Sardar Malik was not counted among the top five composers, which place was occupied by Naushad, Shankar Jaikishan, C Ramchandra, OP Nayyar and SD Burman. He would not be counted among the top dozen, some people might have difficulty in including his name even in the top twenty music directors of the Golden Era. Google search of his name intriguingly takes you to the Wikipedia page of his son Anu Malik, who we all know, has been the most dominant composer of the 1990’s. He has been winner of several Filmfare awards (Sardar Malik won none), judge at reality music shows and quite a prominent figure in the show-biz. I am not sure how many of Anu Malik’s songs would survive a few years from now, but I am sure Saranga teri yaad mein, Ae gham-e-dil kya karun and several more of Sardar Malik’s compositions would remain immortal.
Bits of information collected from here and there indicate he was born in 1925. He learnt music from Ustad Allauddin Khan and was trained as a dancer under the famed Uday Shankar at his residential school at Almora. He was a gifted singer and started getting both singing and composing assignments. Seeing the rise of independent playback singers such as Rafi and Mukesh, he realised he could not match them, and confined himself to music direction, and came over to Bombay. He was married to the sister of Hasrat Jaipuri. His early films Renuka (1947), Raaz (1949) and Stage (1951) did not leave much impact. His first noteworthy film was Laila Majnu (1953), in which he gave music along with Ghulam Mohammad. Talat’s Ae Gham-e-dil kya karun in Thokar (1954) created a sensation, though the film may not have been a great success. Main gharibon ka dil hun watan ki zuban by Hemant Kumar in Aab-e-Hayat (1955) is one of his most memorable songs. Sarangaa (1960) is of course a musical masterpiece, containing several all-time great songs. In spite of his obvious talents he remained consigned to B-grade films. He passed away in 2006; though suffering neglect himself, he must have been a satisfied man at his son’s ‘enormous’ success.
Here are some of Sardar Malik’s unforgettable melodies.
1. Saranga teri yaad mein by Mukesh in Sarangaa (1960), lyrics Bharat Vyas
I have not seen any compilation of the best Mukesh songs without this song near the top. It is picturised on a perfect B-grade actor Sudesh Kumar. But it does not matter if the melody is so exquisite complementing equally elegant lyrics of Bharat Vyas and the beautiful scenery of the woods and a misty night.
2. Haan diwana hun main by Mukesh in Sarangaa
Creating one Mukesh masterpiece in the face of giants like Anil Biswas, Naushad and Shankar Jaikishan is a tough task, but Sardar Malik creates another Mukesh immortal in the same film.
3. Piya kaise milun tumse by Rafi and Lata Mangeshkar from Saranga (1960)
Sarangaa had a great Mukesh-Lata Mangeshkar duet Laagi tumse lagan sathi chute na, which I have used in another post. This Rafi-Lata duet also is no less beautiful.
4. Baharon ki duniya pukare tu aa ja by Talat Mahmood and Asha Bhosle from Laila Majnu (1953), lyrics Shakeel Badayuni
Laila Majnu had two composers, the other one being Ghulam Mohammad. But it seems, unlike normal duos they composed separate songs in the film. Baharon ki duniya pukare tu aa ja is credited to Sardar Malik. A beautiful Talat-Asha duet.
5. Tere dar pe aya hun fariyd lekar by Talat Mahmood from Laila Majnu
Laila Majnu also had this silky solo by Talat Mahmood credited to Sardar Malik. This was the phase when Shammi Kapoor was not the Shammi Kpoor we know, and we have a number of Talat Mahmood songs picturised on him.
6. Ae gham-e-dil kya karun by Talat Mahmood for Thokar (1953), lyrics Majaz
Majaz was a great but deeply troubled Urdu poet. His anguished ghazal has been made immortal by Talat Mahmood and in equal measure by the composition of Sardar Malik, picturised on a pre-yahoo Shammi Kapoor.
7. Main gharibon ka dil hun watan ki zuban by Hemant Kumar in Aab-e-Hayaat (1955), lyrics Hasrat Jaipuri
As Premnath straddles through the street of this magical city singing Main jo gata chalun sath mehfil chale, the horde of beautiful damsels cannot help pouring out in the street and balconies, and dancing and singing in chorus. One of my top Hemant Kumar favourites, with one of the best song picturisations.
8. Hui ye humse nadani ki hum teri mehfil me aa baithe by Lata Mangeshkar from Chor Bazar (1954), lyrics Shakel Badayuni
A less known Lata Mangeshkar song, but should compare with the best of Lata during the period. The song has traces of C Ramchandra style.
9. Baharon se poochho mere pyar ko tum by Mukesh and Suman Kalynpur from Mera Ghar Mere Bachche (1960), lyrics Hasrat Jaipuri
A very pleasant Mukesh-Suman Kalyanpur duet in another B-grade movie.
10. Chanda ke des mein rahti ek rani by Mukesh from Mera Ghar Mere Bachche
Sardar Malik seems to have some special talent for Mukesh. Lullabies are generally sung by mothers. Here he comes up with one of the best lullabies sung by and picturised on a male (Sudesh Kumar).
