented, I presume I am going to have a wonderful weekend.
Sahir Ludhiyanvi’s association with S D Burman indeed started in the year 1951 with the film Naujawan. But his association with Hindi Film started with the film Azadi ki raah par in the year 1948. He penned four songs for the film. Mere charkhe me jeevan, Badal rahi hai zindagi, Bharat janani teri jai ho and Jaag utha hai Hindustan. The songs, which were recorded in 1946, did not leave any impact. None of the songs are available for listening. But here is the lyric for one of the songs
Badal Rahi Hai Zindagi
Ye Ujdi Ujdi Bastiyaan
Ye Loot Ki Nishaniyaan
Ye Ajnani pe, Ye Ajnabi Ke
Zulm Ki Kahaaniyaan
Ab In Dukhon Ke Bhaar Se
Nikal Rahi Hai Zindagi
Badal Rahi Hai Zindagi
Zameen Pe Sarsaraahaten
Falak Pe Thartharahaten
Fizaan Mein Goonjti Hain
Ek Naye Jahaan Ki Aahaten
Machal Rahi Hai Zindagi
Sanwar Rahi Hai Zindagi
Badal Rahi Hai Zindagi
I should thank Sathya for bringing forth the two beautiful compositions of Anil Biswas rendered by Lata Mangeshkar. If I am not mistaken, Anil Biswas and Avinash Vyas scored music for 5 films each in the year 1951, next only to S D Burman who had six. As far as I know there were more than 110 films released in 1951 and more than 1000 songs.
Anticipating an interesting and spirited discussion
Thanks once again
N Venkataramanji,
Thanks for the beautiful song from Badal Rahi Hai Zindagi.
AK,
I cannot understand you being such an admirer of good music cannot relate to the lyricist.
For a song MD, lyricist and singer are like 3 pillars if 1 is unstable the other would suffer.
Do you believe that the songs of Pyaasa would have been as memorable if some other lyricist ( I do not want to name and get into controversy 🙂 ) written the songs.
Aren’t songs like Tum na jane kis jahan me kho gaye and dam bhar jo udhar muh phere O chanda are as effective, because of the beautiful lyrics.
Here is an excerpt from Lata Mangeshkar interview, where she talks about, how she refused to sing for a Filmfare Award Night, because the singer as well as the lyricist were not awarded. Interview is in Marathi
http://www.youtube.com/watch?v=pqBKH0OcW3w&feature=player_detailpage
This is an interview of O P Nayyar, who goes to extent of saying that Lyricist has 50% contribution in a song and the rest 50 for everything combined including orchestration.
https://in.groups.yahoo.com/neo/groups/vividhbharati/conversations/topics/1507
These are some nice collection. SJ, created timeless melodies in 1950’s and 60’s, which is considered to be the golden era of Hindi cinema. We all knew that his compositions broke new ground in Hindi film music. As the saying goes, old is gold, Indian culture-classical music and song would be the greatest treasure we can show to the younger generation.
Arunji,
Thanks a lot for adding this song. Kishore Kumar is in an entirely new light. As the song started I thought Manna Dey was singing it.
Venkataramanji,
Thanks a lot for the detailed information you have provided on Sahir Ludhiyanvi and the complete lyrics of Badal rahi hai zindagi ecen though the song is not available. It seems 1951 had more films and songs compared to the average of five years before and five years after. That may be another reason for my somewhat longer list compared to the two earlier versions.
Since you are statistically minded, I looked at my list of 41 films. I had six of SD Burman, which means every the film for which he gave music this year had at least one song which was memorable. Next come SJ whose four films I have taken, followed by Anil Biswas, C Ramchandra and Roshan with three each. Husnlal Bhagatram are an interesting case. They come in two films by themselves, and two more in combination with another composer. I have taken only one film of Avinash Vyas. Of course, this list reflects my perception, and there could be some deserving omissions, which we would know from discussions.
Mumbaikar8,
I have noted your protest and anger at the treatment of lyricists, and I plead guilty too. But my comment #15 was about myself, and not the lyricists. That is why I offered you or any other reader to do a guest Wrap-Up article on the best lyricists of the year.
Interestingly, in non-film songs I make greater association of lyricists, such as Faiyyaz Hashmi and Madhukar Rajasthani, with the song.
It is interesting to discuss how the usufruct of a film song should be divided. As far as I know, the recording companies passed on 10% of the royalty to the producer of the film, who by convention shared half of it with the music director. In the mid-60s, we had the well-known campaign by the singers to get a part of it, which led to the famous Lata-Rafi spat. The poor lyricist was out of the loop. A few years down, when some singers started going on concert tours, singing their famous songs, some murmur arose from the original music directors at being left out from the proceeds altogether. It seems, in film-music the issue of copyrights has remained fuzzy, and probably no one knows what is fair and equitable. Now there is a new joker in the pack in the form of film stars demanding part of copyrights. Come to think of it, the demand is not outright preposterous. I am sure we associate Khai ke paan Banaraswala and Pag ghunghroo bandh with Amitabh Bachchan too, and probably more strongly than Kishore Kumar and Kalyanji Anandji/Bappi Lahiri. The song-film star association may range from negligible to very strong. How are we going to apportion rights?
Lyricist is one of the main creators of a song. It is good that Javed Akhtar had taken up this issue. But, purely from an academic point of view, I would be very keen to discuss this issue with a music lover who also has a fair grasp of economics and law.
Both you and Venkataramanji have mentioned Sahir Ludhiyanvi. You might be pleased that in the sidebar under lyricists, the only person who finds mention so far is Sahir Ludhiyanvi.
AK’ji Many many thanks for the excellent post . Its a treasure from your vault which SoYs family have all the liberty to loot. Each song has been carefully chosen based upon its lyrics and melody level . As someone already commented it will take time to weigh each one and place it on the merit ladder . Indeed 1951 was the year of songs rich in quality rendering and listening . Just listen to the opening of the song …..’Aye dil na mujh se chuupa ” by lata from Baadal . The sweet rendering takes you to the eleventh cloud . AK’ji was AURAT also released in 1951 ? It also had great music and songs and all by lata’ji!
Bhatiaji,
Ae dil ne mujhse chhupa is a very melodious song. Unse pyar ho gaya is my special favourite. Aurat came in 1953. This film also had great songs. We have discussed it under that year’s best songs.
AK Ji,
I have just now gone through the songs of 1951,but could not find the two Lata songs I mentioned.
But I am able to point out some songs, which could have easily joined the above-mentioned nos.
1. Kyun ae dil e diwana from ‘Bikhre Moti’
2 & 3. Aisa kya qusoor kiya and Achha hota jo dil me from ‘Nadaan’.
4. Nainan me barsaat man me kajal from ‘Nandkishore’.
I am going through a very good time I must say and really enjoying these exchanges .
Sharmaji,
You are right. I mistook it with Mere dil ke tadapne ka tamasha dekhanewale, which had a similar lyrics. Meri barbadiyon pe muskuraane aa gaya koi is an equally nice song.
Having read such a momentous curtain raiser article, I thought I would wait for a couple of days to even acknowledge having read through the article so as to get a fair idea of the winds in which the discussions move, so that I can chart my course easily.
However, the job has become even more complicated – discussions have either been as preliminary acknowledgement as mine here is or have opened a few more fronts for widening the scope of in-depth discussions.
I think that is why AKji chooses this period of the year to throw open the discussions so as to be able to really wrap up the final call by the end of the year.
And to all those who have said that it is going to be monumental task to get involved in the in-depth analysis, I must say it certainly appears to be a classic understatement ! A 110 films and 1000 + songs to comb through!!!!
Ashokji,
I don’t think any reader would need to rummage through 110 films and 1000+ songs to come to a conclusion. My long list of 40% of the films is quite big, and I should think there would be hardly any significant omission. I would regard only one song of Anil Biswas mentioned by Sathya that should have been here.
While March/April does seem to be a good time to start the series – beginning of New Year in many traditions – it need not stretch to the end of the year. Subodh had earlier mentioned the long gaps between the Wrap-Ups. I would try to see if that can be compressed.
Would be looking forward to your detailed comments.
This is my first pass over this beautiful terrain. I have confined myself to songs with a high recall factor in your long list. About half the songs were a little difficult to recall and would need spending some time on Youtube – maybe that will give rise to another comment. Meanwhile here is the result so far:
Best female solo:
1. Sapna ban sajan aaye – Lata – Shokhiyan
2. Thandi hawayein – Lata – Naujawan
3.Tum na jaane kis jahan mein – Lata – Sazaa
4. Aaj ki raat piya – Geeta – Baazi
5. Raaton ki neend chheen li – Suraiya – Shokhiyan
Best Male solo:
1. Meri yaad mein tum na aansoo bahana – Talat – Madhosh
2. Ham tujh se mohabbat kar ke sanam – Mukesh – Awara
3. Shukriya ae pyar tera – Talat – Aaram
Best duet:
1. Dam bhar jo udhar munh phere – Mukesh, Lata – Awara
2. Dheere se aaja ri ankhiyan mein – Lata, Chitalkar – Albela
3. Bholi surat dil ke khote – Lata, Chitalkar – Albela
4. Bachpan ke dil bhula na dena – Lata and Shamshad – Deedar
Bust music director:
1. Malhar – Roshan (no individual song makes it to my shortlist, but the music as a whole was outstanding)
2. Shokhiyan – Jamal Sen
3. Deedar – Naushad
4. Naujawan – SDB
5. Awara – Shankar Jaikishen
Subodh,
Thanks a lot.
Your list of the best MDs, if it is in order, is somewhat unconventional.
Where do duets with both female singers fit in? In the best duet category? Thanks.
What a lovely article…..beautifully presented. Though this is not my list of ‘best’, I must admit that the following appeal a lot to me:
1) Albela – for the range from the melodious Dheere se aaja re to the lovely western Shola jo bhadke.
2) Awara – lovely Mukesh solos and duets like Dam bhar jo udhar
3) Malhar – I simply love the way Roshan composed Bade armaano se – with a limited range of notes (as highlighted in my post at Evergreen Indian film music), he composed a peppy and delightful number. This is truly an outstanding composition in my view. Of course, Lata’s classical title song is a delight.
I have not sifted through the entire range of songs and films yet. Will do so and give my input on the best in each category. Once again, a brilliant article that is a treasure house of beautiful memories of the golden era.
My choices after admittedly from memory.
Best Music Director
1) Sajjad Hussain –
2) Roshan
3) Shankar Jaikishan and Jamal Sen
4) C Ramachandra and Anil Biswas.
I like the songs from Afsana music by Husnlal Bhagatram.
Best Female Vocal
1) Lata — Aaj mere naseeb me (Hulchul)
2) Lata — Kali kali raat re (Saiyyan)
3) Lata — Woh raat din (Saiyyan)
4) Lata – Thandi Hawayen
Best Male Vocal
1) Talat Mahmood — As teri tasveer bana loon (Naadaan)
2) G M Durrani — Hazaron Khwaishen aisi (Ghayal)
3) Talat Mahmood – Ek Main hoon ek meri (jali jo shaak-e-chaman) (Taraana)
4) Mukesh — Kismat bigdi duniya badli. (Afsana)
Best Duet
1) Door desh se aaja re — Lata Suraiya Shokiyan
2) Bade Armanoon se — Lata Mukesh Malhar
3) Tere bina aag yeh chandni – Lata Manna De Awara
3) Shola jo bhadke — Albela Chitalkar Lata
I have very soft spot for this song, for the picturisation and the Shamshad Kishore combo.
http://www.youtube.com/watch?v=UeXAG7E_IUU
Gaddeswarupji,
Yes, and more than two main singers too go in the duets category.
Ravi,
Thanks a lot for your generous words. The three you have mentioned would be favourite of many. Subodh has rated Roshan as the best music director of the year.
SSW,
I remember your fondness for Sajjad Hussain. Best MD of the year, and three Lata songs – that is some support! I am getting a lot of variety and surprises compared to the earlier episodes.
Kishore Kumar-Shamshad Begum duet is interesting.
AKji, each post in this series has been a revelation. Thanks for the wonderful introduction. My choices follow in order of preference. But before that couple of clarifications.
Although I have mentioned one film for each nominated MD, my choices reflect their entire work during the year.
Geeta did for ‘Baazi’ what Lata was to do for ‘Anarkali’ and ‘Pakeezah’ later. And ‘Aaj ki raat piya’ is one of those rare songs where the Antara is more melodious than the mukhadaa. I would prefer it to ‘Thandi hawaayen’.
