If you were to ask me which singer I associate most with Kalyanji-Anandji, my answer would be instantly Mukesh. It was natural I wrote a post on Mukesh-KA in the initial years of the blog with the title, Made for each other. When I started looking for their Rafi songs as a part of his centenary celebrations I was surprised to find that he composed about twice the number of songs for Rafi as he did for Mukesh, and some of them are absolutely gorgeous. That led to a post on Rafi-KA combination on the occasion of Kalyanji’s 96th birth anniversary (30 June 2024).
For a youngster the most prominent male singer for Kalyanji-Anandji would most probably be Kishore Kumar. This would be based on his perception with songs like Peenewalon ko peene ka bahana chahiye, Mera jeevan kora kagaz kora hi rah gaya, Khaike paan Banaraswala, O saathi re tere bina kya jeena, Apni to jaise taise. This just shows Kalyanji-Anandji’s capability to transition from Hum chhod chale hain mahfil ko yaad aayein kabhi to mat rona to Khaike paan Banaraswala, i.e from 50s and 60s to 70s and 80s and be counted among Big Three with Laxmikant-Pyarelal and RD Burman. In the earlier era he was not in any Big Top race. You would call him a very melodious middle level music director.
Since my primary interest is songs up to the 60s, do Kalyanji-Anandji show a great diversity in male singers beyond Mukesh and Rafi? They do quite well on Diversity Index. None of the songs I have selected goes beyond 1970. If you think of it, there was an entirely new Kalyanji-Ananji duo post-1970, and any fair analysis has to cover K-A Part 2 as they were among the three top composers in the era. I am leaving that for a more worthy person. For the time being enjoy songs of the ‘other’ male singers of KA Part 1. I am including Kalyanji Virji Shah’s songs too in this part. Also included are the Male-Female duets of the concerned singers. Here we go continuing the tribute to Kalyanji-Anandji,
Hemant Kumar
1. O….Neend na mujhko aaye, dil mera ghabraye by Hemant Kumar and Lata Mangeshkar from Post Box 999 (1958), lyrics PL Santoshi, music Kalyanji-Virji Shah
The elder brother started solo and what superb song he composed for Hemant Kumar (with Lata Mangeshkar)! Picturised on Sunil Dutt and Shakila.
https://www.youtube.com/watch?v=_El2XIMd_FY
2. Tumhein yaad hoga kabhi hum mile the by Hemant Kumar from Satta Bazaar (1959), lyrics Gulshan Bawra, music Kalyanji-Anandji
Soon the younger brother joined to form the formidable duo K-A. They continued their felicity with Hemant Kumar of divine voice, and composed this duet dripped in honey. This one does not seem to be picturised on the lead pair. But it does not matter for KA, Hemant Kumar and Lata Mangeshkar who give their best.
3. Tumhin mere meet ho tumhin meri preet ho by Suman Kalyanpur and Hemant Kumar from Pyase Panchhi (1961), lyrics Qamar Jalalabadi, music Kalyanji-Anandji
They come up with another superb song for Hemant Kumar (duet with Suman Kalyanpur). Mehmood to me looks quite odd in a lead romantic role. But this had no bearing on the supremely melodious song. The name of the film would instantly evoke the great title song by Mukesh – Pyase pancchhi neel gaga mein geet milan ke gaayein. Mukesh was their home ground and they composed several immortal songs for him.
Mahendra Kapoor
4. Dekhte hi tujhe mere dil ne kaha zindagi bhar tujhe dekhta hi rahun by Mahendra Kapoor from Parivar (1967), lyrics Gulshan Bawra, music Kalyanji-Anandji
This one is one of the memorable songs of Mahendra Kapoor.
https://www.youtube.com/watch?v=UEgBtPta-Wg
5. Mere desh ki dharti sona ugle, ugle heera moti by Mahendra Kapoor & chorus from Upkar (1967), lyrics Gulshan Bawra, music Kalyanji-Anandji
This patriotic song in the backdrop of Jai Jawan Jai Kisan was a transformational song for many artists. The song fetched President’s Silver Medal for Mahendra Kapoor. The film created the image of Bharat Manoj Kumar and Mahednra Kapoor became his preferred singer for subsequent films. Pran had a makeover in a good role with Kasme vaade pyar wafa sab after establishing himself the meanest and slimiest villain of his era. And most importantly, Upkar entered the Hall of Fame of films which swept a large number of Filmfare Awards in the year.
https://www.youtube.com/watch?v=8Hi1Dy5ylKw&list=RD8Hi1Dy5ylKw&start_radio=1
6. Arey jana hai to jaao manayenge nahin, nakhre kisi ke uthayenge nahin by Mahendra Kapoor and Asha Bhosle from Bandhan (1968), lyrics Indivar, music Kalyanji-Anandji
Mahendra Kapoor now gets to sing for the Phenomenon Rajesh Khanna under the baton of Kalyanji-Anandji.
