Best songs of 1955: And the winners are!

AK ji,
The film which you have mentioned(as shown in IMDB),”Dev Ananad in Goa” had this name BEFORE it was completed.The name was later changed to “FARAAR”,on the insistence of Dev Anand himself.The film was presented to censors as Faraar and got passed in May 1955.It was a film of Unique Pictures,Bombay,directed by Phani Mujumdar.
Except IMDB,everywhere else it is referred to as Faraar only.
Info from IMDB is sometimes very casual,hence it has to be corroborated many times for correctness.
-Arunkumar Deshmukh

Dear AK,
Thanks for your acknowledgement to me as idea generator behind this post. Dear AK, although your compliment is flattering, the credit for this wonderfully researched post is entirely yours. And I mean every word of it. You have done a great justice to this subject. Hats off to you. However, I share the sentiments [absolutely correct ones] of Shri Arunkumar Deshmukh.
As for the choice of the awards, allow me to chew over the exhaustive list before I say something. Although, I must admit, that out of the exhaustive list of considered Greats and considered Not so great…I am tempted more towards the Dark Horses and their compositions.
More about it later. Until then, thanks once again for this wonderful post that will compel me to think over the list more with better attention.
Thanks and Regards – KRV

This is result of an indeed a great effort and should go a long way in re-kindling a very intersting and intensive debate, which in turn can bring in good deal of information, too.
The least that can happen is that the readers can re-live those years and /or songs. To those who would re-live years, this could be a very nostalgia, whereas those who re-live the songs [ probably quite young generation] may throw up a very intersting pattern of the favourties.
Congratulations for a novel and painstaking effort.
Is there a time-limit to respond?

After several intensive readings of the post, and equal number of pensive time-ins, I would take on the arduous task of selection. The readers who have also aged along with these vintages do need to have a very strong heart, since anything slightly less can not possibly bear the strain of this excitement.

Nominations:Best Music Director: All the movies which appear in this list would certainly have missed a few marks in their overall value, if the music score of each one would not have been what it was. Each one must have certainly tested the guts, nerve and creative genius of the music directors concerned, because the scores have done full justice to the spirit of the film first, and then put on the customary stamp of music director’s tell-tale identification. Each of the score is a masterpiece of the musical rainbow [where one sees some ultraviolet and some infra red as well!!]

1. S D Burman – Devdas [Over and above one of the greats ever of Talat solos, and an epochal Mubarak Begum ‘kotha’ number, SD has excelled in Lata in Ab aage teri marzi and Jise tu qabool kar le. Do observe the difference in the two pure ‘dance songs’ -Wo na ayenge palat ke and Ab aage teri marzi in terms of the mood each one has quintessentially created.]

2. Shankar Jaikishan – Seema [SJ probably could have easily entered this list only on the strength of any one of Tu pyar ka sagar hai – Manna Dey orKahan jar aha hai tu ai janewale – Rafi or Manmohna bade jhoothe – Lata Mangeshkar. But it would certainly belittle their effort if we do not take independent cognisance of their use of [The] Ustad Ali Akbar Kan Saheb for playing Sarod [ in fact of the fact they chose to use Sarod is in itself a big plus] for Suno chhoti si gudiya ki lambi kahani – Lata Mangeshkar and such pathos –genic Tumhare Hain Tum Se Daya Mangate Hai – Rafi and Chorus [as well as for retaining the typical instruments usually deployed by such singing teams in reality].

3. Shankar Jaikishan – Shree 420 [The musical score has not only lifted this Chaplenese parody on life to the height of RK’s Top Five and placed it on the Hindi Film Immortals, it has given Hindi Film Music some of the eternal Bests – Pyar hua iqrar hua – Manna Dey and Lata Mangeshakr, Mera joota hai Japani – Mukesh, Dil ka haal sune dilwala – Manna Dey & others and Ramaiya vastavaiya – Rafi, Mukesh, Lata Mangeshkar & others. SJ have used Manna Dey so masterfully, that but for Mera Juta Hai Japani, Mukesh’s monopoly as Raj Kapoor’s voice may have met child death!They were to repeat this in Chori Chori too. It is said that Mukesh was busy with his own productions in those days.]