To my ears the original ‘Awara hun’ has a jarring beat out of sync with vocals.
https://www.youtube.com/watch?v=VY1pWTek2sY
SJ probably re-recorded it for ‘Joker’ and ‘corrected’ that. Mukesh’s singing, however, is better in the original one.
https://www.youtube.com/watch?v=LshxnLEu9mY
Best duets:
Seene mein sulagate hain armaan (Talat & Lata, Film: Taraana)
Bade armaan se rakha hai balam (Mukesh & Lata, Film: Malhar)
Mohabbat mein aise zamaane bhi aaye (Talat & Lata, Film: Sagaai)
Yaad aane lagi dil dukhane lagi (Rafi & Lata, Film: Daaman)
Mausam aaya hai rangeen (Sulochana & Satish Barua, Film: Dholak)
Best singer (Male)
Roun main sagar ke kinare (CH Atma, Film: Nagina)
Meri yaad mein tum na aansoo bahana (Talat, Film: Madhosh)
Jali jo shaakh-e-chaman – Ek main hun ek meri (Talat, Film: Tarana)
Ae jaan-e-jigar dil mein samaane aa ja (Mukesh, Film: Aaram)
Aawara hun (Mukesh, Film: Awaara)
Best singer (female) Lata
Thandi hawaayen (Naujawan)
Tum na jaane kis jahan mein (Sazaa)
Baandh preeti phool (Malti Madhav)
Chhun chhun baaje payal (Hum log)
Abhi to main jawaan hun (Afsana)
Best singer (female) others
Aaj ki raat piya (Geeta, Film: Baazi)
Raaton ki neend chheen li (Suraiya, Film: Shokhiyan)
Ye baat koi samjhaaye re (Sandhya Mukherjee; Film: Sazaa)
Sainyaan dil mein aana re (Shamshad begum; Film: Bahaar)
Ankhiyan milake akhiyon ki need (Sulochna Kadam, Film: Mukhadaa)
Best MD
SDB (Baazi)
Anil Biswas (Taraana)
Roshan (Malhar)
SJ (Awaara)
CR (Albela)
AK
Sajjad has two things that for me trumps almost everything else, I can never really predict the next note he will pick in any song or the beat or the off beat on which it will land and in some of his songs where he has used more than minimal orchestration there is a lot of harmonic complexity which has to be individualistic. From an admittedly personal viewpoint I have not heard that sort of individualism in harmony in Hindi film music from any composer other than Salil Chowdhury.
Canasya,
I have mentioned earlier that for this exercise it is more natural to take the total impact of a music director in the year. Therefore, you have done the right thing, and this is how I have looked at in the earlier posts in this series.
Among your selection of category-wise best, one choice I found interesting – you are putting Sulochana Kadam’s Ankhiyan milake ankhiyon ki need over her Chori chori aag si dil mein lagakar chal diye – her iconic and signature song?
Your comparison of two Awara huns – are you sure SJ would have re-recorded this stanza for Mera Naam Joker? My impression is that this part was also there in the film towards the end, disjointed from the main song. The record version had it as one song. This was quite common with many signature songs – when a last stanza in a slightly different pitch/scale would come to enhance dramatic effect. But your point is well taken. The songs is remarkable for its orchestration and musical preludes and interludes; the vocal part per se is not a great song.
SSW,
For his this unique quality, Sajjad Hussain was looked upon with awe by the singers and respected by his peers as one of the most complex, difficult and original composers. But, he was a bit of an eccentric genius, and his enormous ego made him a misfit in the industry. Among the interesting stories about him, one oft-quoted is when he pulled up Lata Mangeshkar once ‘Theek se gaao, ye Naushad Miyan ka gana nahi hai‘ – for some unknown reason Naushad was his pet peeve. He was known to call Talat Mahmood as Galat Mahmood and Kishore Kumar as Shore Kumar. The spelling of his last name ‘Hus(s)ain’ would often cause him a great deal of irritation – he was particular that it be written with a single ‘s’ than the more common double ‘s’.
I’ve read about those anecdotes about Sajjad, some funny some not so. One of his sons plays the mandolin the music circuit in Bombay and I have been in the past, privileged to hear him play.
I think Naushad was more adventurous in his earlier days till 1950 or so.
AK,
I found this album from Nazneen 1951 on my hard drive.
Give a listen to the album and judge for yourself whether it deserve a mention in the list of 1951 songs?
All the songs are on you tube (except one that I just uploaded), the quality of the songs are not good tough.
https://www.youtube.com/watch?feature=player_embedded&v=zNeaRDLJ8Q4
https://www.youtube.com/watch?feature=player_embedded&v=xfe6CNTycZo
https://www.youtube.com/watch?feature=player_embedded&v=WZz7vs3bFiw
https://www.youtube.com/watch?feature=player_embedded&v=Mvf6Yf4iIbY
Oh I submitt
ed by mistake.
Few more
https://www.youtube.com/watch?feature=player_embedded&v=WSku9_dFJXQ
https://www.youtube.com/watch?feature=player_embedded&v=2YcysHpjCfY
https://www.youtube.com/watch?feature=player_embedded&v=H-yhjIbJbf4
https://www.youtube.com/watch?v=0aIyOZWlzKY&feature=player_detailpage
Mumbaikar8,
Thanks a lot for introducing us to the songs of Naazneen. All were new to me. The one I liked most is this solo by Shamshad Begum, which deserves to find mention as a special song. It is interesting that it has a Lata Mangeshkar version too, but I find Shamshad Begum’s more striking.
Aa gaye dil mein tum by Shamshad Begum from Naazneen, lyrics Shakeel Badayuni, music Ghulam Mohammad
AKji, you are right. My mistake. I had first prepared a list of singers without the song. Later, while filling in the songs by memory, I made that error as I had been listening to ‘Ankhiyan milake’ only the day before. I prefer ‘Chori chori’.
AK,
I am glad you liked the songs.
Aa gaye dil me tum is, the pick of the album.
Dominance of Shamshad Begum’s version is striking, I feel Lata’s version has a tinge of sadness, but as the video is not available, it cannot be confirmed or denied.
Now that I have had some time to go through this enormous list of songs, my picks would be:
Best Music Director
1. Anil Biswas (Tarana)
2. SJ (Awara)
3. SD (Baazi
4. Roshan Malhar
Best Vocalist – Female
1. Lata – Bade armaanon se rakha hai kadam / Malhar
2. Lata – Beimaan tore nainwa / Tarana
3. Lata – Thandi hawayein / Naujawan
4. Lata – Aaj mere naseeb mein / Hulchul
5. Shamshad – Saiyyan dil mein aana re / Bahaar
6. Geeta Dutt – Aaj ki raat piya / Baazi
Best Vocals – Male
1. Talat Mehmood – Ek main hoon ek meri / Tarana
2. Talat – Shukriya ae pyar tera / Aaaram
3. Mukesh – Dil tujhe diya tha rakhne ko / Malhar
Best Duet
1) Bade armaanon se / Malhar — Lata, Mukesh
2) Tere bina aag yeh chandni / Awara – Lata, Manna Dey
3) Mast chandni jhoom rahi hai / Pyar ki Baatein – Mukesh, Geeta Dutt
4) Ae gupchup gupchup pyar kare / Sazaa Hemant Kumar, Sandhya Mukherjee
5) Seene mein sulagte hain armaan /Tarana Talat, Lata
There has been a criminal omission on my part in comment no. 29. I don’t know how I managed to overlook Tarana. Once it is taken into account Anil Biswas goes to the top of the music directors’ list and if we need to limit it to five then SDB’s Baazi needs to drop out. I am rather partial to Jamal Sen.
‘Seene mein sulagte hain armaan’ joins the list of duets and ‘Beimaan tore nainwa’ makes it to the list of female solos. Now I guess my list will not be that unusual!
From the comments so far, Anil Biswas and Roshan appear to be great favourites in the year. Other names such as SJ, SDB, CR are on expected lines. It is surprising, Naushad does not evoke the kind of excitement commensurate with his towering status.
Among outliers, Jamal Sen has got strong support from Subodh. He is one of the forgotten composers, who remained on the fringe of the industry. He must be immensely pleased in his grave that he has been placed over some towering giants by someone who knows music. (Subodh, you mentioned SDB’s Naujawaan and not Baazi in Comment #29, but we understand the point.)
Another unconventional choice is Sajjad Hussain by SSW. Coming from an expert, it is not surprising.
This makes my task of wrapping up quite interesting.
I have been immersed in Thomas Piketty’s “Capital for the Twenty-First Century” for forty days or so and could not focus on other things. Possibly somebody else mentioned ; one of my favourite songs ‘Chalija chalija’ from Hum Log seems to be missing. There seems to be another movie from 1951 ‘Hamari Shaan’ which may not change the choices but there are some songs by Talat where his voice sounds unusually strong and a curious duet by him and Kishore Kumar.
I am hardly an expert AK. I like the unusual, seemingly couched in familiar covers which is why Sajjad will always be a favourite.
In my list while I would not drop anybody but Anil Biswas should be in the list too.
I don’t think it is possible to be objective when looking at music, if you analyse it too much you lose the romance (in the real meaning of the word) that it brings. So each one on my list and a few more were all worthy of the being labelled the best. It is like quantum mechanics in the 1920s, Bohr, Chadwick, Rutherford, Heisenberg, Sommerfeld, so many people with wonderful ideas.
It is a little easier when it comes to the women singers, really Lata’s solos were unmatched. Now of course you can say that it is not an objective statement which would be true too. 🙂
And see I forgot Dirac perhaps the greatest of them all ?????
Gaddeswarupji,
Chali ja chali ja is missing and no one has so far mentioned it either. Hum Log has a couple of outstanding Lata solos, which I have included. Hamari Shaan is missing too. It had only one Talat solo, which was of his usual good quality, though not among his great songs.
Koi aah kare koi waah kare by Talat Mahmood from Hamari Shaan, lyrics Saraswati Kumar ‘Deepak’, music Chitragupta
SSW,
And music also has similar uncertainty! That is why we see so much variation in peoples’ tastes?
In Lata Mangeshkar era, i.e. 50s and 60s, if you say she was unmatched, it is nothing but a pure and objective statement of fact – as Sherlock Holmes would have said. I am with you on her. However, in 1951 we had some great songs by Shamshad Begum, Geeta Dutt and Sulochana Kadam.
SSW’ji ,AK’ji , People are born with different taste; as they grow the horizon gets widened . I myself admire Naushad and SJ but as I grew I became fan of every other music director and landed up listening to Sajad ‘s SANGDIL melodies …..” Dil me samma gaye sajan phool khile chaman chaman” …..a Lata Talat duet and …” Dharti se door Badloan ke paar aaja Aaja basale naya sansaar ” ….a Geeta dutt Aasha duet. Saajad was the only music director who gave the original music . Though he was labeled as eccentric but Lataji respected him a lot because of his original tunes . Whatever little Sajad gave to music lovers I think he deserves a place amongst top five MDs for the year 1951 .
KS Bhatiaji,
The appreciation for Sajjad Hussain is universal. It is a measure of his talent (or eccentricity?) that with only 14-15 films for which he gave music, he has achieved such towering reputation. Sangdil happens to be his career best (at least best known). Therefore, in 1951 it would be unfair to overlook him.
KS Bhatiaji
I too came to Sajjad through Sangdil though my introductory song was “Yeh hawa yeh raat yeh chandni..” which Madan Mohan used later for “Tujhe kya sunaoon mein dilruba” . The sarangi in the background in that song was the first beckoning into the mystery of Sajjad’s multi -layered music. There is a song by Geeta Dutt in the film, “Darshan pyaasi” a bhajan, It is very interesting quite different.
“Dil mein sama gaye” and “Woh to chale gaye..” are both waltzes 3/4 rhythm but diametrically different from each other.
I have often heard the comment that he gave original music. But I think all our great composers gave original music. Every composer including Sajjad has been influenced by earlier and other contemporary forms. He had original ideas but so did many of our great composers.
For example in “Seene mein sulagte hain armaan” the way the mukhda scans “lo aaj teri duniya mein hamein, takdeer…” is a masterful stroke.
Or Jamal Sen’s “sapna ban sajan aaye..” such a lovely Yaman that foreshadows… “ja re badra bairi ja ja ” by Madan Mohan nine years later in Bahana. The lovely flute pieces behind Lata’s voice and playing solo interludes that are delectable.
Or even SD in the fado laced song “Thandi hawayein”. This is definitely inspired by portuguese fado but it is no less Indian and no less original.
And the juxtaposition of Manna Dey’s march like entry into “Tere bina aag yeh chandni”, or even the lovely string and piano prelude with the chorus and then the jal tarang in the same song. The single violin phrase sliding every so slightly off key accompanied by the piano arpeggios.
I’ll pack up my soap box now. 🙂
Sorry I type too fast to be coherent . In the earlier post the line on Jamal Sen should be read as “The lovely flute pieces behind Lata’s voice and the solo flute interludes are delectable.”