7. Jiske sapne humein roz aate rahe by Mahendra Kapoor and Lata Mangeshkar from Geet (1969), lyrics Hasrat Jaipuri, music Kalyanji-Anandji
Rajendra Kumar was no longer the Jubilee Kumar, but this duet was quite popular.
8. Hey ji re….Ramchandra kah gaye Siya se by Mahendra Kapoor & chorus from Gopi (1970), lyrics Rajendra Krishna, music Kalyanji-Anandji
Gopi came during the interregnum when Dilip Kumar was no longer the top hero and his second innings as a character actor had not yet started. And Mahendra Kapoor gets to sing for the maestro under K-A.
9. Bharat ka rahnewala hun Bharat ki baat sunata hun from Purab Aur Pachchhim (1970), lyrics Indivar, music Kalyanji-Anandji
Purab Aur Pachchhim was an extension of Upkar. In this film Bharat goes to London and blasts off goras in their own den for their decadent ways. Also targeted are Indian expats who have forgotten our culture.
https://www.youtube.com/watch?v=_LwvxQxkFAQ
Manna Dey
10. Mere dil mein hai ek baat, kah do to bhala kya hai by Manna Dey and Suman Kalyanpur from Post Box 999 (1958), lyrics PL Santoshi, music Kalyanji Virji Shah
Kalyanji Virji Shah working alone does not feel constrained. After composing the supreme Hemant Kumar-duet, Neend na mujko aaye, He creates similar magic with Manna Dey.
https://www.youtube.com/watch?v=ljkQECSIidY
11. Kasme vaade pyar wafa sab jhoothe hain jhoothon ka kya by Manna Dey from Upkar (1967), lyrics Indivar, music Kalyanji-Anandji
This song has appeared in a recent post on the theme of Kasme vaade.
12. Aayi jhoom ke basant jhoomo sang sang mein by Manna Dey, Mahendra Kapoor, Asha Bhosle, Shamshad Begum & chorus from Upkar (1967), lyrics Prem Dhawan, music Kalyanji-Anandji
In films based in a rural setting, a joyous chorus song at a village fair made it more authentic. KA do a superb job.
https://www.youtube.com/watch?v=3M8J56do47Q
13. Nadiya chale chale re dhara by Manna Dey from Safar (1970, lyrics Indivar, music Kalyanji-Anandji
Now Kalyanji-Anandji were firmly on their way to cement their place at the peak. Safar also had the title song by a Rajesh Khanna regular, and one by Mukesh, the K-A favourite.
https://www.youtube.com/watch?v=SXF2wsjFjdE
Kishore Kumar
14. Aa sapnon ki rani, aa sapnon ke raja, naache gaayein hum tum, muskuraye hum tum by Kishore Kumar and Asha Bhosle from Teen Bahuraniyan (1968), lyrics Anand Bakhshi, music Kalyanji-Anandji
As the 60s was coming to a close, KA had started casting his net wide and diversifying. In this Gemini film eulogising joint family values, KA create a delightful duet, though not for top stars. It is picturised on Rajendranath and Shashikala.
https://www.youtube.com/watch?v=N4LceFrdwio
15. Ye duniyawale poochhenge mulaqat hui kya baat hui by Kishore Kumar and Asha Bhosle from Mahal (1969), lyrics Anand Bakhshi, music Kalyanji-Anandji
K-A continued their diversification, now with a duet picturised on Dev Anand and Asha Parekh.
https://www.youtube.com/watch?v=QrzUOHU7eLw&list=RDQrzUOHU7eLw&start_radio=1
16. Aankhon aankhon mein hum tum ho gaye deewane by Kishore Kumar and Asha Bhosle from Mahal (1969), lyrics Anand Bakhshi, music Kalyanji-Anandji
Another superb duet by Kishore Kumar and Asha Bhosle from the same film. KA’s different style is obvious.
https://www.youtube.com/watch?v=lBt7wtmlVVc
17. Gunijanon re bhaktjano by Kishore Kumar from Aansoo Aur Muskan (1970), lyrics Qamar Jalalabadi, music Kalyanji-Anandji
Kishore Kumar in the garb of a saffron-clad jogi is fabulous. KA compose an equally beautiful song. The highlight of the song is, Kishore Kumar effortlessly sings in the interlude Pankaj Mullick’s Sundar nari preetam pyari. Another highlight is the number of film stars and film names which figure in the song. It is capped by Kishore Kumar’s favourite crib about Income Tax which was always after him (Peechhe pad gaya Income Taxam).