11. Sun more rasiya sun man basiya by Mukesh and Suman Kalyanpur from Madan Manjari (1961), lyrics Hasrat Jaipuri
It does not get any sweeter than this. I cannot think of many duets more beautiful than Sun more rasiya sun man basiya, again a from a perfect B-grade film starring unknown actors like Nalini Chonkar and Manhar Desai.
12. Mujhe tumse mohabbat hai magar main kah nahi sakta by Rafi from Bachpan (1963), lyrics Hasrat Jaipuri
Sardar Malik does a competent job with Rafi as well.
13. Sun chand meri ye dastan by Mukesh from Nag Jyoti (1963), lyrics Bharat Vyas
But with Mukesh, Sardar Malik is in his elements. Another beautiful lyric by Bharat Vyas, composed beautifully by Sardar Malik.
14. Yun na hume dekhiye hum baar baar kahte hain by Rafi and Suman Kalynpur from Jantar Mantar (1964), lyrics Hasrat Jaipuri
I like this song picturised on Mahipal and Vijaya Chaudhry for it shows how the talented, but sidelined composers bestowed great care even in a B-grade film.
15. Aaj ki raat aji hothon ko chup rahne do by Rafi and Suman Kalyanpur from Roop Sundari (1964), lyrics Bharat Vyas
Again a B-grade film starring Mahipal and Anita Guha. Any talented person would get frustrated at the unfair film world, so I do not blame Sardar Malik for showing traces of Roshan in this song. But a melodious song nevertheless.
{ 83 comments… read them below or add one }
Lovely songs, AK – and many of them were unknown to me. Other than Abe Hayat and Saranga, I wouldn’t have been able to name any of the other films for which Sardar Malik composed music, but when I listen to some of these songs (like Chanda ke des mein rehti…), I realise I’ve heard the song and liked it, but didn’t know it was Sardar Malik’s.
Another of my favourite songs from Abe Hayat is Ae dil-e-nashad tera shukriya:
I am sure you knew Talat Mahmood songs from Laila Majnu and Thokar. Ae dil-e-nashad tera shukriya is indeed a sweet song. I do not know how Shashikala switched to being a vamp, she looks quite good as the heroine. Aab-e-Hayat has a number of very good Asha Bhosle and Geeta Dutt songs. It is just that I am not a great fan of them. Hemant Kumar is, of course, in a different class. Main gharibon ka dil, picturised on Premnath is out of this world.
Beautiful post, AK!
It introduced me to so many new songs. I thin except for the Laila Majnu, Nag Jyoti and Saranga songs, all were new for me.
I knew and like hui ye humse nadani ki hum teri mehfil me aa baithe, but didn’t know it was by Sardar Mullick.
One of the lesser known good songs from him sung by Talat:
duniya tasveer hai rote hue insanoon ki from Aulad (1954)
http://www.youtube.com/watch?v=7OStt5y9unA
Thanks a lot Harvey. Thanks for introducing me to Duniya tasweer hai. Sardar Malik seemed to have special talent for Talat Mahmood as well as Mukesh.
Let me echo the words of dustedoff – many songs in this post are new to me, and the familiar ones were not associated with Sardar Malik’s name in my mind, with the sole exception of Saranga teri yaad mein. Piya kaise milun tumse and Aaj ki raat are real gems. I don’t know whether Sardar Malik consciously tried to copy Roshan’s style in the last song. Roshan has done such a complete job of exploring all moods of Yaman that any good song in Yaman sounds like Roshan. I guess Saranga teri yaad mein would also sound like Roshan if we didn’t already know that it was Sardar Malik.
His compositions in general are so original that I do not think Sardar Malik consciously tried to copy the style of Roshan. I think styles could be related to periods. For example you could locate a song accurately in a five year band. When I observed about Hui ye tumse nadani that it sounds like C Ramchandra, again I would relate it to the dominant style of the period. Early 50’s several Madan Mohan compositions for Lata Mangeshkar also sound like C Ramchandra.
Your observation about Roshan and Yaman is quite interesting. But what about Bhairvi – Laga chunri me daag, Phool gendwa na maro? I think whatever Raga he chose Roshan was outstanding.
If Saranga Teri Yaad Mein – In mukesh’s voice – is benchmarked as signature tune of Sardar Malik, then this piece in Rafi’s silken voice -http://youtu.be/gAjqt5YgcSU – in Rafi’s voice can be stipulated as the mark of creatve genius of Sardar saheb.
I have not been able to come across the reason behind recording this peice in Rafi’s voice. Not that it mattered till I started vsisting this blog.
I now take this opportunity to seek help of the steemed readers of this blog to help in hinding out why Rafi.
I find Rafi version of Saranga teri yaad mein available on YouTube is not a full song, but only a small piece, more as a recital of about 1 minute. I am not sure if there was a full song in the movie. At least I have never heard this song on the radio, and before the internet era I would not have been aware of its existence. I do not know what was the reason for having a small piece in Rafi voice, but whether it is because of conditioning or otherwise, Mukesh version appears out of this world, whereas Rafi version is just a piece of trivia.