SSW’ji, AK’ji , Thanks for sharing the observations . I will surely rate Sajad’s sangdil parallel to Anilda’s Tarrana . And I fully agree that all the MDs have given their original and best in their carer spanning so many decades and that is why they were legend . SSW ji rightly gave the example of Mannadey’s awara song where one can find the intrusion of so many pieces in different interludes . Evolution of its melody can be traced from Dattaram ‘s interview available on youtube . Yes WALTZ has been the favourites of all the yester years MDs . SJ out numberd every other . SJ even used it in semi classical/ historical movies like Badal …..” Aye dil na mujh se chhupa such bata kya hua ” and ….” Aye bahar banke lubha kar chale gaye “from Rajhath . Naushad sahib also gave some beautiful background score as a dance number in Aan and Kohinoor. Madan mohan ‘s Asha -Rafi duet ” Zameen se hamen asman pe bitha ke gira to na doge ” is another classical example . SD excelled in ” Hum aap ki ankhoan me iss dil ko bassa dein to ” from Pyassa. AK ‘ji should I take it as influence of Hollywood musical movies made during 40’s and 50’s ? This was the era ruled by Gene kellys musical movies [ and pre Elvis movies ] .
K S Bhatiaji, listen to this song composed by Sajjad for Hulchul. He composed only two songs before he was dropped/or he dropped out from the film. “Aaj mere naseeb mein” was not used. This one, I don’t know, I don’t see movies very often.. This is a lovely composition
http://www.youtube.com/watch?v=rOLps9FpuAY
AK ji,
My choices-
1. Best male singer…..Talat mehmood
Meri yaad mein tum na aansoo bahana
Raja mehdi ali khan
Madan Mohan
Madhosh-51
2. Best Female Singer.. Shamshad Begum
Sainya dil mein aana re
Rajendra krishna
S D Burman
Bahar-51
3. Best Duet………………..Lata and Chitalkar
Dheere se aaja ri
Rajendra krishna
C.Ramchandra
Albela-51
4. Best MD…………………S D Burman
Naujawan-51
-AD
Arunji,
Thanks a lot for giving iyour choices. There would be a good deal of agreement with your choices. However, Dheere se aa ja ri ankhiyan mein is remembered more as a Lata Mangeshkar solo.
”Bhole chanda ne hum par luutaai haseen
Thandi lehro ki sargam pe naache khushi
O madhur milan hai sajna
O madhur milan hai
Dere na dere na dere
Dere na dere na dere dere na….”
As if i m really ambling along the clouds with my beloved one…i sing this song and feel ecstatic joy in me !! Wonderful composition and singing by rafi-lata..my forever favt song….i would like to pick this ultimate joy over intense sadness of ‘seene mein sulagte hai armaan’ (another big favt of mine) in the duet section. There r many other superb duets in 1951 but these two magical pieces definitely reside in left ventricle of my heart.
Akji, I hvnt commented in SoY since january due to multiple reasons, but now will try to regain the momentum. I too missed u very much. Thanx for coming with 1951 feast but i think it came early than expected. This time u came with more accomplished list leaving fewer ones to gather.
In Male section :
This year really belongs to Mukesh. He interrupted the great run and form of talat mehmood at least for this year. He has given milestone songs in 1951.
1st place : Mukesh
Songs ( Aawara hoon, Ai jane jigar dil me samane aaja, dil tujhe diya tha rakhne ko, preet laga ke maine, hum tujhse muhabbat, dil ki pareshaniyan, apni nazar se unki nazar tak, main raahi bhatakne wala hun)
Second place : talat mehmood
songs (many as mukesh, choose any one)
Third place : Manna dey
song :: ”Ek do dilo ka kafila, leke sahara pyar ka, jeevan ke mele mein chala” from “do sitare”
This is somewhat surprizing but this Anilda_mannada combo is no less superb than any ‘humdard’ song and deserves the place.
In female section nothing to do…but these two songs from bygone era singers r gems. 1. Hamari gali aao shyam_zeenat begum_vinod. 2. Ramaiya bin neend na aave_rajkumari_anilda(both listed in akji’s list)
MDs section : in next comments
Jignesh,
Welcome back.
I had included Hamari gali aao Shyam in one of the special songs. These are the songs I thought would not figure in main lists, but it is good that you are putting her in the main shortlist.
well Akji , i wanted to say there is nothing to choose in female section because tirulilla tirulilla gaye lata gaye lata….lataji is unbeatably no. 1 and only we have to do is to select some good songs of other female singers. 🙂
This is a very casual selection from what I remember and listen to often.
1) The best MD- Shankar Jaikishnan for Awara
2) Best female singer- Geeta Dutt for Tadbeer se bigdi hi taqdeer bana le
3) Best male singer-Talat mehmood for Meri yaad mein tum na aansoo bahana
4) Best duet- Dam bhar jo udhar munh phere O chanda – Mukesh and Lata Mangeshkar
Gaddeswarupji,
My guess is, while Mukesh may have made the overall impact in the year, Talat Mahmood’s Meri yaad mein tum na aansoo bahana may be the best male solo of the year.
I missed Barsat but I saw Awara in 1952 as soon as it was shown in the nearest own. We used to have a tution teacher in whose house we used to sleep for the night. We let him sleep and ran about six miles to a town called Repalle to watch the late night show of the film. Two moon light songs and scenes are still very vivid. I also had my first cigarettes to keep awake, then again when I was thirteen but really started smoking when I was 23, again to keep awake. Those days, we did not wear sandals or shoes (I first wore them when I went to college). I do not know how we ran through those fields without any injuries to the feet. There were roads but we were in a hurry and took short cuts. May be that is why Awara is so prominent in my memories.
AK,
I read, how Gaddeswaupji remembers Awara Reading about his memories I started digressing into mine which has nothing to do with Awara or 1951 but I still would like to share. My mom was very much into music, discussions and arguments over song were daily family affairs it was in sixties, in those days, we had to depend upon radio for new songs, once it so happened that our radio was out for repair, we had to eavesdrop into our neighbouts’ radio to get our fodder of new songs (those days people used to keep their doors open and play their music loud). One day we heard a song and were trying to figure out what movie the song was from, I said to them I know, who the hero of the movie was, just by listening to the song, my brother immediately said “phekti hai “ (in our bambaiya language) but I was sure of myself and said, let’s talk after checking it out, it so happened that it turned out to be right . It is 45+ years now but I still remember it and so does my bother.
I will try to come back with with my 1951 choice, I hope soon.
Making a choice for 1951 song it so difficult I would rather wander:)
AK,
I assume, some of the good songs were not included because of the overwhelming numbers of good songs this year, I am just curious to know whether these song were dropped intentionly?
https://www.youtube.com/watch?v=dYc9BiCkg6M&feature=player_embedded
https://www.youtube.com/watch?v=5S61YuDlvkQ&feature=player_embedded
https://www.youtube.com/watch?v=XH25QE6RZz0&feature=player_embedded
https://www.youtube.com/watch?v=IkA2uYieBAU&feature=player_embedded
Mumabikar8,
Finally we are looking at selecting top ten in each category. There is a question of how big you want to present the list. Nevertheless, from your list the #2, Mohabbat ho gayi bas ek nazar se, Rafi-Lata duet from Sagaai, I could have included. The other three would not have come on my radar screen.
AK,
I do understand, I had it in my question ” overwhelming number of songs”, I was just curious.
Akji,
I took ample time to listen to the songs rendered by female singers of 1951 and it was a wonderful experience. By and large I restricted myself to your list with a few deviations.
I believe, around 900-1000 songs must have been composed in the year 1951 and approximately 50% of the songs were female solos. Lata Mangeshkar , as usual was far ahead, both in numbers and quality. She sang 40% of the female solos. Shamshad Begum- Geeta Dutt -Asha Bhosle trio and Suraiya- Sulochana Kadam pair, almost shared equally 35% and 8% of the female solos respectively. Another 10% was shared between six singers, namely Amirbai Karnataki, Malati Pandey, Meena Kapoor, Raaj Kumari, Mubarak Begum and Uma Devi. The rest were shared between 25 singers. In all there were roughly 37 female solo singers in the fray.
Your selection, based on popular appeal and recall factor, may not reflect a similar trend. Out of the 144 songs in your selection a little more than 50% of the songs were female solos. Lata Mangeshkar has 75% and Shamshad Begum and Geeta Dutt shares 20% of the pie. Asha Bhosle,Suraiya, Sulochana Kadam and Raajkumari shares the rest.
So that was my usual statistical blabbering. Kutte ki Dum Kabhi Seedhi Nahi Hoti, tedi ki tedi hi rehti hai.
First, here is my selection of 10 best songs of Lata Mangeshkar
1. Thandi Hawayen, Lehrake Aaye, film Naujawan, lyrics Sahir Ludhiyanvi, music S D Burman
2. Tum Na Jane Kis Jahan Mein Kho Gaye, film Sazaa, lyrics Rajendra Krishna, music S D Burman
3. Jhan Jhan Jhan Jhan Paayal Baaje , lyrics Shailendra, music S D Burman
4. Soyi Kaliyaan Hans Padi, Sapanaa Ban Saajan Aaye , lyrics Kedar Sharma, music Jamal Sen
5. Garajat Barasat Bhijat Aai Lo, lyrics Taditional, music Roshan
6. Beimaan Tore Nainawa, film Taraana, lyrics D N Madhok, music Anil Biswas
7. Beeta Hua Ek Sawan, film Shokhiyan, lyrics Kedar Sharma, music Jaml Sen
8. Balma bada naadan re, film Albela, lyrics Rajendra Krishna, music C Ramchandra
9. Kyaa Khabar Thi, Vo Din Kahaan Gaye Bataa , film Taraana, lyrics D N Madhok, music Anil Biswas
10. Mose Ruth Gayo, Kisaki Lagi Julmi Najariyaa, film Taraana, lyrics D N Madhok, music Anil Biswas
And then here is my selection from other female singers
1. Saiyan dil mein ana re by Shamshad Begum, film Bahar, lyrics Rajendra Krishna, music S D Burman
2. Duniya ka mazaa le lo by Shamshad Begum, film Bahar, lyrics Rajendra Krishna, music S D Burman
3. Yeh Kaun Aaya by Geeta Dutt, film Baazi, lyrics Sahir Ludhiyanvi, music S D Burman
4. Ui Dekh Ke Akeli Mohe by Geeta Dutt, film Baazi, lyrics Sahir Ludhiyanvi, music S D Burman
5. Raaton Ki Nind Chhin Li by Suraiya, film Shokhiyan, lyrics Kedar Sharma, music Jamal Sen
6. Ramaya bin nind na aave by Raajkumari, film Badi Bahoo, lyrics Meera bai, music Anil Biswas
7. Jagmagati Diwali Ki Raat Aa Gayi by Asha Bhosle, film Stage, lyrics Sarshar Shailani, music Husnlal-Bhagatram
It is a foregone conclusion that Lata Mangeshkar will be the best singer once again, but it remains to be seen how many and which of her songs will find a place in the first ten. I expect 6 to seven songs of Lata Mangeshkar and 3 to four songs from the rest.
Will come up with my choice for the rest of the categories later.
AK,
I like Venkataramaji’s idea of doing it in kisht.
Here is my first kisht, of
MD
S D Burman,
Not for any particular movie but for the variety of music he provided in 5 different movies, each distinctively different from the other.
Latas’s best 10 in no particular order.I cannot pick one out of ten,
infact when I picked these 10, I felt atleast 2o songs questioning WHY and HOW
Ghar aya mera pardesi
Balamwa nadaan.. balmaa ja ja ja
Sanwri surat man bhai re piya –
Sapna ban saajan aye –
Jhan jhan jhan jhan payal baje –
Lo pyar ki ho gayi jeet –
Thandi hawayen
Tum na jaaney kis jahan mein kho gaye
Beimaan torey nainwa nindiya na aaye
Garjat barsat bheejat
Venkataramanji,
Your statistics gives a very good insight. The percentage of female solos in my large selection is almost the same as in the total number of songs. But within the female solos, the singer-wise distribution shows a sharp variation. While Lata Mangeshkar accounted for 40% of the female solos, in the list of ‘good’ songs she accounts for 75%. Presuming that there is no major selection bias, this explains why she dominated the music scene. Everyone got to sing, but she was miles ahead.
The other interesting statistic, which would be consistent for the entire film music over the years, is that not more than 15-20% of the total output would be worth a second hearing. It may sound unkind, but we can safely say that 80% of film music is not of much value – and I am talking about the ‘Golden Era’. But I am sure micro-analysis within that would throw interesting insights. For example, if you take Naushad’s output of 25 years from 1944, the ratio would be reversed – 80% of his songs would be outstanding. It is ironical that in the series on 1955, in spite of Urankhatola he did not create much excitement on this forum. This year too, even with two films he does not seem to be creating waves.
Some omissions are conspicuous. There is no Lata Mangeshkar-Sajjad Hussain. You have taken two Geeta Dutt songs from Baazi, which does not include Aaj ki raat piya. And Sulochana Kadam’s Chori chori aag si dil mein lagakar chal diye is missing. Personal choice?
One interesting feature of this year is that SD Burman gives landmark songs for three great singers with entirely different styles – Lata, Geeta Dutt and Shamshad Begum. And for Lata there are three songs which would count among her immortal melodies.