18. O mere raja, khafa na hona by Asha Bhosle and Kishore Kumar from Johnny Merea Nam (1970), lyrics Rajendra Krishna, music Kalyanji-Anandji
Johnny Mera Naam was the biggest grosser of the year and Kalyanji-Anandji grabbed the opportunity with both hands to compose a number of superb songs in the current style. Hema Malini never looked better. Asha Bhosle for the beautiful Hema Malini and Kishore Kumar for the dashing Dev Anand sing this gorgeous duet in the backdrop of Nalanda ruins.
https://www.youtube.com/watch?v=_a18V1oYQrM
19. Nafrat karnewalon ke seene mein pya bhar dun by Kishore Kumar from Johnny Mera Naam (1970), lyrics Indivar, music Kalyanji-Anandji
Now a superb solo in the voice of Kishore Kumar for Dev Anand. Hema Malini is also in the frame.
https://www.youtube.com/watch?v=-4bZPjm39Fs
20. Pal bhar ke liye koi humein pyar kar le jhootha hi sahi by Kishore Kumar from Johnny Mera Naam (1970), lyrics Indivar, music Kalyanji-Anandji
A big break has to be exploited to the full. And Kalyanji-Anandji compose another superb song for Kishore Kumar picturised on the handsome Dev Anand irritating Hema Malini with this love song.
https://www.youtube.com/watch?v=Ni0m9gGKpOY&list=RDNi0m9gGKpOY&start_radio=1
21. Meri pyari bahaniya banegi dulhaniya by Kishore Kumar from Sachcha Jhootha (1970), lyrics Indivar, music Kalyanji-Anandji
KA didn’t reach the Top Three for nothing. They composed this superhit song for Rajesh Khanna in the voice of Kishore Kumar.
https://www.youtube.com/watch?v=9G6gBFrrpDQ
22. Dil ko dekho chehra na dekho chehre ne lakhon ko loota, dil sachcha aur chehra jhootha by Kishore Kumar from Sachcha Jhootha (1970), lyrics Indivar, music Kalyanji-Anandji
A Phenomenon remains a Phenomenon even in a band master’s role. KA create another superhit song for Kishore Kumar to be lip-synched by Rajesh Khanna. Luck favours the brave.
23. Zindagi ka safar hai ye kaisa safar by Kishore Kumar from Safar (1970), lyrics Indivar, music Kalyanji-Anandji
In this poignant story of a terminal cancer patient, KA create a sombre tune for Kishore Kumar to go on Rajesh Khanna. Another befitting song was Jeevan se bhari teri aankhein manboor karein jeene ke liye.
https://www.youtube.com/watch?v=9XOnMlK5WBY
Subir Sen
24. Dil le ke jaate ho kahan hum to khade hain yahan by Subir Sen and Kamal Barot from O Tera Kya Kahna (1959), lyrics Indivar, music Kalyanji Virji Shah
Subir Sen has sung sparingly in Hindi films. KA’s this composition is delightful. Mehmood was not meant to play a hero’s role, but this song is memorable.
Manhar
25. Aapse humko bichhade huye ek zamana beet gaya by Manhar and Suman Kalyanpur from Vishwas (1969), lyrics Gulshan Bawra, music Kalyanji-Anandji
There is a story that this was meant to be in the voice of KA’s favourite Mukesh. But since he was not available, it was decided to record it in the similar voice of Manhar with the idea, the final recording would be done in the voice of Mukesh as soon as he became available. On return when he heard the recording he found this new singer so good that he told the composers to retain the song in Manhar’s voice. That started his singing career in Hindi films. His younger brother Pankaj Udhas became more famous as a ghazal singer.
