Guest article by Ashok M Vaishnav in the series of centenary tributes to Hemant Kumar (b. 16 June 2020 – d. 26 September 1989)
(Is Hemant Kumar a major singer or a music director? For his fans his mesmerising singing overshadows his contribution as a music director. Ashok M Vaishnav is known for going deep into data analysis and classification – SoY regulars have seen his perseverance in his mega-series, Multiple version songs. Ashokji plans to write a series of guest articles on Hemant Kumar’s various facets as music director, as a part of his centenary celebrations, which were set off brilliantly by N Vankataraman’s outstanding tribute, titled ‘Hemantayan – Part 1’, on his Birth Centenary, 16 June 2020.
Venkataramanji is planning his Part 2 on 26 September 2020 to coincide with Hemant Kumar’s death anniversary. His scheme, as the readers must have noticed, is to divide Hemant Kumar’s life and career in two parts chronologically – the first part going up to 1960 – taking a comprehensive overview of his career as a music director and singer in Hindi, Bengali and other languages, as well as his non-film songs.
It was very kind of Ashokji to offer on his own to supplement Venkataramanji’s two-part overview with some articles going into more detail on Hemant Kumar’s career on various parameters. Here is the first article of his planned series, on his female playback singers (in Hindi films). Since I have written on his songs for Lata Mangeshkar long ago, Ashokji only mentions her few songs, focussing more on his wide range of other female singers. He consciously chooses less familiar songs as a prudent policy.
Many readers have rightly observed that SoY is blessed with very generous guest writers. We are all lucky. Thank you Ashokji for your guest article. – AK)
Hemant Kumar (16-6-1920 | 26-9-1989) had already shown flare for music composition from his early childhood. Even though his formal career commenced as a singer, his talents as a composer also did not have to wait longer to get formal recognition. Of course, in so far as Hindi Films is concerned, the first ever film for which he got to compose the music was a decade after he sang his first film song. He then went on to compose music for 50+ films for the next 27 years.
(Note: Many sites mention film ‘Irada’ (1944) as his debut as a singer in Hindi films. However, it is now generally accepted that his first song was ‘Aankhon ki oat jo rahta tha’ in the film ‘Meenakshi’ (1942). – AK)
Hemant Kumar’s start as music director in Anand Math (1952) was on a reasonably high note. It soon reached peak with Nagin (1954) and Shart (1954). Both these films had excellent run on box office mainly on the backing of the songs of the film. Hemant Kumar then continued to score at least one musical hit for every two or three films for which he scored the music, irrespective of the box office outcome of the film. As it happens with majority of the film songs, the songs from the films that did well on the box office had longer recall value in the minds of the listeners. These are the songs that have cemented the image of Hemant Kumar as the composer in our minds.
The full spectrum of Hemant Kumar’s range as a composer has five distinct shades of grey – his solo songs in his own voice, his songs in the voice of female singers, his solo songs in the voice of other male singers, his own duets and his duets in the voice of other singers.
Presently, we will take up the segment of Hemant Kumar’s female songs to explore breadth and depth of Hemant Kumar’s compositions
In terms of singers, the solo songs of Lata Mangeshkar, Asha Bhosle and Geeta Dutt, in that order, occupy more that 80% of the female-singers spectrum of Hemant Kumar’s compositions. He mostly used Lata Mangeshkar as his lead singer when he did not use Geeta Dutt. Quantitatively and qualitatively, he still had enough room for using Asha Bhosle’s talent fully. This heavy skew in the distribution of the female solo songs led me to explore Hemant Kumar’s musically less successful films to dig out songs of the other female singers. In the process, I had excellent opportunity to listen to many forgotten Lata/Geeta or Asha songs from these films as well.
These deep-sea explorations have resulted into a several large catches of songs of these three singers. I, therefore, have luxury to choose from the less heard songs of the less remembered films to present a different perspective of the rich legacy of repertoire of Hemant Kumar’s female song compositions.
Lata Mangeshkar
Like his other contemporary Bengali music directors, SD Burman or Salil Chowdhury, in the Hindi Film world of that period Lata Mangeshkar was the clear first choice of Hemant Kumar. The natural melody of the Lata Mangeshkar’s voice was a logical and obvious choice for the soft Bengali tone of these music directors.
SoY has extensively covered Hemant Kumar’s best Lata Mangeshkar songs earlier. So, I have picked up only one song from an early film and another one from his one of the last films, to present as encompassing range as possible of Hemant Kumar’s female songs.
1. Kahan se le ke aayi hain kahan majburiyan meri….. Meri taqdir ke mailk mera kuchh faisala kar de – Shart 1954 – Lyrics: SH Bihari
The song opens with a couplet that epitomises the helplessness of the protagonist. Hemant Kumar deploys short pieces of violin ensemble that accentuates the mood of pathos of the song.
2. Mitwa re bhul gaye the rahein mitwa – Rahgir (1969) – Lyrics: Gulzar
This song also renders the mood of pathos – caused by the separation of the lovers. Hemant Kumar has used high scales of shehnai in the interlude, to immediately follow the line wherein chorus also joins the song. The song is classic Gulzar poetry which is always a challenge for the music director. However, Hemant Kumar’s natural bent for melody returns with a complex, and yet a melodious composition.
Geeta Dutt
Hemant Kumar used Geeta Dutt as lead female voice in his maiden film Anand Math (1952) – 5 songs. He then used her voice as lead singer in only Laalten (1956) – 6 songs; Police (1958) – 6 songs and of course, Sahib Bibi Aur Ghulam (1960) – 3 songs. He kept using her off and on, in solos or duets, in films like Ferry (1954) – 2 songs; Samrat (1954) – 2 songs; Shart (1954) – 2 songs; Bahu (1955) – 3 songs; Bhagwat Mahima (1955) – 1 song; Arab Ka Suadagar (1956) – 2 songs; Bandi (1957) – 3 songs; Ek Jalak (1957) – 3 songs; Fashion (1957) – 3 songs; Hill Station (1957) – 3 songs; Kitna Badal Gaya Insan (1957) – 3 songs; Miss Mary (1957) – 1 song; Yahudi Ki Ladki (1957) – 5 songs; Hum Bhi Insaan Hain (1959) – 2 songs; and Duniya Jhukti Hai (1960) – 1 song. If some of the songs are remembered even today, some were lost quickly.