Mumbaikar8,
Your selection of ten Lata solos represent her most famous and melodious of the year. You are right, even 20 may not be enough. I have given my detailed views in the comments above, which explains Lata Mangeshkar’s dominance.
Akji,
I fully agree with you that Lata Mageshkar was miles ahead.
Yes also agree that there some serious omission and errors in my list. I will attribute them to fatigue, but they demand correction. Let me adress them one by one.
“There is no Lata Mangeshkar-Sajjad Hussain”. My bias towards Anil Biswas might have played a part in the back of my mind! That will not have any significant impact on the number of Lata Mangeshkar’s songs in the final ten. While discussing best music directors Sajjad Husain will be there in my mind.
As regards selection of Geeta Dutt’s songs, it was a gross mistake. This happens when you do a hasty cut and paste job. Instead of the songs, Aaj Ki Rat Piya Dil Naa Todo and Tadbir Se Bigdi Huyi Takdir Banale, I pasted the other two songs. I stand corrected.
Coming to Sulochana Kadam’s songs, I had short listed two of her songs, Choree Choree Aag See and Aakhiya Mila Ke Aankhiyo Ki Nind Chura Ke Na Ja. But at the last moment her songs went off my radar. That was unfair to her. Thank you for pointing out the errors and omissions.
It seems 1951 is S D Burman’s year. Besides Lata, Geeta and Shamshad, Surinder Kaur too had one song in 1951.
Majhadhaar Men Dub Gai, Kaahe Ab Re Balam by Surinder Kaur, film Buzdil, lyrics Shailendra, music S D Burman
http://www.youtube.com/watch?v=W_P7bNGfGEQ
I would like to propose a couple of long forgotten gems by G. M. Durrani be added to the list of great songs from 1951. Both are amongst the best sung by Durrani.
Kaale Baadal – Tadapna Aur Chup Rehna Mohabbat Aur Kya Hogi – Shyam Sundar, Rajinder Krishan
https://www.youtube.com/watch?v=EUhoRWyJ5M0
Actor – Dil Tere Hijr Mein Bimaar Hai Thoda Thoda –
Aziz Hindi, Nazim Panipati
https://www.youtube.com/watch?v=c9E6Y5B1958
Venkataramanji,
Surinder Kaur’s song is excellent. It should have figured in my list. She belongs to Shamshad Begum school. Thanks a lot for adding it.
RS,
In the first song, Durrani seems to have difficulty on very low notes. But in the second song he is in his elements. This could have been added. Thanks a lot for adding it.
AK,
I was about to submit my second installment of non lata female solos, but on rechecking I realized that this Geeta Dutt song from Ada is not in your list can please listen to the song and tell me whether I should reconsider my list or go ahead with this song
https://www.youtube.com/watch?feature=player_embedded&v=TosF0JMG7yE
@Mumbaikar8,
Listened to your additions. Thanks for those beautiful songs from Nazneen. We can have only ten songs in the best list, but all the beautiful numbers are being listened to, shared and discussed. There lies the important of this post and blog.
Mumbaikar8,
What you submit has to reflect your choice. But since you asked me, with such great songs of Geeta Dutt in Baazi, do you really need to look for the relatively unknown? Then you have great songs by Shamshad Begum and other singers to give you enough for ten. But it has to be your call.
AK,
I am trying to avoid repeating a song from the same movie in one category that is why the confusion otherwise I would have picked 4 songs of Geeta Dutt from Baazi itself.
AK,
You listed the following song from Ada.
12. Main na jaanu – Lata Mangeshkar
Is this the song you are referring to?
aankhon-aankhon men un se pyaar ho gaya \-2
main na jaanu kyon yeh dil beqaraar ho gaya \-2
There is another song from Ashiana (1952) with a similar first line:
main na jaanu, mere dil ko yeh kya ho gaya,
mera dil hai kahaan kho gaya
Regards
RS
Hi AK,
This song from Buzdil is actually a duet of Lata and Talat. Or is there a Lata solo version as well (which I tried to find but could not)?
56. Dar laage duniya se balma ho – Lata Mangeshkar
Thanks for posting such a well-researched list. I found several gems which were not in my collection, some I had not even heard. These are usually the less famous songs from films with multiple hits.
Regards
RS
RS,
Main na jaanu: You have done some amazing mind reading! Even though Ada has the song you have mentioned, I indeed had the song from Ashiyana in my mind. But we can retain the Ada song in the list as it is quite good. Thanks a lot for this wonderful magic.
Dar laage is a Talat-Lata duet. It was an inadvertent error, which happened because the song had registered in my mind as a Lata solo. Thanks a lot for the correction.
AK,
There was a song which was recorded for the movie Shokhiyan, but was not included in the film. The film was later used by Kidar Sharma in his 1980 film Pehla Kadam. What a thrill it must have been to hear such a vintage song for the first time in 1980.
Beeta Huva Ek Saawan – Lata – Jamal Sen, Kidar Sharma
https://www.youtube.com/watch?v=-U_p5uSJdZM
Enjoy.
RS
AK,
Doosri kisht,
MD
# 2 Anil Biswas & Sajjad Hussain
1951 seems to be the only year where female solos, other than Lata, had substantial share not only in quantity but also in quality.
I think this might be the only year where we will have the luxury of picking 10 non Lata solo.
My non Lata 10 female songs
1 Bhagwan do ghadi zara insaan ban ke dekh Geeta
Now the rest of 9 in no particular order.
Tadbeer se bighdi hui taqdeer banale Geeta
Chaman me rahke virana Shamshad Begum. I did not pick Mere dil me aaiye, meri nazar me aaiye from Dholak because of self-imposed restriction of 1 song per movie in each category
Aagaye dil me tum meri mehfil me tum Shamshad Begum
Koi kis tarah raze ulfat chhupaye Rajkumari
Raimaiyya bin neend na aaye Rajkumari
Raton ki neend chheen li aankhon ke intezar ne Suraiya
Raste pe hum khade hai Suraiya
Chorichori aag si dil me laga Sulochana Kadam
Ye baat koi samjhaye re kyun aaj nazar sharmaaye re – Sandhya Mukherjee ( I had to sacrifice 1 Geeta Dutt song to accommodate Sandhya Mukherjee)
Mumbaikar8,
You are right. It was a great year for outstanding solos by female singers other than Lata Mangeshkar. If I decide to do a combined list of the best ten, my task is going to be immensely difficult. And how do we make comparison between the best of Lata and others?
AKji,
You can do a post on 10 best solo songs of Lata Mangeshkar and another post on 10 best solo songs of other female singers. This year too, the best female singer is a foregone conclusion.
AKji,
Compared to female solos, the male solos are far less in the year 1951. The male solos will account for more or less 10% out of the total 900-1000 songs. Three singer share roughly 60% of the male solos. Md Rafi (27%), Talat Mahmoos (18%) and Mukesh (15%) lead the chart. Seven singers namely, G M Durani, Manna Dey, Kishore Kumar, C H Atma, K P Sen, C Ramchandra and Asit Baran share 30% of the pie. Remaining 10% of the songs are shared between another 10 singers.
In comparison 17% of the 144 songs in your shortlist are male solos. Md.Rafi (12%), Talt Mahmood (25%) and Mukesh (38%) share 75% of your male solos. The rest (25%) is shared between C H Atma, Kishore Kumar and G M Durani. Going by the recall-factor and popularity, your list reflects the true picture.
Let me present my selection of 10 best male solo songs for the year 1951.
1. Shukriya Shukriya Aye Pyar by Talat Mahmood, film Aaram, lyrics Rajendra Krishna, music Anil Biswas
2. Ek Mai Hu EK Meri Bekasi by Talat Mahmood, film Taraana, lyrics Kaifi Irfani, music Anil Biswas
3. Meri Yaad Me Tum Na Aansu Bahana by Talat Mahmood, film Madhosh, lyrics Raja Mehdi Ali Khan, music Madanmohan
4. Aa teri tasveer bana loon (Sad Version) by Talat Mahmood, film Naadaan, lyrics Pyarelal Santoshi, music Chic Chocolate
5. Aye Jane Jigar dil me samane aaja by Mukesh, film Aaram, lyrics Rajendra Krishna, music Anil Biswas
6. Ham Tujhse Mohabbat Karke Sanam by Mukesh, film Aawara, lyrics Hasrat Jaipuri, music Shanker-Jaikishan
7. Qismat Bigadi Duniyaa Badali Phir Kaun Kisi Kaa by Mukesh, film Afsaana, lyrics Asad Bhopali, music Husnlal-Bhagatram
8. Asir E Panjaa e, Hue Ham Jin Ke Liye Barabaad by Md.Rafi, film Deedar, lyrics Shakeel Badayuni, music Naushad
9. Meree Kahanee Bhulne Wale by Md.Rafi, film Deedar, lyrics Shakeel Badayuni, music Naushad
10. Qusoor aapka, huzoor aapka by Kishore Kumar, film Bahaar, lyrics Rajendra Krishna, music S D Burman
I feel the best male singer for the year 1951 will be a close contest between Talat Mahmood and Mukesh. My choice goes to Talat Mahmood.
Vankataramanji,
Your statistics throws some very interesting insights. The film world is said to be male-dominated. But female solos outnumber male solos by a factor of 3 to 1. Within the male solos, the proportion of memorable songs as reflected in my list of 144 is inverse of the total number of songs a singer had. The order in terms of total number was Rafi (27%), Talat Mahmood (18%) and Mukesh (15%); in terms of memorable songs it is Mukesh ((38%), Talat Mahmood (25%), Rafi (12%). Such inversion for these three major singers is probably true for almost the entire part of their active careers.
As for your selection, the most significant song is Awara hun. You would say, but it is not there. That is the significant thing. Not that I dispute it. In fact I have thought of a category called “Songs that became a surprise sensation”. Awara hun would be a prominent entry in that list. Another entry that would please Subodh is Bahaaro phool barsaao. But one entry would surprise many. In fact some would consider it blasphemy – Ayega aanewala.
I would have probably squeezed in Dil tujhe diya tha rakhane ko from Malhar, and Mere labon pe dekho aaj bhi tarane hain from Baazi in place of some other songs.
The point is that choosing ten best out of 24 songs is going to be a fairly easy exercise compared to choosing best female solos from a huge list.
Thanks a lot for your detailed comments.
Akji,
Awaara hun and for that matter Bahaaro phool barsaao are ‘XXXXXXX’ songs but, er, well …… I do not want to indulge into any arguments. Listening preference do differ from person to person. You have come up with an interesting category to think about.
I had to omit six songs in order to restrict my list to 10. Both the songs mentioned by you were in the list. I found the braying sound towards the end of the song, Dandara dandara, jarring and it disturbed the, otherwise smooth flowing, song. If you ignore that part then this song could replace the Kishore-S D Burman song that I have presented from Bahar.
The other four songs were
1. Mit Nahi Sakta Kabhi Likha Hua Taqdeer Ka – Talat Mahmood
2. Jise Dil Me Basana Chaha Tha – Talat Mahmood
3. Dil Ne To Diya Dhokha – Mukesh
4. Nasib Dar Peh Tere Aajmane Aaya Hu – Md.Rafi
On the whole, it would not have made any major impact.
Thanks
Let us listen to this song.
Mit Nahi Sakta Kabhi Likha Hua Taqdeer Ka by Talat Mahmood, film Sansaar, lyrics Pt Indra, music D Parthasarathy,E S Sastry, B S Kalla
http://www.youtube.com/watch?v=bxjsujvL4qo
AK,
Time for duets
Kali ghata ghir ayi re – Rafi and Lata Mangeshkar
Dekh liya maine kismet ka tamasha dekh liya – Rafi and Lata Mangeshkar
Magar ae haseena-e-bekhabar by Rafi and Sulochana
Apni tasweer se kah do humein dekha na kare – Rafi and Asha Bhosle
Nain miley nain hue baawrey – Talat Mahmood and Lata Mangeshkar
Mohabbat mein aise zamaaney bhi aaye – Talat Mahmood and Lata Mangeshkar
Dar laage duniya se balma ho – Lata Mangehskar and Talat Mahmood
Dam bhar jo udhar munh phere O chanda – Mukesh and Lata Mangeshkar
Bade armaanon se rakha hai balam teri qasam – Mukesh and Lata Mangeshkar
Kaahe nainon mein kajraa bharo – Mukesh and Lata Mangehskar
Md # 3
Roshan and Madan Mohan
Mumbaikar8,
Did you give a thought to Aansoo thi meri zindagi, Rafi and Amirbai Karnataki (Bikhare Moti)?
You have taken a duet from Malhar. My choice is the other one – Kahan ho tum zara awaaz do. Similarly from Tarana the choices may vary between Nain miley and Seene mein sulagate hain armaan.