Acknowledgements and Disclaimer
1. I have to thank N Venkataraman for mentioning Gunijanon re bhaktajanon which had the embedded parody of Pankaj Mullick’s Sundar nari preetam pyari. That completed my search of Kishore Kumar’s embedded parody of New Theatres greats. I was aware of the embedded parodies of KL Saigal and KC Dey, and was curious to know if he had parodied Pankaj Mullick too. But Ye dil maange more, did he also do the parody of Pahadi Sanyal and Asit Baran?
2. The song links have been embedded from the YouTube only for the listening pleasure of music lovers. This blog does not claim or suggest any copyright over these songs which vests with the respective copyright owners.
{ 49 comments… read them below or add one }
Talat Mehmood was very rarely used by KA.
Off the cuff, I can recall
Milke bhi hum mil na sake..
( With Lata )
SUNEHRI NAGIN, 1963.
Balbir ( with MK ) .
Mausam hai baharon ka…
MERE HUMSAFAR, 1970
Great choice of songs. Kalyanji- Anandji are underrated critically, inspite of them having a very long career as composers of megahit songs. In terms of versatility, they are among the top 6 that Hindi cinema has ever, the rest 5 being C. Ramchandra, SJ, RDB, Bappi and Pritam, in no particular order.
They also scored heavily on the diversity list, as your post quite clearly shows. With the exception of Talat Mahmood, I think, they very well utilised the talents of all the other heavyweights of the Golden Era, doing full justice to the talents of Hemant Kumar, Kishore Kumar, Manna Dey, Mukesh, Mahendra Kapoor and Mohd Rafi. One can’t say the same about most of our other celebrated composers.
Apart from using the velvet voiced Subir Sen, they also utilised the talents of the underrated Shankar Dasgupta (a favorite of Anil Biswas) in a pretty fine qawwalisque number from Dharamji’s debut film “Dil Bhi Tera Hum Bhi Tere”. The link for the same is given below.
https://m.youtube.com/watch?v=9hKyYHo0LMg&pp=ygUZU2hhbmthciBkYXNndXB0YSBrYWx5YW5qaQ%3D%3D
That being said, I don’t think Kishoreda should be considered under “other singers” for KA. Afterall, he sang about 230 songs for them, which I guess is the highest that any male singer sang for them. And that includes sheer gems like Pal Pal Dil Ke Paas, Main Pyaasa Tum Sawaan, Sama Hai Suhana Suhana & Jeevan Se Bhari!!
Wonderful article!
I think you’ve covered all the male singers. The only one left out was Talat Mahmood, which was added by Dr Shetty. I think it was his only song for KA as far as I remember.
And, I think a post-70s careers of the composers from the 50s is a good idea. Most of them were no longer on the top, but had a few assignments. If you allow, I’ll take up it. Naushad, SJ, SD, etc.
There would be scope to add a second part on those who continued successfully in the 70s. Like RD, KA, LP and more ….
Anup
🙂
PS –
SD was successful in the 70s as well.
Anup
🙂
Dr Shetty @1,
I was aware of the song, but I was not excited about it. Talat Mahmood has sung some all-time geat songs.
@2,
Mausam hai baharon ka is a wonderful song. My thoughts first went to Husn pahadon ka from Ram Teri Ganga Maili.
Raunak Joy @3,
Thanks a lot for your appreciation. Writing a blog is also a discovery for me. For example, the diversity in male singers – going through their songs one makes this discovery. Subir Sen’s song is one of his best, but Shankar Dasgupta was not suitable as a qawwali singer.
I noticed your studied exclusion of Naushad. Though my great favourite, I would not bat for him! I know where you are coming from. But I would include Roshan, Madan Mohan and Ravi.
Kishore Kumar presents a difficulty. He started with the great playback singers, but he is the only singer who after over 20 years had a rebirth. Kishore Kumar 2.0 sang about 80% of his total songs. Our friend Hans is greatly riled when I say post-Aaradhana Kishore Kumar was the new Rafi. Kalyanji-Anandji being among the Top-3 in the 1970s and 80s, naturally, had a fair share of Kishore Kumar’s songs. I have written a few lines about that. So, you are right, it is not fair to put him among the ‘other’ male singers – if you consider their total output. But my interest is primarily up to the 60s, I have left KA-KK2.0 to be explored by a more worthy person. You can take it as an open invitation/ offer.
Anup @4, 5,
Thanks a lot for your appreciation. I am not excited about Naushad post-70s though I had been quite unabashed about my admiration for him and had been my clear top favourite in the Vintage and Golden Era. SJ were on the decline. But SDB, RD, KA, LP are worthy choices. Thanks a lot for your offer. I am open to discussing them.