3. Aa re bhanvare aa, maheki meri man ki bagiya – Anand Math (1952) – Lyrics: Shailendra
Since Geeta Bali seems to be on an espionage or a luring mission into the British camps, she resorts to amorous gestures, matching her singing to her physical movements. Geeta Dutt supports such gyrations with matching variations of her singing. Hemant Kumar has so vividly woven an earthy folk-based composition with the situation.
4. Rangili rangili chhabili rani nindiya, aa mere raja ki ankhiyo mein aa – Ferry (1954) – Lyrics: Rajendra Krishna
Hemant Kumar sets the lullaby to a soothing, soft orchestration.
5. Agar pyar mein muskuraaye na hote – Laalten (1956) – Lyrics: Kaif Irfani
Hemant Kumar has set Geeta Dutt’s voice to a tone that exudes pathos, and then goes on to support that with short pieces of orchestrations.
6. Koi door se awaaz de, chale aao, chale aao – Sahib Bibi Aur Ghulam (1962) – Lyrics: Shakeel Badayuni
After the success of Bees Saal Baad (1960), Hemant Kumar and Shakeel Badayuni again team up here. The deep-from-the-memory, haunting, softly echoing, sound of the song in the voice of Chhoti Bahu draws Guru Dutt to the place where he finds the bangles of the Chhoti Bahu. The film goes into flashback. (@.4.14 to 5.38 of the film soundtrack). The short, soft, sounds of violin in the background in the following frames speak volumes for Hemant Kumar’s creativity as a composer.
Incidentally, it is in this opening that the Hindi version dramatically differs from the Bengali version of the film.
The present song returns at the end of the film to encapsulate the haunting melancholy of the loneliness of Chhoti Bahu.
Asha Bhosle
Asha Bhosle, technically for the most part, did not enjoy the status of a lead singer in Hemant Kumar’s scheme of things. But Hemant Kumar has always done full justice to the range of her voice, in terms of number of songs that he gave to Asha Bhosle, as well in terms of variety of the music content. As a result many of Hemant Kumar-Asha Bhosle songs, like De di humein aazadi bina khadag bina dhal (Jagriti, 1954), Yaad rakhana pyar ki nishani gori yaad rakhana (Nagin, 1954), Sakhi ri sun bole papiha us paar (Miss Mary, 1957) or Bhnwara bada naadan and Saaqiya aaj mujhe nend nahi ayegi (Sahib Bibi Aur Ghulam, 1962) are placed in her most respected songs.
I have selected a few representative songs here, as a sample of the wide range of Hemant Kumar’s Asha Bhosle songs.
7. Chalo chale maa, sapno ke gaon mein – Jagriti (1954) – Lyrics: Pradeepji
This is a twin version song. The first version has strong undercurrent of hope of good tidings to come. Hemant Kumar has epitomised the high hopes by setting the opening scale of each stanza on a high note. The second version has pensive pathos mood. He reframes the initial high notes of the stanza by extending them over the whole line.
8. Bade bhaiya layen hain London se chhori, dila do hamein bhi dulhan gori gori – Ek Hi Rasta (1956) – Lyrics: Majrooh Sultanpuri
Hemant Kumar conjures a beauty in the form of a children’s song. He seems to have taken all care to use only those instruments that are mostly seen being used on the screen in the song. Hisingenuity as a composer is evidenced in the second stanza, wherein the song switches over to qawwali style singing because the lyrics talk about the Baarat (bridegroom’s marriage procession). The transition from qawwali back to the original marching rhythm is also very deftly managed @ 3.39.
An interesting Trivia : @1.00 to 1.05 we get to listen a piece on harmonica which is the theme of another great Hemant–Lata duet from the film – Sanwale salone aaye din bahar Ke.
We fast-forward to the later part of the Hemant Kumar’s musical filmography.
9. Bin badal barsat na hogi – Bin Badal Barsat (1963) – Lyrics: Shakeel Badayuni
Hemant Kumar has chosen to base the composition of this dance song on a folk tune, but the interlude orchestration has all the elements of a mystery-film song, since there seems to be some hidden story that connects the protagonist (Nishi) on the dance floor with the key spectator– Biswajeet. Asha Bhosle’s delivery of the song is also so composed that the elements of mystery and underlying melancholy of the main protagonist’s feelings remain evident.
10. Kyun mujhe itni khushi de di ki ghabarata hai dil – Anupama (1966) – Lyrics: Kaifi Azmi
Here is a dance song staged on the screen as a party song. Hemant Kumar has again successfully used Asha Bhosle’s voice to blend the two moods, one obvious mood of joy, befitting what can be seen on the floor and the other a hidden underlying mood of the protagonist (Shashikala) in sync with lyrics of the song.
Other Female Singers
We now move over to the ‘Long Tail’ of the skewed distribution of Hemant Kumar’s female songs. He has used the ‘other’ known Hindi female playback singers more as an exception. Shamshad Begum has two solos and two FF duets, Sudha Malhotra has one solo, one FF duet and one (an iconic) MF duet that we will take up for discussion separately, and Suman Kalyanpur has two FF duets, and Usha Mangeshkar has two FF duets. Other than these, he has also chosen to experiment with Bengali female playback singers, like Ratna Gupta, Aarti Mukherjee, his wife Bela Mukherjee and his daughter Ranu Mukhrtjee, Bula Gupta etc.
Usha Mangeshkar
Hemant Kumar has used Usha Mangeshkar for FF duets only.
11. Kaisi lagi…..jiya jaye to jiya jaye – Ek Hi Rasta (1956) – with Asha Bhosle – Lyrics: Majrooh Sultanpuri
This is a duet dance song, so typically planned to celebrate special occasions.
Shamshad Begum
Hemant Kumar has used Shamshad Begum for four songs, of which one solo, in ‘Hamara Watan’ (1956) and a duet, with Ravi, from ‘Daku Ki Ladki’ (1954) do not seem to be traceable on the internet.
12. Hum kisi se na kahenge chup chup se rahenge – Yahudi Ki Ladki (1957) – with Geeta Dutt – Lyrics: SH Bihari
The song is set to what has now become familiar as Arabic dance tune (thanks to n-number of films based on stories from that milieu) to the listeners of Hindi film songs. Both the singers have been accorded freedom to sing in their natural range.
13. Pyar jata ke lalchaye mora balama –- Hum Bhi Insaan Hai (1959) – Lyrics: Shailendra
This seems to a mujra-styled dance song. Shamshad Begum is her at vintage best, even in 1959.