4. Vasant Desai – Janak Janak Payal Baaje [If Shantaram started his trend of depending solely on his sets, dances, music, etc. for his mega-experiments, Vasant Desai matched in blending melody, classical raags, and mood for the high bench-mark for pure Musicals in Hindi Cinema..]

5. Yasmin – C Ramchandra [C Ramachandra is at his one of the melodious best here. Also, we find songs – Bechain nazar betab zigar – Talat Mahmood ,Mujhpe ilzam-e-bewafai hai – Lata Mangeshkar , Tum apni yaad bhi dil se bhula dete to achcha tha – Talat Mahmood and Lata Mangeshkar – that have found an irrevocable space in the Ever Best in the respective category.]

I am left with no heart for choosing one from these!!??
And I am still itching to vent my exploding emotions on the other categories……………….

Talking about Vasant Desai, like me, many might have observed that Meera bhajans in films have rarely had better composer than Vasant desai (Jhanak Jhanak Payal Baaje, Toofan aur Diya) except Roshan who gave Aeri main to prem diwani mera.. in Naubahar.

Dear AKji,
Your very considerate view of my rather verbose observations has ceratinly emboldened me for presenting my further bubbling thoughts on the subject.

So here we go on to Best Male Playback Singer for the year 1955 for SongsOfYore Awards:

Choosing Best Male Playback singer also seems to be an arduous tasks of straining my grey cells [as it is not used so much of work] and machine-drying [my usual lack of] emotions. At the very bottom of my heart, I am no doubt a stout Rafi fan – particularly when a push comes to that eventual shove. But for that matter, I am [no perjury intended] equally strong follower of Manna Dey and Talat Mahmood. Of course, the Rafi songs in this 1955 list do not appear to be his unanimously Greats Ever, but they are by no means a disparaging competition here.
My Nominations for Best Male Playback Singer:

1. Talat Mahmood – Mitwa lagi re ye kaisi anbujh aag – The other solo form this film – Kisko khabar thi kisko yakeen tha – Talat Mahmood – is perhaps having only one mood – deep melancholy, almost a doused aag, whereas this song has, as musical score, succeeded in capturing the mood of pathos blended with a lurking anbujh aag of faint hope of possibility of seeing the beloved one, at least, once more, and that unfulfilled love of the lifetime. There can be no questions for SD to have chosen Talat for these numbers.

2. Manna Dey – Tu pyar ka sagar hai – Manna Dey is all sublime befitting the situation of the song – a prayer – and still touches the heights of soft ‘bulandi’ to be able to rouse the sunken human spirit of the targeted mentally unstable Seema. Even if we do allocate the due credits to SJ – for the composition and Shailendra – for so touching poetry, Manna Dey is still left with a huge credit to his own account as singer- the emotional listeners would find a sagar of emotions and the puritans can find gems of technical virtuosity in his measured ascendancy of scale.

3. Rafi – O door ke musafir mujhko bhi sath le le – This is best example of the type of songs which were possibly so composed because Rafi was to render it [and he would put in his extra special efforts, too]or the type of songs the composer preferred someone else to sing but had to ultimately invite Rafi, as only Rafi could to justice to his composition in totality. This is one of my personal favourites – among all songs as well as among Rafi songs.
[I have read somewhere that Hemantda originally had thought of singing Hum Laaye Hain Kasti Sambhal ke – Jaagriti himself, but had to ultimately fall back on the width of Rafi’s range of scale to enliven Utho Chhalang maar ke aakash ko chhoo lo.]

4. Rafi – Kahan ja raha hai tu ai janewale – If someone calls back me passionately, I would have turned back even before the first line was over and then would have raptly listened to the rest of song and would have simply wept till my heart would have emptied out.

5. Talat Mahmood – Teri zulfon se pyar kaun kare – Jaidev has composed this song that shade silkier in tone and a shade more pathetic in mood than the competing Tasweer banata hun tasweer nahi banti from Baradari. And possibly because of that extra, that Tasweer banata hun tasweer nahi banti enabled to be more popular, because one can sing it that little easily.