Rest are a matter of personal choice. Whatever figures in my list has to be of a very high quality. Further choosing the best ten is really a very difficult task. Some which I like immensely are:
1. Yaad aane lagi dil dukhane lagi – Rafi and Lata Mangeshkar (Daaman)
2. Nazar phero na humse – GM Durrani and Lata Mangeshkar (Deedaar)
3. Aa gupchup gupchup pyar karein – Hemant Kumar and Sandhya Mukherjee (Sazaa)
If we include all females and other hybrid duets too, I would put this one very high:
4. Ayi barkha bahaar – Lata Mnageshkar and Pramodini Desai (Shokhiyan)
Thanks a lot for your response.
Talking of “surprise senation songs” and “Awara Hoon” , brings back to me a memory of the summer of 1989. It was my first year in the US and Club Passim in Cambridge MA was featuring a group called 3 Mustapha 3 (they are actually English but pretend to be from the Balkans) . Passim is very famous for having been the launch pad for many famous folk singers. I think the first song they sang was Awara Hoon with a lot of accordion riffs and I remember the leader translating it saying “I am a rogue , I am a rogue”. Not a lot of Indians in the audience I think but the song seemed to be a great favourite with the attendees from the applause. Of course Cambridge MA is a college town so you’ll see a kaleidoscope of world citizenry there.
I’m surprised AK that you consider Aayega Anewala a “surprise sensation”. For me musically it far outstrips Awara hoon and Baharon phool ( a song I am not fond off). Starting with the deep struck piano notes to simulate the clock and then as Lata begins the piano arpeggios and the strings slowly going back in pitch. Then the single notes from the oboe ….the cellos following Lata’s voice.. The orchestration is magnificent. In the build up to the first verse the 8th notes played by the deeper strings and lovely melody on the violins (starting at 3:04) in the link below. I think everything is perfectly in place.
http://www.youtube.com/watch?v=03DXW_rV54U
There are two versions of this song. One has the hawaiian guitar in the interludes. I think that must have been recorded for the LP. The film version does not have it. I’ve been trying to locate the version with the guitar. I used to have an old tape that had that version.
Mr. Venkatraman
Don’t you think the mukhda of the song Mit Nahi Sakta Kabhi …by Talat can be transposed into this ..
http://www.youtube.com/watch?v=w8VLas655WY (take away all those OP Nayyarish interludes)….
it can also be moved into this one…
http://www.youtube.com/watch?v=O-uvaFibWZM
AK,
I have considered all the songs you have mentioned and the ones you have not like Hulchul’s Lagi hai aag dil me, I like them all and after long a deliberation I have picked the 10 I like.
As I have said umpteen times I have no knowledge of music, plus I do not own a blog, so my songs do not have to be of high quality, apne paas to leke deke ek dil hai aur ek dimag hai ( though my sons insist I do not have dimag) jisse kaam lete hai, seriously speaking that is the reason why I am inclined to like songs with better lyrics.
Talking about Malhar song I love the aura of bade arman se rakkha hai balam I would not trade that for any other, but Tarana I think, it depends upon what frame of mind I am in, may be right now I am not in rona dhona mode if I am in that mode I would pick Seene me sulagte hai arman.
SSW,
When I mentioned Ayega aanewala in that category, I had two things in mind. One was Lata Mangeshkar rendering this song in her concerts in later years when she didn’t sound the same. The second was my fascination for other songs in Mahal, namely Ye raat phir na ayegi by Zohra Amabalewali and Rajkumari, and Ghabra ke jo hum sar ko takraayein to achchha ho by Rajkumari; and Lata Mangehskar’s numerous songs from other movies in 1949: Meri ankhon mein bas gaya koi re (Barsaat), Saajan ki galiyan chhod chale (Bazaar), Haye chanda gaye pardes chakori yahan ro ro marey (Chakori), Tumhaarey bulaane ko ji chaahta hai (Laadli), Bahaarein phir bhi ayengi (Lahore), Dil se bhula do tum humein (Patanga), Dard jaga ke thes laga ke chale gaye haye chale gaye (Sipahiya). As a listener these songs have left a tremendous impact on me. But my views are of a lay listener, and obviously I have to bow to an expert’s views.
Mumbaikar8,
I was not questioning your choice, nor there can be any concept of someone having better choice than others.
AK’ji, SSW’ji,Mumbaiker’ji,Venkatraman’ji and all other members of SoY family . I wish to thank all of you for making me rich thru the ” golden songs ” of the 50s . In fact all the songs listed by each one have been my favourits at one time or the other . I was hardly 7 or 8 years old when i could judge the MDs by just listenning to prelude of the song . To me all the songs were melodious and rich in lyrical quality. The songs of 1951 had extended lives of three or four years till other songs with overlapping quality joins and ride the wave . Like Awara followed by Shri 420 , Deedar followed by Amar etc. There was no measure of ranking of songs during 50s . It was only thru Binaca geet mala and radio ceylon later when all these measures of ranking started . As an 8 year boy I had my own system which was based on…….1. the number of times the song played on the radio ….2. the number of times the song was played on the HMV record players thru Loud speakers in marriage functions and …..3. number of times the song played as sample in Record player or Music stores . In those times songs of Awara and Deedar were most popular. The choice could vary from area to area but my observation stands from central new delhi area . With such rich music of the 50s it is indeed very difficult to pinpoint the best . I have not listed my choice of the best ; will convey as early as possible.
AK,
You seem to be in very serious mode right now:)
AK all those songs you mentioned are marvellous and if you look at the main melody some are more intricate than Ayega Aanewala. However, I like this song a lot because of the whole musical package.
KS Bhatiaji,
The factors you have mentioned helped the songs register in our consciosness. But now when we are making our choices, a very important factor is the musical quality of the songs. That is why you find Sapna ban saajan aye figure very prominently in everyone’s choice. I don’t know what is your recollection, but I do not remember having heard this song in those days. I first heard the song in the Internet era.
I am looking forward to your selection.
SSW,
Nice thought (#98). It reminds me of the round in one of those reality shows where the contestants were asked to render a song in a different beat other than the original one. Say 4-4 in place of 3-2-2 etc. The meter could also be different. I would prefer Ravi’s composition.
Mr. Venkatraman
A group of us music lovers, used to play this game . Of course one had to fit the lyrics to a tune that diametrically opposed the mood. Like transposing “yahoo chahe koi mujhe junglee…” to “gam diye musht-a-qil, kitna nazuk hai dil” . Very irreverent.:-)
AK,
One more unknown Rafi song from unkwown Movie, as well as, relativelly unknown MD.
http://www.youtube.com/watch?v=1PeQ35ptNLQ&feature=player_detailpage
AK,
Time for male singers.
Naseeb dar pe tere aazmane aya hun – Rafi
Meri yaad mein tum na aansoo bahana – Talat Mahmood
Shukriya ae pyaar tera shukriya – Talat Mahmood
Ek main hun ek meri bekasi ki – Talat Mahmood
Aa teri tasweer bana lun – Talat Mahmood
Jise dil mein basana chaha tha – Talat Mahmood
Apni nazar se unki nazar tak – Mukesh
Hota raha yun hi agar anjaam wafa ka – Mukesh
Hum tujhse mohabbat karke sanam – Mukesh
Roun main sagar ke kinare – CH Atma.
Music Director # 4
Naushad, Shankar Jiakishan and C. Ramchandra
Mumbaikar8,
So Awara hun is your ‘Songs that became a surprise sensation’, too?
Happy to see CH Atma in your list. I think he had his best film songs in this year.
You must have given a thought to Mere labon pe dekho aaj bhi tarane hain. Personal choice obviously. Same with Ae jaan-e-jigar and the Malhaar choice from Mukesh’s three solos, I guess? Another song I like a lot is Main rahi bhatakanewala hun.
You have given the choice of best music directors in instalments. It would be helpful if you can give consolidated choice, with some observations.
Thanks a lot for sharing your selection.
AK,
The element of surprise sensation is obviously there, not only in songs but also in singers and MDs, otherwise how can you explain the hysteria of singer Kuman Sanu for almost a decade and music director, singer Himesh Reshammiya’s success, I thank god for planting a seed of hero in his brain otherwise he might have been churning hits after hits till date.
Personally I feel, all the other singers were better than Kishore this year, C H Atma has 2 good songs his other song Dil beqaraar is equally good, the choice was almost a coin toss, but I do not agree that this was his best year, for me he had his best songs with O.P. Nayyar.
Mai rahi bhatakne walo hoon, yes I like that one too but I could not drop any of Talat’s song to accommodate that one, same with Ae jane jigar, Talat’s Shukriya ae pyaar won over. Malhar song that is my first choice of the three
Thanks for analyzing my choice.
AKji,
Back with my comments on duets.
The MF duets account for roughly 20% of the total songs. 35% of the MF duets were shared between Md.Rafi-Lata (11%), C Ramchandra-Lata (9%), G M Durani-Shamshad (7%), Mukesh-Lata (4%) and Md.Rafi-Shamshad (4%). Rest (65 %) was shared between 60 male-female combinations.
If we look at it exclusively from the male singer’s angle, roughly 63% was shared between Md.Rafi (25%), G M Durani (14%), C Ramachandra (10%), Talat Mahmood (8%), and Mukesh (6%). Another 30 male singers shared the rest of the pie (37%).
How do the female singers fare in this respect? Lata Mangeshkar (35%), Shamshad Begum (18%), Asha Bhosle (11%) and Geeta Dutt (11%) together shared 75% of the total duets. Anoter 10% was shared between Sulochana Kadam (7%) and Suraiya (3%). Another 20 female singers shared the rest of the pie (15%).
Roughly 20% of the total songs (144) in your short list too are MF duets. Lata Mangeshakar, with roughly 67% dominates. Md Rafi with 32% is the leading male singer in the duets category, with another 55% shared almost equally between Mukesh, Talat Mahmood and C Ramchandra.
Manna Dey did not have any significant presence (solos and duets) in 1951.
Here I present my best 10 MF duet songs for the year 1951. The final ten was selected on my personal preference and also on the frame of mind and mood at the time of listening.
1. Seene Me Sulagate Hain Armaan by Talat Mahmood and Lata Mangeshkar, film Taraana, lyrics Prem Dhawan, music Anil Biswas
2. Nain mile nain hue baawre by Talat Mahmood and Lata Mangeshkar, film Taraana, lyrics Prem Dhawan, music Anil Biswas
3. Mohabbat Mein Aise Zamane Bhai Aaye by Talat Mahmood and Lata Mangeshkar, film Sagai, lyrics Rajendra Krishna, music C Ramachandra
4. Dar Lage Duneeya Se Balma by Talat Mahmood and Lata Mangeshkar, film Buzdil, lyrics Shailendra, music S D Burman
5. Bade Armaanon Se Rakhaa Hai Balam Teri Kasam by Mukesh and Lata Mangeshkar, film Malhar, lyrics Indeevar, music Roshan
6. Dam Bhar Jo Udhar Munh Phere by Mukesh and Lata Mangeshkar, film Awara, lyrics Shailendra, music Shankar-Jaikishan
7. Magar Ai Hasinaa E Bekabar by Md.Rafi and Sulochana Kadam, film Dholak, lyrics Aziz Kashmiri, music Shyamsunder
8. Nazar Phero Naa Hamse by G M Durani and Shamshad Begum, film Deedar, lyrics Shakeel Badayuni, music Naushad
9. Dhire Se Aaja Ri Ankhiya Me (Sad) by C Ramchandra and Lata Mangeshkar, film Albela, lyrics Rajendra Krishna, music C Ramachandra
10. Chhabi Teri Madhur, Man Men Mere Angaare Hain by Sudhir Phadke and Lata Mangeshkar, lyrics Narendra Sharma, music Sudhir Phadke
This list is not in any particular order. If I had to choose the best duet singers on the basis of a particular song, I would go for Md.Rafi and Sulochana Kadam (Magar Ai Hasinaa E Bekabar). If it is on the basis of overall performance then my choice would be Talat Mahmood and Lata Mangeshkar
Venkataramanji,
Your statistics again gives a wonderful insight. Without any planning, the M-F duets have the same proportion in my list as in the total population. It is interesting to note that GM Durrani should have more duets than Talat Mahmood and Mukesh.
We often talk about hit songs as a percentage of total songs sung by a singer. While Lata Mangeshkar accounted for 35% in the total duets she has 67% in my list. The same predominance was seen in solos too. I have to repeat, everyone got to sing, but she was in a different class.
Coming to your selection, #10 I have not heard, nor could I easily locate it. Naturally it was not there in my list. I would appreciate if you could send its link.
Rest is a matter of personal choice. The duets I like immensely missing from your list are:
1. Kaahe naino mein kajraa bharo – Mukesh and Lata
Mangehskar
2. Aansoo thi meri zindagi by Rafi and Amirbai Karnataki
AKji,
Both the songs are good and I would not dispute if the later finds a place in the final ten.
Here is the link to Chhabi Teri Madhur, Man Men Mere Angaare Hain
http://www.youtube.com/watch?v=ilVS0e2oiaE
Venkataramanji,
It is a fabulous song. Sudhir Phadke is a very special composer. Thanks for sharing the song.