PURNIMA, 1965 is special for KA’s association with Meena Kumari ( only one movie earlier… SATTA BAZAR ), Gulzar ( only one movie later ), Bharat Vyas ( very few movies… Total 3? ). Prakash Mehra, with whom they gave several Jubilee hits later, also wrote a song ( his first? ). The fourth lyricist was Gulshan Bawra.
Mehmood sang a solo and a triad ( with Minoo P n Krishna Kalle ). Could be his first solo singing assignment. ( BHOOT BANGALA came in the same year where he had a duet with RDB. )
Kalyanji Virji Shah had been an important resource in Hemant Kumar’s orchestration team since Nagin (1954). So Kalaynajibhai can said to have paid tribute to Hemant Kumar for his role in shaping Kalyanjibhai’s initial career.
Manhar was essentially KA’s find.
Good selection of songs for other singers as well.
Dr Shetty,
Your recall is very impressive.
Ashokji,
Thanks a lot for the information. Though few but Kalyanji has created great songs for Hemant Kumar.
AK ji,
Both the recent posts on Kalyanji-Anandji are excellent. This duo is among my favourite music directors— in 1958-1970 period as well as in 1971-83 period .
A few quick comments:-
a) For several years during 1960-73, Lyricist Indeevar hardly worked with composers other than Kalyanji-Anandji. The duo fondly called him KAVIRAJ. Interestingly, I.S. Johar loved the company of K-A+ Indeevar. They jokingly said that When Johar was not able to create humour or jokes, he would look towards K-A for inspiration and when K-A were missing some spark when composing songs, the duo would seek out either Johar or Kaviraj Indeevar.
b) If we do sorting of Mukesh’s ‘blue mood’
Songs (solos plus duets) for the period 1965-75; we would conclude that Shankar-Jaikishan, Kalyanji-Anandji and Roshan were the composers most the time in this period and category.
Thanks.
AK ji
Last line of Comment No. 13:
For ‘most the time’ read ‘most of the time’.
Sorry for the error.
Tyagiji,
Thanks a lot for your appreciation and the trivia about KA-IS Johar-Indivar. AS for SJ, KA, Roshan and Mukesh, Roshan was active with Mukesh from 195O itself – Bawre Nain; Malhar; Sheesham etc. Roshn was not around post-1967.
AK Ji
Nicely compiled theme of K-A for singers other than Rafi & Mukesh. I was searching for one of their best with Kishore-Pal pal dil ke paas tum rehti ho…maybe it was in 1973 and hence you must have excluded..it is a superb song.
Giving a link to one more Classical Kishore song that has Shuddh Hindi …or rather Sanskkrit I should say… lyrics.. Priye Praneshwari Hridayeshwari..Yadi aap hume aadesh karen to Prem Ka Hum Shri Ganesh Karen…Film Hum Tum Aur Woh-1971-Lyrics Varma Mallick
Very rare to hear lyrics like Ye Chakshu Tere Chanchal Chanchal
Ye Kuntal bhi shyamal shyamal!!
https://www.youtube.com/watch?v=-K8FszzQl1E
AK ji,
Fully agree with your comment regarding Roshan-Mukesh combination. I deliberately took up 1965-75 period for the songs of Mukesh. These were the last 10 years of Mukesh. Despite the position that in this period MDs utilised Hemant Kumar and Talat Mehmood sparingly yet they made very little use of Mukesh for sad songs though they were well aware of his mastery in rendering such songs. This point I wanted to highlight. We may add that Salil Chaudhary used Mukesh brilliantly in movies like Anand and Rajnigandha.
Regards.
Ak ji
Nice collection of KA songs rendered by other singers.
KA were not given to experiment too much and mostly followed tried and tested path.
However, Priya, with Sanjeev Kumar and Tanuja in the lead is an exception. The film was released in 1970. Though it did not fare well at the box office, two of its songs were quite popular and were often played by Vividh Bharati.
Na sun sun sun bura was sung by Mahendra Kapoor, Anand C, Peter and Kamal barot. A youtuber also notes that KA used Mickey mouse voices in this song, a first for a hindi movie.
She is very pretty was sung by four male singers;Anand C, Prayag (raj) , Alfred and Jerry. Anand C rendered number of songs for Rajkamal and a few for KA (qurbani) and RDB (Satte pe Satta). But other three male singers are virtually unknown as singers.