Saranga teri yaad mein by Rafi
Wonderful pick of songs. In the mid seventies, in the Engineering Students Club of the then University of Roorkee ( now IIT Roorkee) , Saaranga teri yaad mein was one of the most played number. Besides Mukesh , other singer who was favourite of the club lounge was inimitable Hemant kumar with his “aji nazron se kahdo ji nishaanaa chook naa jaaye ” and ” yeh raat bheegee bheegee , yeh mast fizayen” and so many more. Later we learnt that in Hemant Kumar , loss of Electrical Engineering was a gain of the music world.Thanks AK for telling us so much about these beautiful songs.
I love Talat’s ae mere dil kya karoon; I’m not a very great fan of Saranga teri yaad mein though I agree that it is a very beautiful song. 🙂 I must confess to preferring Haan deewana hoon main from the same film.
One of my favourite Geeta Dutt songs is a Sardar Malik composition; the song is from an obscure film called Maa ke Aansoo:
Aja re sanam main to nachu chhama chham
And this is from the lesser-known Mangeshkar sister: Film (Rani Padmini)
More roothe balam ghar a by Usha Mangeshkar from Rani Padmini
AK, are you sure Talat Mehmood’s Tere day pe aaya hoon was from Laila Majnu? I know that ghazal was used in the later version which starred Rishi Kapoor, but the Shammi Kapoor starrer had Nutan as Laila. The clip you have also identifies the song as from Chor Bazaar.
ps: Here’s the clip from Saranga that has Rafi’s recitation:
Thanks a lot Anu Warrier for adding some new songs of Sardar Malik.
As for Tere dar pe aya hun Hindi Film Geet Kosh mentions that it was recorded for Laila Majnu, but later it was used for Chor Bazar. HFGK lists the song under both the films. Incidentally Shammi Kapoor was the hero of both the films. But since it was actually used in the later film, you are right, it is more accurate to ascribe it to Chor Bazar. Thanks for pointing this out.
PS: You are the first person I have come across who says that she is not a great fan of Saranga teri yaad mein. 🙂
You are the first person I have come across who says that she is not a great fan of Saranga teri yaad mein.
AK, I hope I haven’t blotted my copy book. 🙂 I have never liked that song; with all due respect, Mukesh sounded whinier than usual (and I like quite a few of his songs; he sang with a lot of feeling) – or maybe it was a combination of the picturisation and the singing – the pathos descended into bathos for me. Today, it’s a visceral reaction whenever I hear it. (Even knowing that it is a favourite song of a favourite actor doesn’t make me like it! 🙁 )
Don’t worry. I myself do not like many classics one would be embarrassed to admit in decent company. 🙂 Just to give you one example: Midnight Cowboy.
It was interesting to know that Rafi’s name was not only considered for the title song SARANGA teri yaad men.. but he actually sang the mukhda also. Ameen Sayani divulged this detail regarding the popular title song from the film SARANGA. Anu Malilk, son of the music director of that film Sardar Malik, told Ameen Sayani that Sardar Malik had decided to get Mukesh sing this song, but producer Dhirubhai wanted to take Rafi as, in his opinion he would be better choice for this song. The mukhda was actually recorded in the voice of Mohammad Rafi. Then Sardar Malik asked Dhirubhai to hear the same song in Mukesh’s voice. Finally, Mukesh got the song and did a splendid job, giving an immortal song.
However, the old film songs aficionados would have given anything to get additionally a Rafi version also inserted somewhere in the movie :).
Even in the small piece sung by Rafi, we find the strong, indelible imprint of the master.
One ceratinly would agree that Mukesh’s version is no doubt rendered very well, but once we hear Rafi’s mukhada one would yearn to wish that Rafi also would have had opportunity to sing the full song.This would have provided us the pleasure of listening to both versions.
Such has been the case with many songs, where two songs were recorded in two different voices and one was finally chosen for the for the soundtrack, but records were available of the version as well.
@Naresh Mankadji, Ashok Vaishnavji
Indeed it would have been interesting to have both the versions of Saranga teri yaad mein. However, there is one song which offers Muesh-Rafi comparison, a duet though. Interestingly the female voices in the two duets are also different. This perhaps must be the only real Twin duet.
Jabse hum tum baharon mein by Mukesh and Kamal Barot from Main Shai Karne Chala, music Chitragupta
Jabse hum tum baharon mein by Mohammad Rafi and Suman Kalyanpur
There is a solo, where Rafi is pitted against another singer. That is the well known Tum bin jaun kahan from Pyar Ka Mausam which has Rafi and Kishore Kumar versions. Coincidentally I think Rafi comes second there too. If you ask me honestly, in Lagta nahi hai ji mera ujade dayar me Rafi’s version is inerior to Habib Wali Mohammad’s. That, of course, does not take away anything from Rafi’ greatness. It is just one of those things in music.
@AK,
I have always liked to listen to these two versions of the duet as it has been very interesting; I have often recommended the song for this element of interest but did not find it readily. Thanks for this delightful feast. Both the versions have their own charm though Rafi is, as usual, graceful with his brand of delicate nuances.