Beautiful poetry too. You rarely hear words like, Asha ke pallav sookh gaye or Ye vikal praan path haarey hain.
It seems the first word is ‘Sudhi’ and not ‘Chhavi’.
AKji,
I am happy that you shared my liking for this song. Although I am not that good in Hindi, the lines that you have mentioned did influence me while listening. While selecting the best solo and duet songs, my first emphasis was on the rendition of the songs by the singers, since we are deciding on the best singers. But besides the rendition, the composition, the music and the lyrics do play an important role. Good lyrics are important for the singer(s) to bring about the essence and emotion within. I do not think the artist or for that matter the MD can bring out their best with ordinary lyrics. Just loud thinking
Yes, you are right. It is Sudhi. By the way the word ‘Sudhi’, in Bengali, means erudite or wise. Is the meaning same in Hindi. Or is it ‘wise friend’? Can you give me the meaning of the line ‘Sudhi teri madhur madhur pyare, par aansu mere khare hai’.
Thank you
Venkataraman Ji,
Many thanks for this gem of a song.
And what a melodious voice Sudhir Phadke had. When he joined Lata,for a second or two, it seemed Rafi of vintage era was singing. But Sudhir Phadke had a distinct, very sweet tonal quality, which I found very soothing.
What a song, Venkataraman Ji, thanks once again.
Venkataramanji,
‘Sudhi’ has two distinct meanings – one which you have mentioned. The other which is the connotation here is ‘awareness’. You can appreciate its meaning by its derivative as an antonym, ‘besudh’.
AKji,
Thank you very much. Now it is clear.
Here is a sample of my eccentricity.
I could trace the names of 107 films that were released in the year 1951. I feel there may be another 10-20 or even more (may be B and C grade films). I am not sure. One or two films may not belong to 1951 or it can be from some other language. I found the name Biyyallis (42) in one of the lists. It was a Bangla film. Similarly I found Parnetar, most probably a Gujarati film, in another list. I was not sure whether they had a Hindi version or not.
Out of the 107 films, I could not find even the first line of the songs for 21 films. The name of the MD was available for 20. I could not obtain any other details. That leaves us with 86 films.
I could trace the entire details (MD, singers, lyricist etc.) for roughly 711 songs (solos, MF duets, other duets, triads etc.) and for another 121 songs I could not get the name of the singers, other details were available. These songs were form the 86 films mentioned above. These songs may not be all. The details of some of the songs from these films too may be missing. That means we have 711+121=832 songs. On an average of 10 songs per film the songs from these 86 films could be (86X10) 860.I had based my percentage calculation on the 832 songs mentioned above. Female solos (50%), Male (10%), MF Duets (20%), other duets, triads etc (5%) and singers name not known (15%)
In one of my earlier comments, I had mentioned that the total songs and films for 1951 will be more 1000 and 110 respectively. In my final analysis the total number of songs can be much more than 1200.
Will be back soon on Best MDs
Venkataramanji,
Hindi Film Geet Kosh lists 97 films released in 1951 which had a total of 841 songs (average of 8.67 songs per film). If we take its margin of error as 5% (generally error of omission), we are talking about 102 films and 883 songs.
Your assessment of the total number of songs is on the higher side on account of two factors: you are adding a generous margin to the number of films, and you are taking an average of ten songs per film. I think the long term average number of songs per film is a little less than 9, even taking into account the humungous numbers of ‘songs’ in early films like Indrasabha. I would hesitate to put the number beyond 900. However, the distribution between types, i.e. male solos/female solos/duets/ mixed etc. should generally be the same over 900 or 1200.
The total number is more of academic interest. Once we cull out the good/memorable songs, say about 150 in the present case, the analysis becomes worthwhile. Your analytical interest (it is far from ‘eccentricity’) is adding an important dimension to the understanding of the overall picture of the songs in a particular year.
Sharmaji,
Sorry, I did not notice your comment earlier.
Yes, initially I too thought that the uploader had made a mistake.
I am happy that you liked the song. Thank you
aenkataramanji,
Thanks for sharing beautiful Lata Sudhir Phadke duet.
Chhabi teri madhur madhur makes more sense to me, than Sudhi teri madhur madhur, as AK corrected it, it is Sudhi, but he did not give the meaning of the line, I would appreciate if any SOY member can explain it.
Venkataramanji,
I am very sorry for misspelling you name, please pardon me for my error.
Mumbaikar8,
Ref you comment #122. Here is my attempt:
सुधि तेरी मधुर मधुर प्यारे और आँसू मेरे हारे हैं
Your sweet memory is in my heart, O my love!
But my tears have lost hope
Mumbaikar8,
Thanks for your response.
Akji,
Is it Aansu mere ‘hare’ hai or Aaansu mere ‘Khare’ hai?
To my ears it sounds Khare and I believe that the meaning of Khare is pure ore genuine. Please correct me if I am wrong.
I just heard the song again, and to my ears, it is ‘Khaare’ indeed.
AK Ji,
I have a feeling that ‘Sudhi’ in this context refers to a sad memory and in Hindi/Urdu poetry, ‘Khaare Aansu’ is used when we refer to extreme sadness, borne out of bitter memories of a great tragedy or personal loss.
Venkataramanji, Sharmaji,
Yes, I heard it carefully; the word is खारे.
The word has been used as an antonym of ‘madhur’ (as in खारा पानी – ‘hard’/’saline’ water).
The only problem is that it is an odd word to be used in a poetic context. If you listen carefully, the word is never repeated again in the song, though it comes in the mukhadaa. I would have been happy with ‘haarey’. Did Narendra Sharma realise that the word does not sound too good?
Now the translation could be:
Your memory in my heart is sweet, my love!
But my tears are bitter
For a change we were discussing lyrics.
Thanks everybody and sorry for the trouble.
AK Ji,
You have very lyrically ended this query. A hidden gem like this deserved such discussion.
Akji,
My choice of best 5 music directors in order of preference for the year 1951 is as follows
1. S D Burman
2. Anil Biswas
3. Shankar-Jaikishan
4. Roshan
5. Jamal Sen
Venkataramanji,
We have come to expect detailed answers from you.
AKJi,
I had a long-drawn (self) deliberation, before I finalised my list, as was my practice. (Had I been that serious in other matters too in my life then…….hmmm) Then I started comparing it with your views and other comments. I found you have said it all in your keynote introduction under the captions ‘Musical landmarks’ and ‘Other important musical compositions’.
I thought I would turn off the wits out our readers and decided to place only the list.
AK,
Consolidating music director choice, so many music directors have their share this year I want to acknowledge as many as I can, I have divided them in groups
1 S D Burman I have given my reason for that.
2 Anil Biswas and Sajjad Husain the chachajis in one group
3 Roshan and Madan Mohan both of them promising with three movies each.
4 Naushad, Shanker Jaikishen and C Ramchandra for popular songs.
5 Jamal Sen and Shyam Sunder
Jamla Sen for significant debut and Shyam Sunder has given an outstanding album in Dholak.
I like all the songs and truly believe that not only, he gave remarkably good music but he made Sulochana Kadam sing so beautifully, had she continued singing the way she sang in Dholak she could have given run for their money to all the golden era singers including Lata and Geeta.
I have added my 5 best lyrics too.
Tadbeer se bigdi hui taqdeer bana le – Sahir
Tum na jaaney kis jahan mein kho gaye – Sahir
Dam bhar jo udhar munh phere O chanda – Shailendra
Meri yaad mein tum na aansoo bahana – Raja Menhdi Ali Khan
Bhagwan do ghadi zaraa insaan ban ke dekh – Rajendra Krishna
Mumbaikar8,
You have presented your favourite MDs in a very interesting grouping. This gives a new approach to look at this category. It would be useful when I write my Wrap-Up. Thanks a lot.
On lyrics, we have had a long discussion earlier. My offer still stands.
Best Playback Singer – Male
The first sorting, based on List of Memorable Songs, threw up Mohammad Rafi’s songs from Deedar only. However, when I have finally sat down to write down my views, I have had the benefit of further additionally distilled inputs from Shri N Venkataraman, Mohammad Rafi’s share was a good 27 % as compared to Talat Mahmood (18 %) and Mukesh (15%), which made me go for a wider search.
In that search, I did find several interesting songs by Mohammad Rafi, but only one that can cut the bar here. I would like to especially mention tow songs from Aawara – strictly not the solos – Naiya Teri Mazadhar and Pavitra Sita Mai Ko Tune Diya Vanavas. These songs seem to represent the future trend of songs in the similar genre – Male folk songs filmed other than on lead roles and so called background songs. These are the types of songs where versatility of Moahammad Rafi’s tonal variations would be play at its full variations, and make such genres as his almost exclusive domain.
I have short-listed two songs each for Mukesh, Talat Mahamood , Mohammad Rafi and Others.
Mukesh:
Ae Jaan-e-Jigar Dil Men Samane Aa Ja – Aaram – Anil Biswas
Dil Tujhe Diya Tha Rakhane Ko – Malhaar – Roshan
Talat Mahmood:
Shukriya Ae Pyaar Tera Shukriya – Aaram – Anil Biswas
Ek Main Hun Ek Meri Bekasi Ki Shaam Hai – Tarana – Anil Biswas
Mohammad Rafi:
Naseeb Tere Dar Pe Aajmaane Aaya Hun – Deedar – Naushad
Duniya Ek Kahaani Re Bhaiyaa Duniya Ek Kahani – Afasaana – Husnlal Bhagatram
[N.B. This is song another version too.]
Others:
Roun Main Sagar Ke Kinare – CH Atma – Nageena – Shanker Jaikishan
Hazaron Khwahishein Aisi ki Har Khwahish Pe Dum Nikle – G M Durrani – Ghayal – Gyan Dutt
I hereby cast my vote for Ae Jaan-e-Jigar Dil Men Samane Aa Ja – Aaram – Anil Biswas – Mukesh in this category.
Ashokji,
Thanks a lot for your detailed comments. I was interested in seeing where you place Aawara hun. One more confirmation that it can be relegated to the category of ‘Songs that became a surprise sensation’.
Best Playback Singer – Female – Other than Lata Mangeshakar :
At a first glance, Lata Mangeshakar’s dominance appears so overwhelming that one would feel that very special efforts would be called for in putting together songs by other female singers in the numbers to match those of Lata Mangeshakar.
So, I made a double check with every possible song that I could lay hand from “Memorable Songs’ as well as choices indicated by other participants in the discussion, and then superimposing these with a through check from HFGK as well.
Here is what I would like to present here:
Parul Ghosh – Aandolan – Prabhu Charanao Men Aya Pujari – Pannalal Ghosh – http://youtu.be/rq7td0uCaxc
Shamshad Begum – Awara – Ek Do Teen Aa Ja Mausam Hai Rangeen – Shanker Jaikishan – http://youtu.be/ebhLtI9EqRQ
Geeta Dutt – Baazi – Aaj Ki Raat Piya Dil Na Todo – S D Burman – http://youtu.be/i1rzBZCxJtA
Sulocahana Kadam – Bade Bhaiya – Ghadi Ghadi Dil Bhar Aaye – Premnath http://youtu.be/mUhrfvBC0TY
Sulocahana Kadam – Bade Bhaiya – Sada Khush Rahe Tu – – Premnath http://youtu.be/CeI1CoqPC_A
Shamshad Begum – Bahaar – Duniya Ka Mazaa Le Lo – S D Burman – http://youtu.be/FwtZv6Jd_hc
Sulochana Kadam – Damaad – Dil Mera Chain Na Paye – Shami – http://youtu.be/ytIaoxEGOXo
Rajkumari – Badi Bahoo – Ramayya Bin Neend Na Aaye – Anil Biswas – http://youtu.be/2e2pYcov0H4
Suraiya – Do Sitare – Ho Mere Dil Ki Dhadkan Men Yeh Kaun Sama Gaya – Anil Biswas – http://youtu.be/ZWWJX9N09Zg
Amirbai Karnataki – Ghaayal – Yeh Nazarein Yeh Nazarein Milakar Bachana To Dekho – Gyan Dutt – http://youtu.be/JbBO0RHukiM
Asha Bhosle – Ghazab –Nazar Mila Ke Muska Ke – Nisar Bazmi – http://youtu.be/GlZgqswXJTE
Rajkumari – Hulchul – Koi Kis Tarah Raz Ulfat Ke Chhipaye – http://youtu.be/j1Ki0NmsJUI
Sulochana Kadam – Mukhadaa – Akhiyaan Milake Akhiyon Ki Neend Chura Ke Na Ja – Shyam Sunder – http://youtu.be/RIgOb_3_s9c
Shamshad Begum – Saiyaan – Meri Jaan Muhabbat Karo Chupke Chupke – Sajjad Hussain – http://youtu.be/pPxrg3abmaM
Suraiya – Shokhiyan – Raaton Ki Neend Chheen Li – Jamal Sen – http://youtu.be/vDGNNlqXSTg
Sandhya Mukherjee – Sazaa – Ye Baat Koi Samazae Re – S D Burman – http://youtu.be/ROsV3Gkh28g
One can probably feel that most of the songs here have been forcefully fitted here. Well, that does seem to be the case. How can we afford not to meaningfully look at other than 40 % space that is occupied by Lata Mangeshkar ? In the 60 % of the space that is occupied by female singers other than Lata Mangeshkar, only Geeta Dutt (Baazi) and Shamshad Begum (songs of Bahar and one song from Awara) are in some sort of competition with Lata Mangeshkar songs in 1951.