In order to finally choose one among these FIVE personally equal favourites, I would choose an exotic measure – Manna Dey , by that stoke of chance cause, appears only once in this list today.

So let crown be the company to the song Tu pyar ka sagar hai by Manna Dey..

AK, wow! That’s some chore you have set us! I’ll sit this one out, I think, at least for now,a nd wait for the results to come in. (Feeling nauseous and dizzy from the after-effects of a mini surgery; brain cells are either non-existent or refuse to work.)

ps: I appreciated your advice.

Shri AKji,
You have enriched the already worthy-to-preserved – treasure original post, by adding-on these five clips.
The description attached to the video clip of Rimjhim jhimjhim jhim badarwa barse by Lata Mangeshkar from Tangewali has remebered the original benagali version of the song – “Zir ZIr borosai ” of the flim “pasar bari” , which I could not locate. Listening to the original bengali versions of some of the great hindi songs by SDB, Salil Chaudhary and Hement Kumar has always been a bonus.

And now, my own views on Best Duet of 1955 for SongsOfYore Awards:

The number of duets and quality of each one, from amongst the duets available in 1955, which I have selected in this list of Top 5 Duets has a couple of pre-meditated filters applied. The first one is that I have eliminated tonga songs. One reason is that there are as many as 3; all rendered by a different duo and by different music director. Second reason is that in this manner I can create somewhat of a comfort of possibly making the selection somewhat easier. The second filter that I have chosen to apply is to pick up only one duet from a film, if it has more than one.
That would enable me to pick up following 5 as my Top Favorites:

1. Kitna haseen hai mausam – Chitalkar and Lata Mangeshkar
2. Muskurati hui chandni – Hemant Kumar and Lata Mangeshkar
3. Bhula nahi dena ji bhula nahi dena – Rafi and Lata Mangeshkar
4. Nain se nain nahi milao – Hemant Kumar and Lata Mangeshkar
5. Idhar tum haseen ho udhar dil jawan hai – Rafi and Geeta Dutt
6. Pyar hua iqrar hua – Manna Dey and Lata Mangeshakr

Oh no, even then I have landed up with SIX. So let me apply a third filter of choosing only one song per pair. Well, I am indeed pained to drop off Muskurati hui chandni in favor of Nain se nain nahi milao, both rendered by Hemant Kumar and Lata Mangeshkar. I think Nain se nain nahi milao was relatively more popular then and has more following even now.
By the same standard, Pyar hua iqrar hua by Manna Dey and Lata Mangeshakar seems to be more eligible to take on the crown of Best Duet of 1955 for SongsOfYore Awards. I do visualize as huge disagreements and as strong agreements, but isn’t it better that we have choicest of choices then and even now.

And here are those three tonga songs – to enjoy the spirited rides so romantically:
Piya piya piya mera jiya pukare – Kishore Kumar and Asha Bhosle
Halke halke chalo sanwre – Hemant Kumar and Lata Mangeshkar
Rafi & Asha – Jab Liya Haath Mein Haath – Vachan [1955]

Incidentally, Salil Chaudhary has given us two equally melodious Hemant- Lata duets: one is again a song while riding, this time, a bicycle – Sanware salone aaye din bahar ke from Ek Hi Rasta whereas the other one – Jhir jhir jhir jhir badariya barse from Parivar – a class in itself among not only all times duets but also among all time rain songs, also so tellingly presented by Shri AKji in his bonus add-on.

Yes, you unanimously guessed it right – my personal favourites.

BTW, I would gravitate to choosing Vasant Desai for his Janak Janak Payal Baje score to be coronated as Best Music Director. The reason being that all things being equal, the music lent that edge to the movie !

That is a good idea not to post the winners as such but just to post the summary of the present situation. I like it!
I agree completely with your idea .
Somehow I am sad that there would be no category for best lyrics, but on the other hand I am glad as well, because the nominations would have taken long time. I agree with your opinion on that.