Shri AKji,
Indeed a very opportune moment to bring back the twin version of Jabse Hum Tum.
I would beg to disagree with your opinion on Tum bin jaun kahan. Of course, both versions aim to reflect two entirely different moods. That may not have anything with the way the song is fianlly rendered by the singer. [I am rather a more devout fan of Rafi in comparision to Kishore!]
Lagta Nahin Hai Jee Mera is in a different class altogether.This ghazal has been rendered by several singers+ music directors. Hence, each attempt has had to try a substantially meaningful difference in each rendering. In the process, the music director and / or singer may not be able to full justice to the core music realted aspects. {Again, my own amateurish interpretaion, which obviously has no authoritative basis.}
Interesting write-up on Sardar Malik, although I disagree with your opening paragraph “…the top five composers, which place was occupied by Naushad, Shankar Jaikishan, C Ramchandra, OP Nayyar and SD Burman.” C. Ramchandra would be fortunate to figure amongst the top 10 MDs of that time and I doubt most would consider him as top 5 material. Indeed, Madan Mohan or even Ravi would be more deserving of this spot.
Conversely, although this is the only article of yours that I’ve read, you seem to have some inexplicable yet inherent prejudice against Mohammed Rafi. You unconvincingly praise him in places but it is obvious to the casual reader that it is contrived and disingenuous. You’re obviously partial to Mukesh, who no doubt had a unique voice, but to attempt to compare him to Mohammed Rafi is stretching it a little too far. If we take the top MDs of the golden period, i.e. Naushad, Shankar-Jaikishan, SD Burman, Madan Mohan, Ravi, OP Nayyar, Kalyanji-Anandji, Ghulam Mohamed, Laxmikant-Pyarelal et al, you’ll find most would want Mohammed Rafi singing their compositions; not Manna Dey, not Kishore Kumar and definitely not Mukesh!
Dear Sri AK,
One of the best site I could come across for collection of lovely and melodious songs. The comments for each song renders more meaningful to the song itself. The comparison between Kishore and Rafi is fantastic.
Thanks a lot for your very generous compliments. I do hope you are able to see more of Songs of Yore.
Annu malik will have to take 100 rebirths even to be at the footsteps of late Sardar malik Saheb.
I too,am not a fan of saranga teri yaad mein, i prefer piya kaisa milon tumse
But ofcource his best id ay ghame dil kya karoon.
Aki i agree with Ashok Vaishnav about the comparision between rafi and kishore on tum bin jao kahan, rafi’s song is romantic song while kishore’s
Is sad version plus i have read somewhere that kishore’s song was recorded later to improve on rafi’s version and knowing sdb’s love for kishore it makes sense.
Comparing two versions of a song are bizarre. Music is much responsible than the singers. One example upsets me no end. Manna Dey has rightfully said that you would never find Kishore Kumar out of tune. But the way he sang,’ Marne Ki Duyaen kyun Mangu Jeene Ki Tamanna kaun kare’, Habib Wali Mohammed’s version places him light years ahead. If one has to enjoy the neck to neck race one could try,’Aaj jane ki jid na karo,’ sung by Wali and Farida Khanum.
The song “Dil ki baazi jeet ke bhi haare”; sung by Rafi saab (film: Madan Manjari) was one of the best compositions from Sardar Malik.
Heard for the first time. A very good song. Thanks.
For any information regarding “Old Hindi film song”, please feel free to contact me. I am basically a researcher on this subject and also a record collector. I have the collection of almost all the released Hindi film records (gramophone records) from 1940-1990.
Thanks alot. This is very impressive. I shall be in touch with you.
@kaushik maitra..’dil ki baazi’ indeed a nice song !
I wish, if someone provide me the respective details of Sardar Malik’s date and place of birth. His early education and other related facts of life.
satishchopra@rediffmail.com
New Delhi, 28th May, 2013
Dear Sirs,
I have broken my head to find out a song and I am writing to you now as you may, perhaps, help me in finding a film song as I could not get it from several sources (such as You Tube, Atul’s Bollywood Song a Day as well as other relevant sites, but failed).
I give below the details of the song so that you can tell me as to wherefrom I can procure it or listen to it. The song is:
Song: DIL TERE HIJR MEIN BIMAAR HAI THORA THORA TERI ZULFON MEIN GIRIFTAAR HAI THORA THORA
Film: ACTOR
Year: 1951
Music: Aziz Hindi & Ebrahim
Singer: G.M. Durrani
Lyricist: Nazim Panipati.
Can you help me in my search? I would be greatful to you.
I hope you will use your wide sources to help me to listen to this song (old records, audio-cassettes, CDs etc.).
I want to write also to Shri Kaushik Maitran Ji (Record Collector & Researcher), can any one give me his email address or phone number please.
Looking forward to hear from you.
Warm regards,
Mohan Lal
H. No.47-D, Pocket-A
Vikaspuri Extension, Outer Ring Road
New Delhi-110018.
Email: Pawla007@yahoo.com
Mobile: 9313323796.