Does this mean Lata Mangeshkar has occupied first slot in a manner where other filmmakers or music directors could no more afford (her the then price or livability of her time) ? Or is it that there are some vocal slots which Lata Mangeshkar could not measure upto (as in Baazi or Bahar or Awara songs) necessitating falling back on the best available option for such demands – the gap which Asha Bhosle seems to have exploited well in the future and created a respectable space so as to maintain a healthy duopoly ?
Ashokji,
I have to first thank you for really going beyond my list and give a wider list. My list covered almost all the songs, which can be considered memorable. Therefore, you are right, I would not like to include any song that seems laboured. Fortunately, 1951 was an year when singers other than Lata gave a number of absolutely memorable songs, and it is easy to find ten very good songs from the list, without appearing forced. Since it is very difficult to include and compare Lata with other singers, some readers suggested that I do the female solos in two parts.
Interesting question you have posed about Lata vis-à-vis other singers. It must be a combination of reasons: (i) Diversity – Some music directors, such as SD Burman, were very versatile with all kinds of singers. Plus, there could be situations demanding different style of singing; (ii) The Vintage Era singers still being in top form – As the songs of Rajkumari, Zeenat Begum, Shamshad Begum, Suraiya in the year show, there was no fundamental decline in their singing, and, therefore, some MDs would use them in the natural course; (iii) Necessity – It might be physically impossible for one singer to cope up with the entire demand; (iv) Need to create competition – The power equation was soon changing between MDs and Lata Mangeshkar, and this created an uncomfortable situation. Therefore, the MDs would deliberately use other singers to deter supply monopoly.
Best Playback Singer – Lata Mangeshkar’s Top Notch Songs
The task of selecting 10 songs may be a bit difficult, so I would list one song for a film, and then choose one of those as my favorite song. BTW, that also had turned out to be tough enough task, since there are quite a few films where there are more than one Lata Mangeshkar songs that can easily find place here.
Her we go:
Anil Biswas – Aaraam – Balamawa Naadan..Balamawa Ja Ja Ja
Anil Biswas – Badi Bahoo – Badli Teri Nazar To Nazare Badal Gaye
Anil Biswas – Tarana – Beimaan Tore Nainwa Nindiya Na Aaye
Shanker Jaikishan – Awara – Jab Se Balam Ghar Aaye
Shanker Jaikishan – Baadal – Do Din Ke Liye Mehamaan Yahan
Shanker Jaikishan – Kaali Ghata – Humse Na Poochho Koi Pyar Kya Hai
Shanker Jaikishan – Nageena – Tune Haaye Mer Zakhm-e-Jigar Ko Chhoo Liya
Madan Mohan – Adaa – Sanwari Surat Man Bhaayi Re Piya
C Ramachandra – Albela – Balama Badaa Naadan Re
S D Burman – Buzdil – Jhan Jhan Jhan Jhan Payal Baje
S D Burman – Sazaa – Tum Na Jaaney Kis Jahan Men Kho Gaye
S D Burman – Naujawan – Thandi Hawayen Laharaa Ke Aayen
Naushad – Deedar – Duniyane Teri Duniyawale, Sukhchain Hamar Chhin Liya
Naushad – Jadoo – Gin Gin Taarey Main Haar Gayi Raat Ko
Sajjad Hussain – Sainyaan – Khayalon Men Tum Ho
Sajjad Hussain – Hulchul – Ek Jhoothi Si Tasalli Wo Mujhe De Ke Chale
Roshan – Hum Log – Bahe Ankhiyon Se Dhar Jiya Mera Bequarar
Roshan – Malhaar – Garajat Barsat Bheejat
Jamal Sen – Shokhiyan – Sapan Ban Saajan Aaye
The task of choosing one out of these songs is still monumental! So, Let me apply the filter that I used to apply, when I used to buy records. I would have budget of buying only one Extended Play record a month or one Long Play every three months. So I would choose that recotrd which had a song which could be listened on the radio bery rarely. On that day, I had toss up between a Super EP ( nine songs) containing likes of Saanwari Surat Man Bhaayi and Beimaan Tore Nainwa and few others versus EP of Nageena, containing Tune Haye Re …
I would roll the dice on the same ‘rule’ and chose Tune Haye Mere Zakhm –e – Jigar Ko Chhoo Liya – http://youtu.be/L9UMvPA7ZG8 – (Nageena – Shanker Jaikishan) as my most favorite among Best Female Singer – Lata Mangeshakr – song for 1951.
Of course, Khoosiyon Ke Din Manayae Ja .. Abhi To Main Jawan Hun – http://youtu.be/8XwHDrnkfYU – Afsaana – composed by Husnlal- Bhagatram would require a classification by itself.
Ashokji,
You have done a thorough exercise again, but the criteria you have chosen for the final winner is very unusual! By whatever means you arrive at, Abhi to main jawan hun is a class by itself.
Best Duet: Other Than Mohammad Rafi + Duets.
A detailed look at the duets available in 1951 also reveals quite interesting trends. Hence, I have, once again, chosen to go beyond the brief and presented here a wider base of selection.
The first and foremost, and also so obvious, observation is substantive dominance of duets, in which one singer is Mohammad Rafi. Among these, Mohammad Rafi + Lata Mangeshakr duets form the biggest block.
Hence, we first take a look at Other Than Mohammad Rafi + Duets.
Here is one of the most outstanding chorus- and also one of the most prominent versions of Bankimchandra Chattopadhyay’s iconic song Vande Mataram :
Sudha Malhotra, Parul Ghosh, Manna Dey, Shaliesh Kumar and chorus – Aandolan – Pannalal Ghosh – Vande Mataram – http://youtu.be/RWhJegS_X2M
We also have two of very well known all female duets :
Shamshad Begum / Lata Mangeshkar – Deedar – Naushad – Bachpan Ke Din Bhoola Na Dena – http://youtu.be/dvmCyPZrrUA
Sandhya Mukherjee / Lata Mangeshkar – Taraana – Anil Bishwas – Bol Papihe Bol, Kaun Tera Chitchor – http://youtu.be/tx9ef1k3l3o
For the rest of the songs I have restricted the selection to one song a film, where more than one song also would have qualified.
GM Durrani + appear in several duets songs, many of which do not seem to have crossed the magic line of popularity. But, the fact remains that in other than Mohammad Rafi, Mukesh and Talat Mahmood + subset duet zone, G M Durrani has quite respectable numbers.
G M Durrani / Shamshad Begum – Deedar – Naushad – Nazar Na Phero Hum Se, Hum Hai Tum Par Maranewalon Mein – http://youtu.be/F59isyJfYA4
G M Durrani / Shamshad Begum – Ek Tha Ladka – Murari – Dil Poochhe Tumse Baat, Balma Tun Kahe Do Hum Se Saaf
G M Durrani / Shamshad Begum – Ek Tha Ladka – Raj Hans Kataria– Ek Din Tumne Kaha Tha, Hum Tumhare Aur Tum Hamare – http://youtu.be/BG_5UCWHg-g
G M Durrani /Lata Mangeshkar, Chorus – Hum Log – Roshan – Gaaye Chala Jaa,… Ek Din Tera Zamana Aayega – http://youtu.be/5QqaGAF5YS0
One can appreciate Kisore Kumar’s playfulness fully scaling up in SDB song, but song under Chitragupt baton is a good surprise! Remember we are in 1951, when Chitragupt has not yet carved out his niche….:
Kishore Kumar / Shamshad Begum – Bahaar – S D Burman – Qusoor Aapka, Huzoor Aapka – http://youtu.be/Ixo4_nWDmM4 –
Kishore Kumar / Shamshad Begum – Hamari Shaan – Chitragupt – Aayi Bahar Hai, Hum Bequarar Hai, Kaisi Musibat Hai – http://youtu.be/8CJ40ZLuEkc
Talat Mahmood / Geeta Dutt maintain pairing (in Sabistaan) even when music directors have changed:
Talat Mahmood / Geeta Dutt – Sabistaan – C Ramchandra – Kaho Ek Baar Mujhe Tum Se Pyar Hai – http://youtu.be/bssIC021pjQ
Talat Mahmood / Geeta Dutt – Sabistaan – Madan Mohan – Hai Yeh Mausam-e-Bahaar, Sun Ja Jawani Ki Pukar – http://youtu.be/npEGOnv74qQ
Talat Mahmood /Lata Mangeshkar combination blaze the trail (and stand up to some of the greatest Mukesh/ Lata Mangeshakr duets)
Talat Mahmood / Lata Mangeshkar – Buzdil – S D Burman – Dar Laage Duniya Se Balama Ho – http://youtu.be/dsGUR2EcEHY
Talat Mahmood / Lata Mangeshkar – Sazaa – S D Burman – Aaja Tera Inzaar Hai – http://youtu.be/5d10HMovifo
Talat Mahmood/ Lata Mangeshkar – Sagai – C Ramchandra – Mohabbat Mein Aise Zamaaney Bhi Aaye – http://youtu.be/XeKcHUE_S-A
Talat Mahmood / Lata Mangeshkar – Taraana – Anil Bishwas – Nain Mile Nain Hue Banware – http://youtu.be/tw_eXsG9fVU
Talat Mahmood / Lata Mangeshkar – Taraana – Anil Bishwas – Seene Mein Sulagate Hain Armaan – http://youtu.be/02z9rfDmmeU
Interestingly Mukesh is also paired with Geeta Dutt, in the duets other than those with Lata Mangeshakar.
Mukesh / Geeta Dutt – Pyar Ki Baaten – Bulo C Rani – Mast Chandani Zoom Rahi Hai, Naach Rahi Hai, Mastii Ki Barsaat Hai http://youtu.be/kq-3uxJ3Ca0
Mukesh / Geeta Dutt – Pyar ke Baaten – Bulo C Rani – Aansoo Bahao Tum Udhar, Hum Is Taraf Aahen Bhare – http://youtu.be/HyinRZaDlG0
Mukesh / Lata Mangeshkar duets cast their usual charm:
Mukesh / Lata Mangeshkar – Awara – Shanker Jaikishan – Dum Bhar Jo Idhar Mounh Fere – http://youtu.be/ubQPOa6BrME
Mukesh / Lata Mangeshkar – Baadal – Shanker Jaikishan – Ae Dil Na Mujhse Chhoopa – http://youtu.be/RJzKdyUfLIQ
Mukesh / Lata Mangeshkar – Badi Bahoo – Anil Bishwas – Kaahe Nainon Men Kajra Bharo – http://youtu.be/JBPI1BIIQ_8
But three duets from Malhar, not only would force entry into any sets of filters – they are so different, and yet each one has its own aura of appeal. Whenever Roshan and Mukesh have collaborated, Hindi Film Music has been the greatest gainer…..
Mukesh / Lata Mangeshkar – Malhar – Roshan – Bade Armaanon Se Rakhaa Hai Balam, Teri Kasam – http://youtu.be/JBPI1BIIQ_8
Mukesh / Lata Mangeshkar – Malhar – Roshan – Ek Baar Agar Tu Kah De – http://youtu.be/qILcLrRe6EI
Mukesh / Lata Mangeshkar – Malhar – Roshan – Kahaan Ho Tum Jara Aawaz Do Hum Yaad Karate Hain – http://youtu.be/laFtM0BqKCw
In the also ran category, duet from Sazaa would break any barrier and qualify in the top rung, in almost any sort of classifications:
Hemant Kumar / Sandhya Mukherjee – Sazaa – S D Burman – Aa Gup Chup Gup Chup Pyar Karein – http://youtu.be/JaqlQsVq5hU
Khan Mastana / Asha Bhosle – Gazab – Nissar Bazmi – Tere Karan Sab Ko Chhoda, Preet Nibhana Ho – http://youtu.be/l52Fr2xx9lM
Ashokji,
You have put everything in one place. Are you discarding Chitalkar-Lata Mangeshkar duets?
Among the songs you have taken from outside my list, Vande Maataram from Aandolan is very melodious. Talat Mahmood-Geeta Duat’s Hai ye mausam-e-bahaar from Shabistan and Mukesh-Geeta Dutt’s Aansoo bahaao tum udhar from Pyar Ki Baatein are also excellent. Thanks a lot for adding these songs.