Dear AK,
My sincere apologies for not responding to the task st by you [so to say…on my instigation] No, I am not running away. Sadly, I am tightly gripped by certain professional and personal priorities, hence over occupied and unable to focus.
But in spite of this logjam [as above] biggest hurdle is to Eliminate the Songs as unwanted and thereby Eliminating – Singers, Films and Music Composers.
Honestly, this ‘eliminating’ is a painful process. Because, I won’t be able to select BETTER between – Devdas, Shree 420, Seema, Mr. & Mrs 55, Yasmeen or Azad. All of these movies, had every song that can qualify to be a winner in a different category.
However, let me be free by this weekend…when I shall venture choosing my list.
But this apology post shall be incomplete without thanking You and contributers like: Subodh Agarawal; Ashok Vaishnav or Harvey and many others.
Thanks and regards – KRV

AK,

I was curious to find out which were those 5 tunes (out of 27) that you’d consider to include in your memorable list. These five songs were eventually disclosed and I had hoped that Chaand Madham Hai from Railway Platform would be amongst them. It wasn’t in the beginning but added as the sixth song later on. Many thanks for recognising and rating the song. It, indeed, grows on you after a few listenings.

Before I discuss my nominations, why not lay down the basic criterion which was employed to arrive at the decision.

Foremost is the number or percentage of songs in the score which became mega-hits. Hits in the sense that an average listener would relate to, recall and relish the songs. Giving an example, I would refer to Jhanak Jhanak Payal Baje songs. No doubt these songs are of high technical merit and are truly appreciated by someone who understands the nuances of classical music and the associated ragas, but for a layman (the average Joe) these songs have very limited appeal and will perhaps seem too hard to digest. Maybe which is why when asked to recall any songs from JJPB, general public will struggle to name more than one or two. Funnily, there are many people around who think Manna Dey’s Jhanak Jhanak Tori Baje Payaliya (Mere Huzoor) is actually from this movie!

Among other criteria is how the song sounds, i.e. the auditory impact and how much of an attention-grabber its tune is. Is it captivating enough to make it hard to stop the song mid-way, compelling one to listen to it all the way till the finish?

Any new trick or usage employed? Something different, something unconventional. Was any new trend set?

NOMINEES:

Coming to the point, my five nominees for the Best Music Director category SoY award are going to be:

1) C. Ramchandra for Azaad:

This is one score where every single song was a landmark hit and went down well with the general public too. I consider Azaad as the epic score in C Ramchandra’s entire career. He did have some other memorable scores where almost all (more than 75%) songs were hits, such as Patanga, Parchhayin, Nastik, Anarkali, Albela, Yasmin, Paigham etc.

CR could compose an album in a month compared to Naushad taking a whole year but I think the comparison ends there. If you actually take Naushad’s lifelong work and put it aside CR’s, the number of mega-hits that Naushad gave and the movies where more than 75% songs were very well-known (I tend to call such films ‘mega-movies’), Naushad outdoes CR by a whopping margin. All credit to Naushad who kept a very high standard for almost all of his songs in almost all of his movies till the demise of the golden era.

With Azaad, CR did a Naushad! Tremendous music, superb melodies and a very balanced score. Pee Ke Daras Ko Taras is magnificently composed, while O balliye chal chaliye by Lata-Usha is particularly delightful.

2) Naashad for Baaradari:

A cornucopia of mellow, dulcet songs with a rich variety, I think this work is the acme of Naashad’s musical career in India. (He also composed some memorable songs in Zindagi Ya Toofan and Naghma, but Baaradari is a creation par excellence). From ever-popular Bhula Nahi Dena to Talat’s soft Tasveer Banata Hoon to the sombre Muhabbat Ki Bas Itni Daastan to the sensual Chhodo Chhodo Ji Baiyan Mori, this score never ceases to amaze me. Unfortunately, we never again saw such creativity from Naashad.