@ satish chopra
pl try the link given below :
http://beetehuedin.blogspot.in/2012/09/aye-ghame-dil-kya-karoon-sardar-malik.html
@ mohan lal
it is now available on the YT.
this is the link:
http://youtu.be/c9E6Y5B1958
New Delhi, 29th May 2013,
Thank you very much AK Ji and Sudhir Ji for helping me to find, through my email addresse, the song of GM Durrani Saheb from the film ACTOR (1951).
I shall definitely listen to the song on YT when I am back home in the evening today.
Can you please give me the email address of Sudhir Ji for writing to him in appreciation of his prompt response. The email of Mr. Kaushik Maitra (Record Collector and Researcher) may kindly be sent if possible.
Thanks once again and best regards,
Mohan Lal
New Delhi, 29th May 2013,
M/s. AK Ji and Sudhir Ji I have got a responnse from Mr. Kaushik Maitra Ji of Puné who replied to me today.
Therefore, you need not give me his email address as I alrady have it.
Thanks and best regards,
Mohan Lal
This is with reference to the story told in comment 16 about the recording of ‘saranga teri yaad men’ in Rafi’s voice. Story has been told on behalf of Ameen Sayani. This Ameen Sayani alongwith Raju Bharatan, have been perpetrators of thousands of imaginary stories born out of their fantasies and designed to satisfy their hungry egoes. This ‘Saranga’ story is the limit. I dont think this has been told to him by Anu Malik, because he must know what his father composed and would have certainly seen ‘Saranga’ which was his father’s swan song.
The answer to this lies in the film ‘Saranga’ itself, which is available on You Tube. The film is a story of eternal love (janam janamantar ka pyar) between Saranga (born as daughter of nagar seth in this birth) and Sadavriksh (born as Prince). Whenever they come face to face, they listen to haunting voices like ‘aaja mere sathi aaja’. They think the other one is singing the verse, though he is not. There are plenty of such verses composed in the base tune in which the mukhda sung by Rafi is. They are in the voices of Rafi, Geeta and Hemant and at one place is in the voice of Lata and are in the form of two-liners or four-liners. The verses sung by Rafi are so beautiful and produce such an impact that the film would lose half its charm if they are removed, because the story in itself has nothing special in it.
The clip sung by Rafi is in fact (as everyone can see in the clip itself) a four line verse written on a piece of paper which is hidden in a lotus flower and sent by Sadavriksh to Saranga to call her to their meeting place, which is described in the verse itself. This verse is in a very different tune than the song of Mukesh, this tune being happy and hopeful and the Mukesh song is a sad one sung when Saranga is taken for marriage with someone else.
But, perhaps people like Ameen Sayani are more ‘sayana’ than Sardar Malik.
At least Ameen Sayani mentioned his source, which for him was obviously a hearsay. Raju Bharatan is on a different plane. Nothing happened in Bombay film and music world – no recording, no romance, no break-up, no patch-up – without him being present at the scene. In many cases he was an active participant, giving advice, resolving conflicts etc. Now it is up to the readers to believe him or not. My issue with him is different. I wish he could write plain English. Between the beginning and end of his sentences we have to spend half the time in deciphering what he wants to say.
But what do you say to Anu Kapoor’s Golden Era at Masti channel 9PM? He goes on and on in even more intimate style than Raju Bharatan as if he was present at the scene – which took place before he was born. He finds no need for giving its source.
So let us enjoy all these anecdotes without getting worked up.
There is no question of getting worked up, but I cant keep quiet where legends are being abused. This Indian habit of enjoying anecdotes without thinking about even verifying their veracity has led to spreading of so many false stories, which eventually encourages such people.
In my view, Ameen Sayani is the bigger culprit because he does not put his statements to print and can go scot free by denying all that has been said by him. His mentioning source does not mean anything if he is just giving false stories, in my view without even talking to the source he mentions. His source may not even come to know of his statement and Sayani has done the damage to the legend. Raju Bharatan is on print and that is the reason many people know about his lies, though many of his lies are circulating like eternal truths. One such lie is the Aradhana story. Kindly google search Raju Bharatan and go through the comments below the first link titled ‘raju bharatan’s interview with abhay’. You will know that SD Burman never got ill during the recording of Aradhana songs and RDB was not even present in the recording of ‘roop tera mastana’ which is called his tune.
Anu Kapoor is perhaps a follower of the theory of enjoying anecdotes and mindlessly goes on propagating them, though he may not be called the perpetrator of lies like Sayani or Bharatan. I had a respect for Anu Kapoor after watching his interview some years back and thought him a , but after watching 3 or 4 of his episodes all that respect vanished and I stopped watching his program.
AKji, you have rightly said that Ameen Sayani was quoting Anu Malik who is still there to deny any incorrect statement attributed to him, so for Ameen Sayani it was hearsay. Still it is a fact that as history, much of what is written about Hindi films is of doubtful veracity. You will get to hear such “inside” details from Anu Kapoor as well as Javed Akhtar. All of them may not be fabricated, still the fact remains that you can not verify them. You can not strictly apply what is called the standard “historical methods” used by historians, the system to decide if certain things are correct.