Sudha Malhotra
14. Mujhe tarke taaluk ke liye samjhaya jaata hai – Sahara (1958) – Lyrics: Bharat Vyas
Hemant Kumar has so easily been able to present a signature mujra song – with prominent tabla thaaps (beats), beginning of the stanza without the support of any instruments and of course the use of most ubiquitous instrument of a mujra music – the sarangi.
Suman Kalyanpur
Suman Kalyanpur is present in only two FF duets. Both are perfectly composed FF duets, but have differently blended the inherent vocal qualities of different singers in the respective songs.
15. Kabhi aaj kabhi kal kabhi parason – Chand (1959) – with Lata Mangeshkar – Lyrics: Shailendra
The song appears to be a public dance stage show. As such, both the performers are expected to move and sing in perfect synchronisation. Hemant Kumar has achieved this synchronization in the vocal part of the song by perfectly blending almost similar sounding voices of Lata Mangeshkar and Suman Kalyanpur. (This duet was first discovered by Mumbaikar8 on this blog. – AK)
16. Phulwa band maheke dekho daali daali – Hum Bhi Insaan Hain (1959) – with Geeta Dutt – Lyrics: Shailendra
Shailendra has captured the two points of view of friends in the song, who seem to be visiting the flower garden – both see different hues in the same settings. Hemant Kumar has enlivened this effect by using two naturally different voices – those of Geeta Dutt and Suman Kalyanpur.
Ratna Gupta
Ratna Gupta was the wife of film director, Hemen Gupta. She has rendered songs only in the films which Hemen Gupta had directed, viz. Bhuli Nai (1948) in Bengali and Ferry (1954) and Taksaal (1956; Music by Roshan) in Hindi.
17. Yehi hai mere sapnon ka sansar – Ferry (1954) – Lyrics: Rajinder Krishna
Geeta Bali, with her two children, is on a joy tour to her beautiful world of dreams. Ratna Gupta’s pleasant Bengali-intoned voice adds to the refreshing charm of the situation.
The song also has a sad twin version.
In the clip here, we get to hear a soft call of a boatmen to keep pushing the boat – the metaphor for the life – in the voice of Hemant Kumar. The main song is composed in a high scale, to reflect the anguish of Geeta Bali as the moments of her past happy family life flash in her memory.
Kamal Barot and Neelima Chatterjee
We have one more just one-off experiment in so far as use of these two singers is concerned.
18. Main laal laal muchkoon – Majhli Didi (1967) – with Lata Mangeshkar – Lyrics: Neeraj
The song is a children’s song, based on quiz game. Kamal Barot sings lines for a child artist who we can now recognise as Baby Sarika. Neelima Chatterjee sings for a boy, identified as Master Khalid.
Ranu Mukherjee
Hemant Kumar has used Ranu Mukherje’s voice in different moods, in different situations, at different stages of her age.
19. Nani teri morni ko mor le gaye – Masoom 1960 – Lyrics: Sahir Ludhyanavi
Ranu Mukherjee must be five/six years old when the song would have been recorded. So, the natural childlike discordant notes in her voice can be felt, but otherwise this is as virtuoso performance as any professional would have rendered!
20. Mera qatil haseen jee qatil javan qatil hai – Farar (1965) – Lyrics: Kaifi Azmi
This is the mother of all scoops. Just five years after that childlike innocent song, Ranu Mukherjee comes up with this full-fledged western club song, in an equally virtuoso performance.
21. Ab to muskuraiye, muskuraiye zara, aapki sharatein gul khila chukeen – Do Dooni Chaar (1968) – Lyrics: Gulzar
Hemant Kumar’s bag of scoops has still more surprises. Three more years down the line, and Ranu Mukherjee now comes up trumps as a lead singer – in a film that is pure comedy, giving playback to a vivacious, mischievous sister-in-law character enacted in such a lively style by Tanuja, and to enliven the lyrics of Gulzar with that correct throw of a word.
Ranu Mukherjee had two more, equally interesting, solos in the film.
Asides Trivia for the records: Gulzar seemed to have made up his mind to remake this film which was made under the banner of Bimal Roy Productions, inspired from Shakespeare’s play, ‘Comedy of Errors ‘. He went to onto make a classic, in the form of Angoor (1982).
Bela Mukherjee
It should be redundant to state that Bela Mukherjee is the wife of Hemant Kumar and quite a singer on her own. Hemant Kumar has used her voice for just a handful songs which at best can be classified as special situation songs.
22. Ae Deendayal daya do humein – Farar (1965) – Lyrics: Kaifi Azmi
This is a school prayer song. Hemant Kumar has deftly used the voice of Bela Mukherjee for a boy.
Bula Gupta
There is reference to a name Bula as ‘Baby Bula’ in Ferry (1954). Knowledgeable co-bloggers had identified her as the daughter of the director of that film Hemen Gupta. In fact, there is mention of a child duet song in that film, wherein this Baby Bula has joined Master Jayant (Hemant Kumar’s son). If we put two and two together, this Bula Gupta seems to be the same person, now a young lady.
23. Jaam utha ke tod ke tauba pi – Us Raat Ke Baad (1970) – Lyrics: Gulzar
Hemant Kumar has persisted with experimenting with Bengali singers to sing ‘special’ songs. He has blended the use of mid-east string instruments with western instruments in the orchestration.
Aarti Mukherjee
Aarti Mukherjee is a trained singer, who has worked as playback singers more in Bengali films than Hindi films.
24. Billi bajaye baja, gaye chuhiyon ka raaja, naache bandariya lahenga dal ke – Sahara (1958) – with Lata Mangeshkar – Lyrics: Bharat Vyas
After Aarti Mukherjee won the All-India Murphy Metro Music contest held in Mumbai, in 1957, this is her reward. She was in school in those days, so she gets to sing for the child artist in this song.
25. Do do pankh laga ke panchi banenge – Rahgeer (1969) – with chorus – Lyrics: Gulzar
It seems the song may have been rendered by some character in the adolescent age on the screen.
Hemant Kumar’s female songs has so many shades that one article by any one person will never be able to do full justice to the subject. If I were to do this article once again, even I may choose some other songs over what I have chosen here. There is always hope for that next time.
Acknowledgement and Disclaimer:
The song videos have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog does not claim any copyright over these songs which vests in the respective owners, such as Saregama India Limited and others.