3) Shankar-Jaikishan for Shri 420:

In the 50’s and 60’s, it was unthinkable that a S-J movie wouldn’t be there amongst the nominations. On the contrary, multiple nominations in a year were not unheard of. A similar situation was faced by me as I found myself torn between Seema and Shri 420 to pick one for the nomination but was tempted to include both. Both of them present very strong persuasive credentials and it is a nightmare to pick one over the other.

Seema has this unique different touch to it with songs that have a social/moral/ethical message to them plus that bhakti number Tu Pyar Ka Sagar Hai. While Shri 420’s is a more populist & seemingly commercially-oriented score. But then there is the difference between the on-screen persona of Balraj Sahni and Raj Kapoor, which effectively gets reflected on to the types of music we find in those two movies.

Shri 420 is laden with iconic numbers such as Mera Joota Hai, Ramaiya Vastavaiya & Pyar Hua Iqraar Hua. The three comical-ish songs (Ichak Dana, Dil Ka Haal Sune & Mud Mud Ke) take it slightly away from Shri 420 and tilt the balance towards Seema for me, but on the same hand Seema had a multiple version multi-part song (Suno Chhoti Si) which in my opinion limits the diversity of the score. Be in no doubt, it is a wonderful song but if instead of having multiple parts of it, we could have had three different songs enriching the soundtrack.

Usually a SJ score in the 50’s rode heavily on Lata solos but surprisingly Shri 420 only had a single Lata solo – that too was abridged – O Janewale Wale Mud Ke Zara.

In contrast, Seema had Manmohana Bade, Baat Baat Mein Rootho Na & the multi-part Suno Chhoti Si Gudiya.

The clout of the RK studios, combined with Raj Kapoor’s greater box-office appeal over Balraj Sahni perhaps paved way for Shri 420 ending up a better-known, mass-appealing musical blockbuster.

Therefore, my SJ nomination will be Shri 420. Trust me Seema is only very slightly behind and trailing really hot on the heels of Shri 420. On another day, with a different frame of mind, I could easily have gone for Seema.

4) Naushad for Udan Khatola:

By the year 1955, Naushad’s stature was that of a colossal super-star. It was for his music alone that cinema-goers would swarm to the theatres. His powerful music many a time pulled off mediocre productions or weak storylines and rescued films afflicted with any such technical hiccups.

The already high standards which Naushad had set for himself were stretched even further with Udan Khatola. The experimental humming choral interludes of More Saiyan Ji Utrenge with minimal instrumentation is a mark of Naushad’s absolute command – and for the listener a glorious treat to savour.
This song alone is enough to stake a claim for Udan Khatola. But there is more. Much more, in fact.

Lata’s lamenting solo Na Ro Ae Dil is excellent so are the three Rafi solos, viz. Muhabbat Ki Raahon Mein, Na Toofan Se Khelo & O Door Ke Musafir.
Add to it Mere Salaam Le Ja & Ghar Aaya Mehmaan. Even after all this, there is still room for Dooba Tara Umeedon Ka Sahaara & Hamare Dil Se Na Jana. A glut of mega-hits.

This ability to have almost all songs of a film mega-hits was, in my opinion, consistently possessed only by Naushad and SJ. (Not talking about one-or-a-few-movie wonders but a steady, relentless churning out of mega-movies).

The great SDB missed out on a few Filmfare awards, perhaps because of a lack of this quality. In later part of his career (Guide, Aradhana, Jewel Thief, Talash, Abhimaan, etc.), he gave us scores where almost every song was a major hit and he got himself a second Filmfare for Abhimaan. (But sadly the golden era had been confined to the annals of history by that time).

5) C. Ramchandra for Yasmin:

This may seem a surprise to many but after careful deliberation, I have chosen this as the fifth nominee. This soundtrack had all the qualities to be a run-away hit but maybe Akashwani didn’t play the songs often enough for them to receive due acclaim from public at large. It is a fascinating score, where every song is a glittering jewel. The iconic Lata-Talat duet, Tum Apni Yaad Bhi is complemented by Talat solo Bechain Nazar Betaab Jigar (which probably is the best known song from this movie as far as the average Joe is concerned).