Let me just mention few relevant points:
1) “Roop tera mastana” cannot be claimed as a “R.D. Burman tune”, because it has an original Bengali version (composed and sung by S.D. Burman) since a long time- when RDB was a child. However, it is a fact that the music of “Aradhana” definitely had an influence of RDB and Manohari Singh (the person who used to arrange all the songs for SDB, since the beginning of 60-s). I don’t think there is any need to bring the topic- who tuned the other songs (like “Mere sapno ki rani”) of the film; it was entirely the family matter of the Burmans. However, it is true that SDB was seriously ill during the creations of films like “Mili”, “Chupke Chupke” etc. No idea, whether these films were completely scored by RDB.
2) Forget the information provided by Annu Kapoor. I even had a discussion with him in Facebook- all his programmes are full of errors.
Mr Maitra,
Could you please mention which Bengali song was the original sung by SDB of Roop tera mastana, and if possible, give its link. YT has a large number of SDB’s Bengali songs in which I could not find any resembling Roop tera.
The Bengali song was “Kalke jabo shoshurbari”.
Talking about not believing the third party like Ameen Sayani, Raju Bhatratan or Ann Kapoor? I do not believe even when I hear from the horse’s mouth because as the person or persons whom they are talking about is or are not alive to question or counter to them they tend to fabricate anecdotes.
I consider Mann Dey only credible artist from the Golden Era alive and he does not talk now a days.
Akji and Kaushikji
This is a post on Sardar Malik. I am not sure whether this the right place to discuss as to who actually composed Roop tera mastana. Never the less, I too would like to join the fray.
Brajen Biswas , the blind Tabla maesrtro was part of S D Burman’s team. Brajen Biswas was present in one of the ‘adda’ cum music sessions at S D Burman’s South Calcutta residence. The following is the gist of what I read from Khagesh Dev Burman’s book on S D Burman, where the author has quoted from Brajen Biswas’s interview in Anandalok titled ‘Sachin Kartar sange’. Here Brajen Biswas quotes Sachin Dev Burman referring to this song ‘Kalke jabo shoshur bari, aajke khai garagari’ which he heard sometime back in his native place in the voice of a small girl and then announces that he has decided to slow down the tempo a bit and ask ‘ Kishoira’ to sing for his coming film Subah pyar ki, later renamed as Aradhana . This was how Roop tera mastana was born according to Brajen Biswas.
But Sachin Dev Burman or Brajen Biswas or Khagesh Dev Burman, nowhere mentions that the song was earlier composed and sung in Bengali by S D Burman, nor I could find it in the list of songs, sung by S D Burman from 1932 to 1976. If I have overlooked or if you have any information to the contrary, I will be grateful if you can provide the details.
As regards the composer of the song, there is contradictory information. In one place in the book the author says the tune was modified at the behest of Pancham and Kishore Kumar, who felt that the SDB’s tune based on Kalke jabo shoshur bari’ did not reflect the right mood. Again the author quotes singer Bhupinder saying that the song was not composed by Pancham as is commonly believed, but by Dada Burman himself. But he also says that ‘Dada would frequently ‘steal’ his son’s tunes and tell him that he was testing them in public.
Of course I agree with Kaushik Mahashoy that it is all within the family and we need not break our heads in trying to establish who actually composed the song.
Finally a parting trivia. The prelude to the song Chori Chori solah shingar karoongi sounds a lot like the prelude of the song Roop tera mastana! Correct me if I am wrong.
Venkataramanji,
I do not know how SDB-RDB-Aradhana came to be discussed here. It was being discussed on another post too. But I agree the controversy is pointless – not because it was a family matter, but whether the father or the son did it, the important point about Aradhana is that it was a major turning point in music and Kishore Kumar- Rafi balance.
The list of Bengali songs sung by SD Burman does not include Kalke jabo shoshur baarii.
You have made a great discovery. The prelude in Chori chore solar singaar karungi indeed is almost identical to the one in Roop tera mastana.
Not justifying or defending Anu Kapoor, but please keep in mind he is just an anchor on the Masti Channel. Anchors are given a script to read from, the research for which is done by the channel or production houses producing the serial. I know for a fact that they take a lot of stuff from published books. Like a lot of matter he spoke about Gurudutt was taken from Abrar ALvi’s edition on the legendary producer. One more point…I don’t think we listeners should argue about which singer would have sung which song better. Those composers knew what they were doing, and we are no one to judge. Our job is to listen and appreciate. Mr Ameen Sayani is a much revered person in the industry and verifies his facts before speaking. Nevertheless, all this talk does not change the equation that ANu Malik ka saara klaam ek taraf, Sardar Malik ki Saranga ek taraf.
Shikha ji, you are right. However, as far as I know, Annu ji is also a part of the research team; as he is also very much interested in old Hindi film music.
I don’t find anything wrong, criticizing our beloved singers/ composers/ lyricists. We love them all and if we have the right to appreciate, then we must have the right to criticize also. “Appreciation” and “Healthy criticism”- both are necessary.