{ 59 comments… read them below or add one }
Superb post !
Not only did Hemant Kumar make excellent music himself, he was also a maestro in making good use of female singers voices. I am tempted to add the following song from “Do Dil” sung by Aarti Mukherjee.
“Sara Mora Kajra Chuddhaya Tune”
Thanks Rakeshji (#1) for your generous appreciation.
Saar Mora Kajra is duet, hence we will take it up suitably when we address duets composed by Hemant Kumar.
Ashokji,
A nice post highlighting Hemant Kumar’s compostions with female singers.
Particularly interesting is your focus on lesser known songs and singers apart from Lata, Asha and Geeta.
You have mentioned that Usha Mangeshkar sang only FF duets for him.
There is one solo by Usha for the film Maa Beta 1962, lyrics by Prem Dhawan – Pyaasi hai mamta meri aaja re dheere dheere
https://www.youtube.com/watch?v=IUsxHM0FZp0
And one song by Rajkumari in Anand Math 1952, written by Hasrat Jaipuri
Bhawara diwana diwana dil ka paimana hai
https://www.youtube.com/watch?v=wHtuL-ZXImM
Dr.Deshpande (3 & #4)
Factually, you are correct. I stand corrected to that extent.
Ashok M Vaishnav ;
A nice periscope of long distance queens that ruled bollywood during their times with no strings attached. Hemant kumar music for female singers was as soft as his personality . Even the instrumental interludes were soft to highlight the lyrics and bring out best of talents of singers. I can’t stop myself listening again and again some songs like ….Phulwa band maheke dekho daali daali… . Look at the comfort level of the singers….simply amazing. Hemant really brought out best of Shailendra thru this beautiful duet . Words make you think….. Music makes you feel …..that was the magic touch of Hemant Kumar !
Yet another song which I like the most is from Bees Saal Baad . Lata excelled in all the songs of this film . Besides….Kahin Deep Jaale ….there is one more by lata ji which ruled my heart with so nice sentimental lyrics only Hemant could do full justice in bringing out best of emotions .
Ae muhabbat meri duniya …..Bees sal bad ….Lata… Shakeel badayuni
https://www.youtube.com/watch?v=JSoimHpvYhg
Probably such a collection of Hemant Kumar songs is a treasure for music lovers.
Thanks Ashok vaishnav.
A very nice article Vaishnavi . I have heard majority of the songs for the first time. All the songs bear unmistakable stamp of Hemant Kumar as a composer.
Love in Canada was the last Hindi film of Hemant Kumar as a composer. Sharon Prabhakar has sung an English song in that film.
Love’s reflections
https://youtu.be/JHSs0WDdDC0
I am sorry about the typing mistake it should be Vaishnavji
( It actually was an auto correct devil which I did not notice)
Ashok ji:
Thank you for this excellent post. Your coverage of Hemant Kumar’s repertoire as far as female (except Lata) solos and FF duets are concerned is fully representative as well as comprehensive. During the mid-1950s (1956-57) he was among the busiest composers in HFM. But, of course, there was no encore for the success of Naagin for him for quite some time.
I will look forward to your coverage of duets composed by him. Here is Mini mini chik chik (Geeta Dutt in Police, 1958):
https://www.youtube.com/watch?v=ClyRPA0PMNg
The song reminds one of Mini mini chi chi (Lata-Mukesh in Kathputli, 1957; MD: SJ):
https://www.youtube.com/watch?v=nezMQxB5bus
Great,Great Hemantkumar and Music…
ksbhatiaji (#6)
‘Ay Muhabbat Meri Duniya Mein Tera’ seems to be a very typical pathos song of Shakeel Badyuni song that he would have had written so often for Naushad (perhaps obviously).
Here is one with a very similar effect, from Chaudahvi Ka Chand
Badle Badle Mer Sarkar NAzar Aate Hai
https://youtu.be/h0V-CgaklJo
It seems the pathos in lyrics brings out very similar feelings in the music directors too.
And Ravi has had a very close, long association with Hemant Kumar.
Mayur Vachharaniji (#7)
So happy to know that you too liked my selection here. Thanks so much.
Rahul Mulji (#8)
Thanks for posting Sharon Prabhakar song form Evening in London.
I had left out quite a few such songs since the article was becoming a little too long as it is.
Canasya (# 10)
Use of Mini Mini Chiki in both the songs, a similar fast-tempo rhythm improvisation of waltz tune, and common background (Goanese) of the music arrangers for the music directors all seem to have played their roles.
We do not if both songs had some common inspiration song of folk origin !
Mahenshchandra Naik (#11)
Hemant Kumar’s music has its own charm – would a very universally approved feeling among most of the Hindi Film Song listeners.
The travel through not-so-familiar songs here validates this hypothesis.
So good to know that you too share similar feelings.
Thank yo very much.
Ashokji Vaishnavji,
Thanks for an excellent article on Hemant Kumar’s female singers and the selection of songs too were good.
I would simply endorse what Bhatiaji wrote.
‘Hemant Kumar then continued to score at least one musical hit for every two or three films for which he scored the music, irrespective of the box office outcome of the film. As it happens with majority of the film songs, the songs from the films that did well on the box office had longer recall value in the minds of the listeners. These are the songs that have cemented the image of Hemant Kumar as the composer in our minds.’
You have hit the nail right on the head. Very aptly put.
Posting a song from Love in Canada(1979). This was the last Hindi film for which Hemanta scored music.
A listenable song with nice lyrics.
Khushiya Unko Milti Hai, Lata Mangeshkar, Yogesh
https://www.youtube.com/watch?v=YSHVjqME0j4
Though Hemant Kumar was the music director for the film ‘DO Mastane’ (1958) directed by Harish under the banner HarishProductions he did not compose any new song for the film. All the eleven songs were composed for 4 earlier films of the 50s. Here is the break-up.