This film is replete with remarkable Lata solos. CR has been known to be at his creative best when composing for Lata and this film can be quoted as an example to this effect.

• Mujh Pe Ilzaam-e-Bewafaayi
• Dil Unko Dhoondta Hai
• Muhabbat Mein Pehla Qadam
• Bechain Karne Wale Tu Bhi
• Hans Hans Ke Haseenon Se
• Ab Woh Raaten Kahan
• Aankhon Mein Sama Jaao

Superb indeed. Couldn’t praise it enough.

P.S. If I had the liberty to nominate one more movie, it would have to be Seema.

ALSO-RANS:

a) O. P. Nayyar for Mr. & Mrs. 55:
All-in-all a great soundtrack with pulsating rhythms and a rich variety of voices & singing styles. Here we can feel OPN preening his wings for bigger flights in the years to come.
Some lovely Geeta-Rafi duets, plus Preetam Aan Milo which is touching yet alluring. While Neele Aasmani is well aasmani, i.e., celestial.

b) Madan Mohan for Railway Platform:
Chand Madham Hai spearheads the claim to nomination for this movie. A mesmerising haunting Lata solo. A forgotten gem, waiting to be stumbled upon, dusted off and cherished forever.
Basti Basti (rendered by Rafi with his usual flair) and Dekh Tere Bhagwaan, making a statement, are the other two well-known numbers. Add to this soundtrack the pleasant Lata song – Jiya Kho Gaya – and we have a contender worthy enough to be considered for nomination. Sadly, the remainder of this album is too obscure to make any significant waves.

c) Sachin Dev Burman for House No. 44:

SDB had three movies this year, out of which I have chosen House No. 44 as my also-ran. The three songs listed by AK in the 84 Memorable Songs are indeed widely known landmark songs, esp. Phaili Hui Hain Sapnon Ki is an instance of a perfect song in all respects.

This concludes my nomination saga. Sorry to have rambled on so much. I hope this stimulates further debate.

Best Playback Singer (Male):

Mohammad Rafi – O Door Ke Musafir (Udan Khatola)
Manna Dey – Tu Pyaar Ka Saagar Hai (Seema)
Mohammad Rafi – Basti Basti Parbat Parbat Gata (Railway Platform)
Mukesh – Mera Joota Hai Japani (Shree 420)
Hemant Kumar – Chup Hai Dharti Chup Hain Chand Sitaare (House No 44)

Best Playback Singer (Female):

Lata Mangeshkar – Jise Tu Qubool Kar Le Woh Ada (Devdas)
Lata Mangeshkar – Chaand Madham Hai Aasman Chup Hai (Railway Platform)
Geeta Dutt – Neele Aasmani Neele Aasmani Boojho To Yeh (Mr & Mrs 55)
Shamshad Begum – Ab To Ji Hone Laga Kisi Ki (Mr & Mrs 55)
Lata Mangeshkar – Suno Chhoti Si Gudiya Ki (Seema)

Best Duet:

Mohammad Rafi & Asha Bhosle – Jab Liya Haath Mein Haath (Vachan)
Hemant Kumar & Lata Mangeshkar – Halke Halke Chalo Sanwre (Tangewali)
Manna Dey & Lata Mangeshkar – Pyaar Hua Iqraar Hua (Shri 420)
Hemant Kumar & Lata Mangeshkar – Nain So Nain Nahi Milao (Jhanak Jhanak Payal Baje)
Chitalkar & Lata Mangeshkar – Kitna Haseen Hai Mausam (Azaad)

Yes AK, you are absolutely right. I wanted to included Talat’s Tasweer Banata Hoon Tasweer Nahin Banti (Baradari), but only had five slots and so many fantastic songs to choose from. At the end, I opted for Hemant Kumar’s Chup Hai Dharti Chup Hain, succumbing to the flair and elegance with which Hemant has sung it. Especially in the 50s, Hemant’s voice had this certain resonant timbre about it which I am very fond of.

As the individual male & female playback singers had been accounted for in their respective categories, for the duets I largely focussed on lyrics, plus how the singers blended together as a team.