The comparison of the film version of Mukesh with the discarded version of Rafi is interesting. However, no body seems to have noticed that the lyrics of the two versions are different, with just the mukhra of the song the same. The second doha in Rafi’s version is not included in the song of the film. What Rafi sang is a couple of dohas independent of each other. Doha is an exclusive meter in Hindi literature, having 24 matras, having a pause after 11 matras and having a dirgh and a hriswa in the end. This arrangement can not be altered in a doha, otherwise the meter will become faulty. Rafi was aware of this and his rendering the meter is flawless. Later it seems Bharat Vyas converted the meter into a full fledged cine-song and Mukesh was the best choice to sing a filmy song where he could take some liberty with the singing. For example ‘bin’ in doha has become ‘bina’ in Mukesh’s rendering which is faulty according to the prossody. I am not sure how and why it happened. It is any body’s guess. But unless you cmpare the lyrics of the two songs you cannot even hazard a guess.
Friends, I am searching for two Asha Bhonsle songs:
1. ” Ham apne gham sajakar bahar kar lenge” from Madan manjari 1961.MD Sardar Malik
2. An earworm keeps playing the the last bars of this song that ends with the words”… yeh pyar ki kahani, yeh pyar ki kahani”.
Will much appreciate a link for these.
P Acharya,
There are some other songs of Madan Manjari available on YT – I have myself included a duet from the film – but Hum apne gham sajakar bahar kar lenge by Asha Bhosle does not seem to be available. But, interestingly, a duet with the same words sung by Vinod Rathod and Sadhana Sargam from a recent film Gentleman composed by Anu Malik is available. (Three songs, including this one are to Anu Malik’s credit. The rest songs of this film are composed by AR Rahman. Thanks Mumbaikar8 for this information.) I do not know if it follows the same tune, but it is rare that a new song should have such lyrics.
I have no clue about the other song.
All these melodies are sweet and unforgetable. I would like to mention the forgotten melodies of music director Shyamsundar
also listen to other sardar mallik compositions fromfilms bachpan,panchratan,superman,pick pocket,taxi -555,and specially ‘wohi bhigi bhigi hawa bhi hai ek tum nahin ho to kuch nahin’from mera ghar mere bacchhe
Apropos “lagta nahin hai ji mera ujade dayaar mein”. This ghazal has been sung beautifully by Mujaddid Niazi. Can you upload that here as it is not easily found on you tube.
Arun Kumar Nigam,
I had not heard his name. Could not locate his Lagta nahi jee mera. But thanks for introducing him, heard his other ghazals. Excellent singer.
After listening to Mohd. Rafi saab’s “Lagta nahin hai dil mera” (Film: Lal Quilla); there is no need to listen to any other version I think 🙂
Kaushik Mitra,
I am sure you must have heard Habib Wali Mohammad’s version. If not, I recommend you must listen to it.
AKji,
After revisiting this post, i remembered a radio interview of Sardar Malik which I am linking here –
https://youtu.be/kcuQmhX3amo
It is one of the better interviews as it is more about music.
I sometimes feel that the people who got the chance to interview greats of golden era have not done their job properly. It would have been so much more interesting and informative if they have tried to understand the various aspects of making great music from them.
Sidharth,
It is an excellent interview indeed. Sardar Malik has mentioned his son Anu. When I wrote the article I wondered wherher the ‘famous’ Anu Malik acknowledged his great father adequately on different platforms he appeared prominently.
On the second point, the reason is they want to limit themselves to the least common denominator. Another problem is that today’s anchors don’t do enough homework.
Sidharth, thanks for the link to this interview. I wish it had more details around the music like in the first instance when he talks about using the nishad in what is essentially a Bhoop based raga. I listened to “Baharon se poocho” with a different set of ears, and other than the main melody discovered some lovely interludes in it oscillatinging between the alto saxophone and strings. Lovely gem in the use of roopak taal to change the emphasis from the normal use to that of a dance based rhythm. There was a small snatch of a song he sang which seems to be based on Yaman Kalyan that I had not heard before. “Deep Jalao” , is this the one written by Sumitra Nandan Pant?
Once again thanks very much for the link.
SSWji,
Yes, the interview left yearning for more.
I do try to listen between the lines but I wish I had your ears for detail :).
You always add a new dimension to a song.
This also shows how much effort a music director puts in a song.
Regarding “Deep Jalao”, I am not sure, but you may be right as he spoke about his association with Sumitra Nandan Pant. Maybe our experts on this forum can throw some light on this.
Siddharth , I don’t think I have any better ear. I just tend to listen to a particular instrument or voice and blot out the rest for detail. I like the supporting lines in a song. It fills out the soundscape. 🙂
A couple of mistakes in my earlier post. It is should be “bhoop based song” not “raga”. And the roopak taal was in relation to “Haan diwana hoon main”. The way I wrote it seemed like I was talking about “Baharon se poocho”.
Today on Masti channel Annu Kapoor talked about the song Chandan sa Badan from the film Saraswati Chandra. Apparently the song was stolen from Sardar Malik. He took the dispute to Music Producer’s association, which did not take it up.