Ustad Pedro (1951), MD – C Ramchandra, Direction Harish, Produced by Umar Khayyam Productions (Sheikh Mukhtar)
1. Jaane Wali Tadpane Wali Mukhda Dikhla Ja, R Chitalkar & Lata Mangeshkar
Dara (1953), MD – Md.Shafi, Direction Harish, Produced by Umar Khayyam Productions (Sheikh Mukhtar)
2. Aa Nanino Me Jhum Kar Sajna, Lata Mangeshkar
3. Bandhan Hai Haatho Ke Kangan, Lata Mangeshkar
4. Do Bol Tere Meethe Meethe, Hemant Kumar & Lata Mangeshkar
Daku Ki Ladkii (1954), MD – Hemant Kumar, Direction Harish, Produced by Harish Productions
5. Dil Se Mila Dil, Hemant Kumar & Lata Mangeshkar
6. Gulo Ko Khilau Baharo Se Khelu, Asha Bhosle
7. Mohabbat Ke Janaaze Par, Lata mangeshkar
8. Nazron Se Chhup Gaya Hai, Hemant Kumar & Lata Mangeshkar
9. Hum Pyar Me Jitne Kadam Chale, Lata Mangeshkar
Laalten (1956), MD – Hemant Kumar, Direction Harish, Produced by Harish Productions
10. Kabhi Akadkar Baat Na Karna, Hemant Kumar & Geeta Dutt
11. Karaar Jisko Naa Aaye, Hemant Kumar & Geeta Dutt
If the songs of Do Mastane are not included then the total number of song composed by Hemant Kuamr for Hindi Films will be roughly between 420 and 425.
A. If we consider all the songs where we can find female voices then the female songs would be approximately 71%.
B. If we omit the male-female duets then the female songs would be approximately 53%.
C .And if we take only the female solos, the percentage would be around 48.
If we go for a further break-up of the female songs, then the figures would be as follows:
A. All songs where we can find female voices (71%)
Lata Mangeshkar – 34%
Asha Bhosle – 15%
Geeta Dutt – 13%
Others – 9%
B. Excluding the male-female duets (53%)
Lata Mangeshkar – 27%
Asha Bhosle –12%
Geeta Dutt – 8%
Others – 6%
C. Only Female Solos (48%)
Lata Mangeshkar – 26%
Asha Bhosle –11%
Geeta Dutt – 7%
Others – 4%
Venkataramanji (# 17 & #18)
Your inputs indeed tremendously enrich the contents of the articles.
Thank you so much for so supportive participation.
I also take this opportunity to place on records my sincere thanks for correcting the errors in the numbers of Hemant Kumar’s Geeta Dutt songs.
Apart from imparting the much needed factual accuracy of the article, it has even added a completely ‘new’ song to my limited knowledge .
Wow! What a song it is !
Aaja Zara Mere Dil Ke Sahare – Ek Jhalak (1957) – Lyrics: S H Bihari
https://youtu.be/7-b7RGR-MUg
To me, the only the duet existed.
I also record my thanks for carrying out the corrections in the Geetā Dutt song numbers.
My apologies to all for my errors.
Ashokji
After Bhatiaji and Venkataramanji comments of mine would be just mundane. Still let me add a few lines .
You have done a diligent piece of research in unearthing so many songs from obscure singers and equally such category of films and posting them for the benefit of followers. It is a herculean effort and my full appreciation and admiration for the same. In fact you have taken me to ultima thule of the world of HFM in so far as this music director is concerned. To summarise, your post is a tour de force as is usually the case.
@19 – Geeta Dutt song is well known and is based on an English song called – Cherry Pink Blossom. Instrumental Link is below
https://youtu.be/oaS0iSmZSqo?t=25
A Pat Boone version of the same –
https://youtu.be/bK2Z7S2e32M?t=57
D P Ranaganji (#20)
This generous appreciation coming from you is too intoxicating to me..
Thanks for additional information on the supposed inspiration source of Aaja Zara Mere Dil Ke Sahare.
Geeta Dutt version was totally not known to me.
Ashok Vaishnavji @ 19,
Mistakes happen with everybody. While cross checking I found mistakes even in the list and figures provided in Hemant Kumar’s biographical book. The same is the case with HFGM and HFGK. Nothing is error-proof. And often we have found information from the horse’s mouth too can be wrong. And I too can and do make lot mistakes. We share/write what we believe to be correct at the time of our writing. Through our interactions and search we can update ourselves and stand corrected.
Though an inspired song, ‘Aaja Zara Mere Dil Ke Sahare’ is a good adaption. Well composed and rendered. The duet version was reused in Deepa Mehts’s film ‘Fire’ (1996).
You have covered apparently 11 singers in your ‘Long Tail’ part. Actually it is 12. The last song (#25) in your post is a duet by Aarti Mukherjee and Hemlata. Thus you have covered one more female voice. And Hemalata was the main voice in the song ‘Aa Do Do Pankh Laga Ke Panchhi Banenge’ and Aarti Mukherjee had a limited part. One can clearly hear Aarti Mukherjee voice at 02:11, when she sings line ‘Singhasan se chupke chupke taj pahan kar aaye’ and again at 03:16 where sings the line ‘Maa samjhe jab so gaya munna sapne me ud bhage’.
Hemlata was born in Hyderabad, and soon after her birth her father Jaichandra Bhatt, a classical singer and teacher, shifted to Calcutta with his family. Hemlata was 12 years of age when her parents moved to Bombay. Before this song she had had rendered a dozen songs in Hindi films.
Another interesting information about song is that it was based on a Rabindra Sangeet ‘Tomar Khola Haoa written and composed in 1914.
For Aarti Mukherjee, ‘Sahara’ (1958) was her debut film. Besides the FF duet ‘Billi bajaye baja, gaye chuhiyon ka raaja’ with Lata, she rendered a solo for Anil Biswas in the film ‘Angulimaal’ (1960) and a MF duet with Md.Rafi for Shankar-Jaikishan in the film ‘Boy Friend’ (1961), before making her debut in Bengali films. After ‘Sahara’ she had to wait for seven years to work with Hemant Kumar. She sang a duet with Md.Rafi in Do Dil (1965). The same year she sang (two solos) for the first time in a Bengali film (Ektuku Basa) for Hemanta Mukherjee. In all, she rendered 6 songs under Hemant Kumar’s baton in Hindi movies.
Posting a one minute solo song from Khamoshi
https://www.youtube.com/watch?time_continue=1&v=TtIMUYpGg68&feature=emb_title
Rajeshji and Rahuli have posted a song each of Rajkumari and Sharon Prabhakar. Adding two more female voices to the list.
Bharat Ke Log Geet by Mubarak Begum & Sulochana Kadam, Fashion (1957), Bharat Vyas
https://gaana.com/song/bharat-ke-lok-geet
Adding one more female singer to the long list.