Kitna Haseen Hai Mausam is such a song where listening to Chitalkar and Lata gives the impression as if they are the lead actors, not playback singers, of the movie. Their vocal chemistry can be felt through and through. Amazing teamwork.

Tum Apni Yaad Bhi Dil Se Bhula (Yasmin) almost made it to my duets list. I must admit, the aspect of this song which I like the most is its music & the lovely tune it carries. This reflects in Yasmin’s choice for the Best Music category. Same rings true for Bhula Nahin Dena.

Dear AK,
I wish you please come out with a blog where in favorite musical instrument used by composer while recording popular songs during golder era. following are the tips as per my knowledge.

Sitar/Jaltarang ……. Naushad
Sarangi…. OP Naiyar.
Acodian/Violin … Shankar Jaikishan
Duff……….Dattaram
Flute………Roshan
Folk Musical instruments … SD Burman/ Salil Chaudhary
Electric Gitar…RD Burman.
Piano…… Ravi
Saxofone.. ?
Clay violin…. Kalyanji Virji Shah
Trumpet…. C.Ramchandra
??? …… Madan Mohan
???………..Hemant Kumar
Tabla/Dholak/Naal ….. Laxmikant Pyarelal
Santoor…. ?
Shahenai…. Ravi? or Vasant Desai?
I would be very happy to read your blog on above subject.

Song 2 was originally composed in Tamil with the opening lines “Vennila jOthiyai VeesuthE”.

The song I mentioned is on the following link.
http://www.youtube.com/watch?v=RovoI4VGj6k
However, i may have been wrong about which came first. It seems Manamagan ThEvai was released in 1957.

Azad was turned into Tamil as ‘Malaikallan’ but CR did not provide the music for this movie. SM Subbaiah Naidu was the MD. The melodies are different and the songs were not chart toppers at the time.

Anarkali for which CR composed the tunes has its Tamil version and its songs are still remembered. The MD was Adi Narayana Rao, who did both Telugu and Tamil movies. The songs are by Jikki and Ghantasala. See for example
http://www.youtube.com/watch?v=q-qdAmiBEfk

http://www.youtube.com/watch?v=brShV91MePs&feature=relmfu

It is amazing. How could I miss this site all these years? Kudos to you!!!

Though Naushad gave many memorable songs for Udankhatola, the best music director of 1955 should be Shankar Jaikishan for the songs of Sri420.

Rafi sahab sang comparatively less songs in 1955. Still his ‘O dur ke musafir’ from Udan Khatola and ‘kahan ja raha hai’ from Sima is among the greatest songs of 1955. Kishore Da’s ‘jivan ke safar me Rahi’ is also a top class song. But according to me, the best male singer of 1955 would be Talat Mehmood for the song ‘bechain nazar betab zigar’ from the film Yasmin.

In my opinion the best female singer of 1955 is Lata ji for the song ‘manmohna bade…’ from the film Sima.

Here is another one with Lata Mangeshkar
http://cineplot.com/music/i-believe-in-popular-film-music-shaukat-dehalvi-nashad/

Avinash Vyas did not quite succeed commercially in Hindi Films, but he did continue very actively in Gujarati – film and non-film categories.
In fact, his indefatigable creative activism proved to be a major catalyst in popularizing non-film songs in Gujarati and gave a substantive platform to many Gujarati singers.
His stellar role, combined with a major contribution by AIR in those days went a long way in bringing many excellent poetry by a wide diaspora of poets on the lips of a whole generation ( in 60s and 70s).
He himself has written Gujarati songs.
Many thanks to Shri Venkatraman for opening up an altogether new direction – contributions to Hindi Film Songs by prominent regional language music directors – to the active esteemed researchers on Internet space in so far as Hindi Film Music is concerned.

my favourite 1955 movie songs are from Munimji. sachin karta’s compositions for lata and her rendition of songs like ek nazar bas ek nazar, ghayal hiraniya and above all ankh khultehi tum were simply peerless. i must mention the contributions of sahir and shailendra here.