Best Duet: Mohammad Rafi+ Duets – Other Than Mohammad Rafi / Lata Mangeshkar.
Mohammad Rafi+ duets more or less follow the pattern of distribution of male playback singer solo songs, in so far as the quantitative stack up is concerned. In fact the universe of such songs is vast enough to further split this category in to Duets of Mohammad Rafi – with Others and Mohammad Rafi duets with Lata Mangeshkar
Mohammad Rafi seems to have built roads with quite a wide range of music directors. He already seems to have found the formula for his range, temperament and natural aptitude to blend with the co-singer, thereby creating a distinct synergy with the co-singer.
Mohammad Rafi / Amirbai Karnataki – Bikhre Moti – Ghulam Mohammad – Ansoo Thi Meri Zindagi – http://youtu.be/OAdvqfoaWAE
Mohammad Rafi / Sulochana Kadam – Dashavatar – Avinash Vyas – Khel Re Khilone Teri Kaya Aani Jaani Re – http://youtu.be/doQpgbf1UFI
Mohammad Rafi / Geeta Dutt – Hamari Shaan – Chitragupt – Ye Taaron Bhari Raat, Humen Yaad Rahegi – http://youtu.be/duLAHY8hAdc
Mohammad Rafi / Geeta Dutt, Chorus – Naujawan – S D Burman – Jhara Zoom Le Zoom Le, Jawani Ka Hai Jamana Suhaana – http://youtu.be/X1F5OeyJ_Kc
Mohammad Rafi / Asha Bhosle -Mukhada – Vinod – Jaa Teri Meri, Meri Teri, Too Too Too, Kyon Dekhate Ho – http://youtu.be/LJgWFu4hdJc
Mohammad Rafi / Asha Bhosle – Jauhari – Pandit Harnbans Lal – Kismat Ka Sun Faisla, Jab Lagi Chot Pe Chot – http://youtu.be/ncpV3IkwQgA
Mohammad Rafi / Asha Bhosle – Sabz Baag – Vinod – Apani Tasveer Se Kahe do, Humein Dekha Na Kare – http://youtu.be/dtvEgdhV3xU
Mohammad Rafi / Shamshad Begum – Naazneen – Ghulam Mohammad – Hum Teeri Ri….Nakharen Dikhala Ke Dil Le Liya – http://youtu.be/wPg3cur0UFM
Mohammad Rafi/ Suraiya – Sanam – Husnlal Bhagatram – O Sanam… Tuzko Pookarun O Sanam http://youtu.be/QiDGnCxH78c
Ashokji,
You have some knack for micro-analysis! Who could have thought that duets could be dissected in three parts – non Rafi duets, Rafi with ‘other’ singers, and now you are to come up with Rafi-Lata Mangeshkar duets?
From your list I have put Khel re khilaune in ‘Special’ songs. Aansoo thi meri zindagi and Tujhko pukaarun sanam sanam are there in my list. Among the other songs you have added, Apni tasveer se kah do and Ye taaron bhari raat are quite pleasant to hear. Thanks a lot for adding these songs. Looking forward to your further instalments.
I have been absent from SOY due to various reasons.
There was a discussion about meaning of the word ‘sudhi’ in the song ‘sudhi teri madhur-2’ (maalati maadhav). The meaning given by AK in the end is correct. Since I know some Hindi so I would like to explain things to supplement it.
‘Sudhi’ is written in Hindi in two forms one with short vowel ‘i’ and another with long vowel ‘ee’. The basic meaning of ‘sudhi’ with short vowel is memory, with many other meanings derived from the same. ‘Sudhi’ is also written as ‘sudh’ which also has the same meaning i.e. memory. This was used in the famous classic song by Lata ‘laage na mora jiya’ (ghoonghat – music Ravi). The word ‘sudh’ comes in the second antara, ‘tune meri sudh bisraai, bedardi tohe laaj na aayi’. The second word ‘sudhee’ with long vowel has the same meaning which was referred to by Venkatramanji in his post no. 116. It has the same meaning ‘a wise person’ in Hindi as in Bengali.
Narendra Sharma was a great poet and understood all this nuances and made use of this word very intelligently in the song. He has shown the contrast in the whole mukhda with intelligent use of words. The song is a ‘virah’ song where the heroine is remembering her lover and feeling sad. He shows the contrast in the first line where he says the memory is sweet but the tears which are flowing are khare (he refers to khare because the tears are saline in taste). In the second line also he shows the contrast when he says ‘nainon se bahe jal ki dhara, man men mere angarey hain’. What meaningful words.
Where are these poets and shayars now. Narendra Sharma was one of the poets who predominantly used hindi words in those days of urdu dominance. Bharat Vyas, Neeraj and later on Indeevar were the other prominent lyricists using hindi as base. Has anybody noticed that the renowned urdu lyricist Sahir Ludhianvi provided lyrics in pure Hindi for all the songs of the 1964 film Chitralekha (music by Roshan), which was based on the story of the classic novel of the same name by Bhagwati Charan Verma.
Hans ji,
Thanks, for the detailed clarification of the song, Narendra Sharma did provide some very good peotry in HFM I was mesmerized by his choice of words in “Nian diwane ek nahin mane”.
Good poetry and shayri is thing of the past, the young generation I suppose does not have time to comprehend and enjoy the nuances.
Best Duet: Mohammad Rafi / Lata Mangeshkar Duets.
The Mohammad Rafi / Lata Mangeshkar duets, here, easily establish the complete trend that we will witness in the future – each of the players tends to scale a different height, jointly and severally, with the support and healthy competition arising from the natural differences; music directors getting full play of the scale, rhythm and tone, by being able to synthesize male and female voice, thereby creating duet songs that match melody and quality of a solo; listeners getting sharply divided in to pro-Lata and pro-Rafi camps as they get to make direct comparison at one place, etc.
The songs here can be extrapolated into future, both quantitatively and qualitatively, in terms of the scale at which these two personalities shall straddle over the Hindi Film Music in the company of a new breed of music directors like Roshan, Madan Mohan, Ravi, Khayyam, OP Nayyar and the like, till the advent of that Aradhana event, barring some period of the mutual estrangement.
Mohammad Rafi / Lata Mangeshakr – Daaman – K Datta – Yaad Aane Lagi Dil Dukhane Lagi – http://youtu.be/od5aS-vEj6Q
Mohammad Rafi / Lata Mangeshkar – Deedar – Naushad – Dekh Liya Maine, Kismat Ka Tamaashaa Dekh Liya – http://youtu.be/tJUQSG38KPU
Mohammad Rafi / Lata Mangeshkar – Dholak – Shyam Sunder – Aise Rasiya Ka Kya Aitbar – http://youtu.be/jz8ljFCa_cU
Mohammad Rafi / Lata Mangeshkar – Dholak – Shyam Sunder – Ki Ek Pal Ruk Jaana Sarakar – http://youtu.be/GSsTbZO5hwo
Mohammad Rafi / Lata Mangeshkar – Ek Nazar – S D Burman – Mujhe Preet Nagariya Jaana Hai, Koi Hai Jo Rasta Batalaa De http://youtu.be/LE_9k8-bzlE
Mohammad Rafi / Lata Mangeshkar – Hulchul – Mohammad Shafi – Preet Jata Ke Meet Bana Ke Bhool Na Janaa – http://youtu.be/gUkjtM4hD64
Mohammad Rafi / Lata Mangeshkar – Kaali Ghata – Shanker Jaikishan – Kaali Ghata Ghir Aayee Re – http://youtu.be/VbFOpbubBho
Mohammad Rafi / Lata Mangeshkar – Kaali Ghata – Shanker Jaikishan – Madhur Milan Hai Sajana – http://youtu.be/rABn9nj180Y
Mohammad Rafi / Lata Mangeshkar – Khazaana – C Ramachandra – Mujhe Tum Se Bahoot Hai Pyaar, Nahin Jee Jara Jara – http://youtu.be/2wYVHqzsVVk
Mohammad Rafi / Lata Mangeshakar – Nadaan – Chic Choclate – Aisa Kya Qasoor Kiya – http://youtu.be/xn2o5BfCpqc
Mohammad Rafi/ Lata Mangeshkar / Geeta Dutt – Nakharen – Hans Raj Behl – Humne Bhi Pyar Kiya, Pyar Kiya – http://youtu.be/_e8SrvPRpr4
Mohammad Rafi / Lata Mangeshakar – Sagaai – C Ramchandra – Udahr Se Tum Chale Aur Idhar Se Hum, Mohabbat Ho Gai Bas Ek Nazar Se – http://youtu.be/8-DM0EFxPnY
Mohammad Rafi/ Lata Mangeskar / Chitalkar – Sagaai – C Ramchandra – Jhukati Hai Duniya, Jhukanewala Chaahiye – http://youtu.be/KZEr5Rjz9g8
Mohammad Rafi / Lata Mangeshakr – Sabz Baag – Vinod – Jo Koochh Kahena Hai Ishaaron Se Kahenge Hum – http://youtu.be/pUqNRmzeOyY
Mohammad Rafi / Lata Mangeshkar – Stage – Husnlal Bhagatram – Dil Le Ke Dil Diya Hai, Ehasaan Kya Kiya Hai – http://youtu.be/XAPei6D5oR0
Mohammad Rafi / Lata Mangeshkar – Ustad Pedro – C Ramchandra – Duniyawalo Hosh Sambhalo – http://youtu.be/TnXrZ4dP4ww
Personally, my most favorite song among all these duets is Taraana’ Talat Mahmood + Lata Mangeshkar duet – Nain Mile Nain Hue Baanware.
Best music director:
If we pick up first five music directors on the basis of their share, either on the basis of number of films or number of songs in the year 1951, S D Burman, Shanker Jaikishan, Anil Biswas and C Ramchandra would get selected in the first round itself. The contest for the fifth slot would be matter of photo-finish among Roshan, Naushad, Madan Mohan or Husnlal Bhagatram.
So, I would like to add an additional filter – number of songs that attained popularity (too) / out of the total songs composed. S D Burman scores 32 out of 47 (6 films), Shanker Jaikishan scores 28 songs out of 35 (4 films), Anil Biswas scores 12 out of 25 (3 films), Roshan scores 13 out 17 songs in 2 films. C Ramachandra could have gatecrashed into this club even if there was only Albela.
In an apparently non – A class film, C Rramachandra has, in one clean sweep of a baton, juxtaposed the record-breaking rocking duet songs – Shola Jo Bhadake Dil Mera Dhadake, Sham Dhale Khdiki Tale, Bholi Surat Dil Ke Khote, Deewana Parwana Shama Pe Le Aaya Dil Ka Nazrana – with superlatively sweet melodies – Balma Bada Naadan Re, Dil Dhadake Nazar Sharmaaye and Dheere Se Aa Ja Ri Akhiyan Mein. If the duets kept cash registers ringing in one of the greatest commercial success of its time, Lata Mangeshkar solos satisfied the appetite of the elite connoisseurs with as much composure as any of the best of Anil Biswas or SDB or Roshan or Madan Mohan song in the class would do.
If performance of any one single film has to be taken as the consideration, than the choice is a toss among S D Burman (Baazi), Shanker Jaikishan (Awara), Roshan (Malhaar), Naushad (Deedar) or C Ramchandra (Albela).
Ashokji,
Thanks a lot for your analysis. I would have to take a mix of parameters.
AK,
We had six songs from Sagai in our winner’s list, we still
missed this duet.
Try to listen to it more than once and see how it grows.
https://m.youtube.com/watch?v=vYk6DGNEMCA
Mumbaikar8,
Good song, but I would put ignored after the six.
Mumbaikar8,
Good song, but I would put it after the six.
Dear AK ji, for 1951 best songs, 1 very beautiful and unusual melody structure is “Kaali Kaali Raat Ye Bada Sataaye from Sainyan in 1951″ by Sajjad Hussein..this is an amazing song, and in my view is the best song in 1951, although SJ,Madanmohan,Roshan, SDB etc are all my favourites.
I’ve been searching for a non-filmi song by Talat Mahmood that I can’t seem to find anywhere though I remember it from having heard it 2-3 decades ago. I have a good ear for lyrics and the words and tune are stuck in my memory. Does anyone have this song or can find it?
O mujhe bhulane wale
Teri yaad mita bhi sakta hoon
Main tujhe bhula bhi sakta hoon
Imran,
Welcome to Songs Of Yore. I hope someone on this forum is able to find what you are looking for.
Imran,
I have enquired about your query from a knowledgeable person Arunkumar Deshmukh. Arun ji has sent me this information:
“I have a complete list of All Talat songs, with details, as given in a book on Talat Mehmood.
In this book entry no.541 says about this song ‘rendered but not recorded’. It has no other details about the writer or composer etc.
Maybe this was taped by some A.I.R. station during the period 40’s to the 60’s.
Enquiries may be made with those who buy the taped lot of songs sold by the A.I.R.stations from time to time.
One such collector could be Syed Zafar Shah. You may be knowing him.”