Ek Baat Kahu Tumse….. Mehfil Men Tere Husn Ke Diwane, Pratima Banerjee, Sahara (1958), Bharat Vyas
https://www.youtube.com/watch?v=4L5eOIw-AWQ
Besides Hemant Kumar employed two more female voices. He used Krishna Kalle in a MF duet and Sulakshna Pandit in a MMF triad. Thus Hemant Kumar used 19 female voices in his Hindi films. Indeed a long tail.
What a lovely article, Vaishnavji. Didn’t know of many of the songs of the singers you posted. It was a treasure for me! And, didn’t know about the Geeta Dutt solo Aaja Zara.. Thanks for sharing.
Thanks to all who added to the knowledge and enriching the experience.
Didn’t know about Mini Mini Chik Chik (Geeta Dutt, Police) version. It’s beautiful!
Jawaharji (# 25)
Thanks for your appreciation of my songs selection.
Geeta Dutt’s charm is always very fascinating
Vaishnavji
What a nice topic. This would certainly bring focus on the female singers other than Lata, Asha and Geeta. You have done your duty and it is now the turn of readers. Venkataramanji has already started the count. I would add two more. In the film Ferry, HFGK has left two spaces at song nos 3 and 4 blank and no record nos have also been given against these two entries. I think these songs were discussed sometime on SOY. The list of playback singers given in the note in HFGK gives Lakshmi Shankar’s name and film titles also have her name. Apparently these two songs were sung by her. Video links of both are given on youtube. I give here the two video links. Song title is the same ‘kaisi laagi karejwa kataar’.
https://www.youtube.com/watch?v=zq7N_6encvY
https://www.youtube.com/watch?v=9fKpjuhLKno
In the 1960 film Girlfriend, Kishore Kumar sang a duet in which child artist Daisy Irani also lent her voice. Song title ‘na dhela lagta hai na paisa lagta hai’.
https://www.youtube.com/watch?v=XFTVO2nOfKg
Another thing I would like to add is that Ranu Mukherjee was nine or ten when she sang ‘nani teri morni ko mor le gaya’. She also acted in the film Anuradha – 1960 (the same year she sang the song) in the role of Balraj Sahni and Leela Naidu’s daughter. You can have a fair idea of her age and certainly she was not 5/6. Even then I agree with you that to sing the song like she did in Faraar needs special talent and a feather in the cap of both the father and daughter.
Venkataramanji @ 22 & 23
I agree entirely with you that nothing is error proof. In fact Vaishnavji is not a statistician and thus if he had not taken into account anything, that does not count as a mistake even. You see, in a short time the additions by Dr. Deshpande, Muliji and you brought the total of other singers used to 19. To this I added two more. So it is an ongoing process.
I want to add something about the Rahgeer song ‘do do pankh laga ke’. It appears this song was sung in the film by two children – most probably brothers . Hemlata was given the lines of the elder brother and due to that she has bigger share. Arati was given the lines of the younger brother because of her experience of having successfully given playback for a small child Daisy Irani in Sahara. But, you are not correct when you say that Arati comes for the first time after two minutes. In fact she sings the second part of the mukhda itself when she sings ‘neel gagan men udte-2 chanda chhukar aayenge’ (at 0.22) after Hemlata sings the first part of the mukhda. Then again she sings ‘maa pakde to phurr se udke door se shor machayenge’ (at 1.28). In fact probably there is a third voice at 2.31 which says ‘raja ji ki maa ghabraye pehchane jab munna’ or it may be Arati in a sharp voice. This song is a great composition by HK, who perhaps specialized in getting female voices modulated for being set on children. ‘De di hamen azadi’ is a great example. In this song he has made Hemlata modulate for a male child who is a bit older and succeeded, though it was her first song with HK.
You said Arati sang 6 songs for HK in Hindi films. Did you include the triad from Love in Canada, which is given in the name of Rafi, Hemant and Arati in HFGK and also the one minute song from Khamoshi you posted.
Hansji (# 27)
Thanks for very encouraging words for this effort of mine.
Thanks for posting Kaisi Laagi Nainwa Katar by Laxmi Shankar.
That also helps one more correction in this post.
I plan to take up male songs and duets separately. However, I would have a given miss to Na Dhela Lagta Hai as a song of lower priority.
So your posting this song here is most welcome.
Ashokji,
I do not think I can go beyond bhatiaji’s Rv’s and Hans’s words of praise for both, your writing and Hemant Kumar’s music.
I will ditto them and thank you for your effort and enjoy the music presented by you and the SOY strong team.
Listening to his female songs I came across a very unusual song from Kitna badal gaya insan.
It is a Geeta Dutt chorus song but Geeta is at the most 20 seconds in the song of 2.39 mins.
In antaras at four places of less than five seconds each.
Posting them all
Geeta Dutt – Aaayi bahaar bhar lo – Kitna Badal Gaya Insaan (1957)
1st is around 1.09
https://youtu.be/iY4oQBtQX8M?t=68
2nd at 1.39
https://youtu.be/iY4oQBtQX8M?t=99
3rd 1.49
https://youtu.be/iY4oQBtQX8M?t=109
and last at 2.10
https://youtu.be/iY4oQBtQX8M?t=130
Venkataramanji
What a masterly analysis of anything to do with HFM. This would require spending hours on internet by me to come anywhere near. I am neither capable nor patient enough with my main aim at serious photography. Your productivity must be amazing with highest ranking in terms of productivity index per hour of internet trawl.
Let me post a song of Lata Mangeshkar from Hill Station (SH Bihari). There is also a duet of Lata and HK
https://youtu.be/qHDj5n5DXqE?t=11
Another song : Mohabbat me tadapne
https://youtu.be/6nZFjwXKfZg?t=36
N Venkataramanji (#22 & #23) and Hansji (# 28)
I am grateful for accepting errors.
My efforts at SoY have been a great learning experience to me to hone my amateurish love for Hindi Films songs into the present level of structured writing on the subject. However, I take this opportunity to assure you and SoY fraternity that I will put in my best possible efforts to be more accurate in the future.
mumbaikar 8 (#30)
Thanks for your generous appreciation of the article.
The Geeta Dutt song that you have posted is indeed a wonderful experimenter by Hemant Kumar.
D P Ranganji (#31)
Nay Manzil Nayi Rahein Lata solo is an excellent rendition and composition which perhaps had to take backseat in preference to duet, wherein natural dominance of a male voice has more impact the listeners.