I think the song is not the usual Kalyanji Anadji style at all (unlike the other songs in the film). It does have a Sardar Malik flavor. AKji, what do you think ?
Naras,
Sardar Malik had created a wonderful Yaman composition Saranga teri yaad mein in Mukesh’s voice. That could be the reason for the suggestion. But Yaman is a very popular raga. Let us not take anything away from KA. They are at par with SJ in the number of songs for Mukesh at about 100. They also gave some of his best songs, such as Chaand si mehbooba ho meri kab.
Coming here too late.
Too good a post on a great composer.
For these Forgotten Composers series it will be a great homage if you could please enlist all their films as it will be fever in numbers but deserving mention.
I agree with #48 on all the points mentioned.
Here is another solo of Mukesh from Mera ghar mere bache(1960)
https://youtu.be/a4Ft0iIOfVM
Mahesh,
Great song. Thanks a lot for posting it. What is the meaning of ऊडी?
AK
This song has a lot of similarity with Chalare Sajni of S D Burman. Please listen and tell me whether I am right or wrong.
DP Rangan,
You are right. But there is another Mukesh song much closer which I am not able to recall.
AK,
Can it be this one?
Mujhe raat din ye khayal hai
https://www.youtube.com/watch?v=wZBhvoKGBCY
and I think udi dui means humid in romantics lyrics it is bheegi bheegi
https://atulsongaday.me/2011/08/10/oodi-oodi-chhaayi-ghataa/
Lot of discussion here on the word.
Would request experts to explain the relevance of the word to the hills.
Mumbaikar8,
Yes, you have hit the nail on the head. Thanks a lot.
AK ji;
I think Ms. Mumbaikar is right. Mujhe raat din yeh….is quite close to Mera ghar mere bachhe song.
The other close call could be….Mujhe tum se kuchh na ….Mukesh from Kanhaiya.
https://www.youtube.com/watch?v=Eg3G_t1a6lw
Mahesh,
It seems ऊडी can be fitted in any song to do with clouds, saawan etc. Can convey pathos, when saawan has come but manbhawan is away.
Here are few songs from Taxi 555
kehthe hain jise duniya – rafi
https://www.youtube.com/watch?v=mD8ss7Fnznw
Ho gaya gentleman – Rafi – Asha
https://www.youtube.com/watch?v=oLu4ouhCwA0
Kio chand koi taara – Rafi – Geeta Dutt
https://www.youtube.com/watch?v=mQ2ZcRlVRPg
Another beautiful Rafi solo
Humne kya pyar kiya – Naag Mohini
https://www.youtube.com/watch?v=klNJYYrYhhU
Dear Mr Khan,
While Mohd Rafi ji was a great singer without peer, so was each one if his contemporaries including the inimitable Mukesh. If Rafi ji could climb the musical scale without an iota of strain, Mukesh ji could straddle the lower notes with immense ease and effect. Both had their strong points. To say that one was better than the other, as done by you, betrays a clear lack of understanding of the music
of these greats.
Regards.
Dear Mr Khan,
While Mohd Rafi ji was a great singer without peer, so was each one if his contemporaries including the inimitable Mukesh. If Rafi ji could climb the musical scale without an iota of strain, Mukesh ji could straddle the lower notes with immense ease and effect. Both had their strong points. To say that one was better than the other, as done by you, betrays a clear lack of understanding of the music
of these greats.
Regards.
AK,
This (Non) Melancholic Sardar Malik song sounds like C. Ramchandra song. the other melancholic you have mentioned.
Chalta rahe yeh caravan FILM CHOR BAZAR 1954 MD SARDAR MALIK
https://www.youtube.com/watch?v=Pp6__WJLX7Q
What about this Sudha Malhotra number from Chamak Chandni (1957).
https://www.youtube.com/watch?v=ecRevDVZK4Y
Arbab_M,
Welcome to SOY. Thia is another excellent song composed by Sardar Malik. Thanks a lot.
Majaz, Sardar Malik and Talat Mahmood, these three great creators have created an eternally famous melody that a century has not been able to forget and next centuries will keep it close to their hearts!
Preserving this gem is no less important and that is done by Google search to Wikipedia for Sardar Malik’s son, Anu Malik, a famous composer of 1990, that helped us never to lose it from our memory.
“Ae ghume dil kiyaa karoon ae vahshate dil kiyaa karoon” the poem a Nazm of Majaz the great poet inspired Sardar Malik and Talat Mahmood to leave the most powerful melody to be valued in the subcontinent till the time unknown!
Thank you so much!
Surayiya Jabeen,
Welcome to Songs of Yore. I couldn’t agree with you more on Sardar Malik’s Ae gham-e-dil kya karun. I am also a great admirer of ‘Aab-e-Hayat’s Main ghareebon ka dil hun watan ki zuban, and all songs of Sardar Malik. And, of course, all the songs of Saaranga. The Wikipedia page on Sardar Malik is quite cryptic. I was expecting Anu Malik to do more on remembering his father. No one is willing to follow the example of Amitabh Bachchan, who never ceases to mention his ‘Babuji’ in all his appearances.