In Chhabili (1960) he sang a lovely duet with Nutan Leheron pe leher under Snehal Bhatkar which is most melodious rendering remembered even today . This is an excellent opportunity to remember all such gems and thanks for posting it! He sang with several singers and also used almost all male singers of the era in his compositions.
N Venkataramanji (# 23)
In so far as the song goes, I feel a very strong resemblance the way Mehfil Mein Ter Husn Ke is picked up with a small piece alaap (@0.41) rembling the way mukhada of Apne Liye Pe Koi Pasheman Ho Gaya (Mahendi, 1958- Music – Ravi- Singer Lata Mangeshkar)
https://youtu.be/4zlb-bdsxfc
This may have something do with that typical style of opening a mujra song ! Or because Ravi’s connection with Hemant Kumar. Of course,
Titles of Sahara mentions Rizbert as Hemant Kumar’s assistant.
This is strictly my personal impression.
KB (# 35)
Hemant Kumar as a singer is very special subject that requires to be addressed on its own.
SoY has published some very interesting posts on this aspect in the past.
However, that subject still has miles to go.
We all can look forward to many more articles in future on SoY.
Ashok Vaishnav ji,
Nice post on female singers who have sung for Hemant da. 21 of them! You must have spent a lot of time and energy on it unearthing rare gems. Thanks
You have earned high praise from experts who have deep knowledge of HFM. I can’t add anything more except saying that I enjoyed it thoroughly as most of the songs are new to me. As you have mentioned that it will be followed by M-F duets etc, I am eagerly waiting for them.
Hemant Kumar was one of the prominent singers of the fifties but I could find that he had rendered very few songs for many composers including SJ , Madan mohan ,SD and others. Only I could find that he gave playback to 22 songs of Ravi may be due to their association and he sang mainly his own compositions. Knowing quantity does not matter is there any composer of those times who used him for playback for more songs in Hindi I would like to know..
Giri (#37)
Thanks for your very kind appreciation.
Traveling through the less heard female songs was such a fascinating experience that I made some very basic errors in compilation of the factual data.
SoY fraternity is o generous to accommodate such errors with so much of understanding.
KB (#38)
I have no off-the-cuff data regarding number of songs Hemant Kumar has done with other music directors.
However, N Venkataramanji’s Hemantayan 2 may be able to some throw some more light on this subject.
One thing quite certain is that whatever picture that statistics may present, Hemant Kumar’s songs for other music director is indeed a very fascinating subject, and requires a far more exclusive treatment.
Mr KB
Vaishnavji has given the right advice, to wait for Hemantayan 2, because Venkataramanji has done a lot of work on that and he also is a master statistician and has promised to give detailed stats in the second part. Even from the summary given by him in the first part, it is clear that Hemant Kumar sang more songs for others than for himself.
I have the statistics, but I would not pre-empt Hemantayan-2. But, I would state a few facts which would clear the matter to some extent. Firstly, Hemant Kumar was in the initial years too busy as MD, to be available for other MDs at a large scale as a singer. In the four years from 1954 to 1957 he gave music in 28 films and composed 242 songs. To compose 60 songs a year takes a lot of time. Even then, of his total output of the 50s as a singer, share of songs from his own films was just about 25 per cent. In the 60s he set up his own production company which produced 7 films from 1962 to 1972. Due to that his own composition levels dropped and consequently his number of songs too. Due to his busy schedule he only sang selectively for others, though there was always a demand for him in the composers. In the 60s we find very few songs for others, but still they were more than songs in his own films.
Vaishnavji
You talked about the Shamshad Begum song from Hamara Watan in your write-up. I have found the song. Here it is,
Meri itni araj hai huzur se, pyar karna magar door door se – Hamara Watan
https://www.youtube.com/watch?v=zik26guG66o
Hansji (#42)
Thanks.
Meri Itani Araj hHai is a real find.
Hans ji , Good to know it. I am also trying to compile a list of all songs rendered by Hemant Kumar as well as others like Mukesh, Mannadey and Talat Mahmood for various composers with the help of blogs like Atuls song a day. Thanks.
Ashok ji, Hans ji, venkatraman ji , Mumbaikar8 ji ;
Amid present situation …… the roads are enjoying their lonely times and having jolly good time as well. So I kept my self busy redoing my home backyard with facilities created for kids and grown ups alike . Life is full of thrills while you are busy making plans for future next. Music that accompanies is a great stress buster . Being busy with work, and keeping mum….is not my call .
After a free overhaul of songs and comments its time to dig out songs which I found on the roads….. less travelled .
Listen to this song that is amazing in the sense that its prelude and interludes are same as of famous Hemant’s song ….Chali gori peeke milan ko chali ….from Ek Hi Rasta .
Tum Sang Lage Piya More Naina – Taj – Lata
https://www.youtube.com/watch?v=pDjYwxjvHE4
Han’s ji I have repeatedly played the song….Meri itni araz hai hazoor se…..and after careful listening …..and at back of my mind….It appears to have shades of Nagin song….. Are Chod de Sanjaniya chod de patang meri chod de.
Ashok ji, Hans ji, venkatraman ji , Mumbaikar8 ji ;
Geeta Dutt has always been favorite of many MDs like SDB , OPN ….and many others so far Peppy club songs are concerned . Like Asha …Geeta could ignite the stage with her special modulations and beats that could bring many to their feets to dance and sing along. Hemant Kumar used her voice in Havana like culture in Police and now see her giving Peppy song in Bahu too……
NAINA CHAR KAR LE JARA HUM SE PYAAR KAR LE.BAHU (1955).GEETA DUTT.
https://www.youtube.com/watch?v=PLInvjYsd18
….to be contd…
Ashok ji ;
Hemant Da created some very fine mujra dance numbers too , and I think Asha lead such numbers to fit the bills.
One such number that is based on some mix numbers of Raags that I could identify ….among one as Basant …please elaborate others in the posted song….
Duniya Jhukti Hai:…..Bul bul ke Nisane pe….Asha
https://www.youtube.com/watch?v=mT6eGPdgpMo
,….to be contd….
Ashok M Vaishnav ;
Yourself …..Usha Mangeshkar
Hemant Kumar has used Usha Mangeshkar for FF duets only. …..
Here is one solo by Usha from Maa Beta….
Pyasi Hai Mamta Meri – Usha Mangeshkar – – Maa Beta….
https://www.youtube.com/watch?v=teAtTYNIzXk
…to be contd.
Ashok M Vaishnav ;
Hemant Kumar had a great hand in adopting best of hollywood and western tunes to fit into the theme set of crime and suspense films. While his songs from film Police are well known ; here is one by Rano mukerjee song that is based on my favorite song…..Those were the days my friend….
Kyon Hai Deewane Tu Akela….Bees Saal Pehlle…RANO….
https://www.youtube.com/watch?v=BtnVTYJHKds
The counter song….
Mary Hopkin – Those Were The Days –
https://www.youtube.com/watch?v=y3KEhWTnWvE
Ashok M Vaishnav ;
Hemant promoted Ranu Mukeerji in many moods . Here is a soft melody the videography reminds me of old movie Amanat that had beutiful songs composed by Salil da….specially the song….baanki aadayan dekhna ji dekhna .
Mind becomes theater when I see beautiful filming with simple lyrics and catchy tunes.
Ab toh muskuraiye Ranu Mukherjee Film Do Dooni Char Music Hemant Kumar Lyrics Gulzar
https://www.youtube.com/watch?v=D0SJN3SxOmI
Mr KB
There is no joy equal to that when we explore ourselves. We get to know many extra things as bonus which we never had in mind. So, wish you happy hunting.
In old times until I got HFGK, I also collected information from various sources. But, now the basic material comes from HFGK and then I cross-check with ASAD, youtube etc.
Bhatiaji
Your postings suggest you and your computer are now fit and fine. You are right about ‘meri itni araz hai huzoor se’ having a shade of ‘chhod de patang’. I did not notice it earlier. Thanks for this and also other songs. The Ranu Mukherjee song from Do Dooni Char is unique in the sense that it is of a rare breed where roothna-manana is going between females.
ksbhatia (46 to #50)
Thanks for enriching the post by posting these gem of songs.
Lata and Asha were main singers for Hemant Kumar. So most of the songs being posted are of other female singers. But, he did a unique experiment with both of them which to my memory no body else had done.
There was a post on tandem or twin songs, where a number of pairs of male and female solos were posted and also some where one was a solo and another a duet. Twin songs where both singers are female are very rare. But Hemant Kumar did it twice with the two sisters. First he did it in 1954 film Samraat for the song ‘ye khamoshiyan ye sama’. Here is a link which has both Lata and Asha versions.
https://www.youtube.com/watch?v=IG_gPcCzlHI
After 9 years he did the same in film Bin Badal Barsaat. The song was ‘bin badal barsaat na hogi’. The Lata version came with the titles, so I am posting the link of the film itself.
https://www.youtube.com/watch?v=cyPzd23MGqs
The Asha version was filmed on Nishi.
https://www.youtube.com/watch?v=Lw6l5w1xeuE
So, here is an opportunity for all to compare both the sisters. Asha detractors – most of whom are Lata fans – have been saying that Asha was no match for Lata in the fifties. Can anybody say Asha was in any way inferior to Lata in this twin song from Samrat. In my view Asha scores over Lata in both the twin songs and more so in the first.
Since Bhatiaji has kick-started the song posting, I am also doing this. First two Geeta Dutt songs of different hues. First, a sad song from Samrat-1954.
Ye dard muhabbat ka dam bhar na sambhalne de, karwat na badalne de.
https://www.youtube.com/watch?v=WpYRMfAFd7g
Now a happy song ‘chand ghatne laga, raat dhalne lagi’ from Shart- 1954. Both the songs were penned by Rajinder Krishan.
https://www.youtube.com/watch?v=ajxzhoH0HZI
Shart was a film which had landmark music. The popularity of the twin song ‘na ye chand hoga na tare rahenge’ by Hemant and Geeta has never diminished. Nor the Hemant/Lata duet ‘dekho wo chand chhupkar karta hai kya ishare’ has ever gone out of the memory of music lovers. Similarly, Lata’s ‘meri taqdeer ke malik mera kuchh faisla kar de’ has always been among her classic songs. But there are so many great songs in that film which have been overshadowed by the popularity of the songs mentioned above. The other Geeta Dutt solo I posted in my previous comment. Here I post some more.
First Asha Bhosle who sang no less than four solos in the film, which cover one third of its 12.
Jana ma chhod ke dil mera tod ke sajan followed by na na na na, a new experiment by Hemant Kumar. Lyrics SH Bihari.
https://www.youtube.com/watch?v=yp6trfFTNRw
Now a sad one penned by Rajinder Krishan.
Raat aayi hai ……mere humsafar tujhe kya khabar.
https://www.youtube.com/watch?v=x3Kpx-foCPg
Now Lata’s ‘ae mere chaman, main hoon wo kali’ also penned by Rajinder Krishan. A great song with great expressions by Shyama.
https://www.youtube.com/watch?v=T7zVjRgvvaE
Hans ji;
‘chand ghatne laga, raat dhalne lagi’ from Shart…..is one of my favorite peppy song by Geeta Dutt. But see how close is this song to three four songs sung by Asha and geeta in old movie of about same times i.e Abe Hayat. Incidently these songs were picturised on Shashikala too. This is just my recall connectivity. Hear those songs….. you may also agree to my observations.
Well songs of Shart has always been favorite of music lovers and in my childhood I sang Hemant song…..Na yeh chand hoga…in a competition and got third prize….and the prize was a Hankie ! At that moment of time I was hardly Nine or Ten Years old.
Every song that I hear carries a tag of my memories of childhood . Humming female songs was a pleasantry during those days. It was a tradition to end our evening sports activities with music till to bed . I used to finish my homework in the afternoon itself making enough room for extra curricular activities .
Jana ma chhod ke dil mera tod ke sajan…..is new to me ….and what an experiment with na na na !
Ashok Vaishnav ji
Thanks for a lovely post.
Hemant was a top composer. He gave a very large number of outstanding songs to the Hindi and Bangla film world.
Yet, his career in Bombay had distinct phases. After big success of Nagin and Jagriti and thereafter remarkable performance in Ek hi Rasta and Miss Mary; Hemant had a dip. A time came when he thought of returning to Calcutta.
Year 1962 saw an upswing. Same year he set up a production company- Geetanjali films. Bees Saal Baad was a huge hit, around the same time ‘Sahib Bibi and Ghulam’ was a tremendous album.
Thanks.
Ashok Kumar Tyagi ( #58)
Thanks for your very kind appreciation .