Here are the links
Na sun sun
https://youtu.be/Ky0UznAmbG8?si=tHtTVCpBU2yqGK1R
She is very pretty
https://youtu.be/g3uJ8A3r4j0?si=40ZZKZ8oS5fsMIiW
She is very pretty
From what is compiled it can be seen that KA used several singers from Kishore Kumar, Mukesh , Mahendra Kapoor , Mannadey and so on depending upon the type of song. During the later years they used Kishore and Mahendra Kapoor extensively. In fact, what type of songs given to Rafi were given to Mahendra Kapoor in the later years. With a blog like this we could know the pattern of the usage of singers and this could as well be listed for other composers as well. However, if the composers did lot of films this exercise could be difficult. Hence it is better to start with composers of fewer films like Roshan, Jaidev or Khayyam.
Sivanandamji @16,
Thanks a lot for your appreciation. You are right, I kept it up to 1970 because I found KA had enough variety of singers, and some great Kishore Kumar songs too. Some music directors of the Golden Era did great job in post 70s too. SD Burman and Khayyam I have covered in different ways. The top three of the 70s and 80s RDB, KA, LP deserve a 2.0 too for full appreciation. I have to get over my own reserve.
Priye praneshwari is my great favourite, though presented in a comical manner.
Tyagiji @17,
Point well taken.
Mr Muli @18,
From where do you pull out these songs. I was not aware of them. Very creative use of Mickey Mouse voices.
KB @19,
If you look under Categories and click on Music Directors’ names, you would find Roshan, Jaidev and Khayyam have been covered in some detail. For, example you can find all Roshan-related articles here: Roshan.
# 20-AK Ji,
Slight digression from main topic…it is interesting to note that in Hindi films , many classical raag based songs were presented in a comical manner? I am sure there might have been some discussion on this in SOY in the past.
Alos one aspect of K-A I had observed, which might be the style with many other composers also , but majority of K-A’s songs had this unique beginning. There will be just a single line of Mukhda, invariably without any accompanying music and then there will be a signature K-A orchestration piece with the song starting from there…. I may not be able to express in words , but can give some examples: ( though these are not strictly with the criteria of ‘ other male singers’ )
1) Chandi ki deewar no todi …piano piece
2) Jo Tumko Ho pasand wohi baat kahenge-combination of flutes and violins
3) Deewanon se yeh mat poocho-piano with violins
4) Zindagi ka safar hai yeh kaisa safar-piano with violins
It is these unique ” signatures” each music composer those days had that made them so distinct . Even the rhythm patterns of many music composers were unique …I am sure SOY might have discussed this in the past…
Sivanandamji,
Classical-comic has been indeed discussed in some detail, first in the context of Lapat jhapat tu aa re badarwa (Manna Dey, Boot Polish). Once active Gaddeswarup ji, a practicing mathematician from Australia, informed us about a PhD thesis on this song and classical-comic aspect of it.
But I am sure KA’s this unique aspect has not been discussed earlier. Most great music directors were identified by their prelude music. In that sense KA’s four songs you have mentioned indeed make them different.
Thanks for the information on the other composers and their singers.
AKji,
My last visit was on 6th July. I wish I could be more regular. But I am back sooner than I thought.
The second post on KA in SoY took ten years and the third appeared in no time. A pleasant surprise. And thanks for yet another excellent post and a fine collection of songs composed by KA for “other male singers”.
These three posts together identifies all the major male singers used by KA. I find the few left are mentioned in the comments section.
The song by Shankar Dasgupta from the film “Dil bhi Tera hum bhi tere” (1960) occurred to me, but I found Mr. Raunak Joy has already posted it. Pradipji has made few additions – Talat Mahmood, Balbir and Mehmood. And nice to find our friends at SoY very enterprising. Rahul Muli ji has added four more names, never heard before. Thanks Pradipji and Rahulji. I think that would cover all the male singer used by KA till 1970.
I am posting a song, a short one (1:25), from the film Satta Bazar (1959).The name of the singer is not mentioned in the clip. Neither HFGK provides the name of the singer. This background song comes in the second half of the film.
Ye duniya Rang Badalti Samay Ki Chakka Charli hai
https://www.youtube.com/watch?v=ufetXk95Kzs
I could find only two male singer’s name in the title credits of the film, Hemant Kumar & MD. Rafi. Definitely, it is not Hemant Kumar and it doesn’t seems to be Rafi to my ears.
And can anybody identify the male singers in the following song from the film “Dil bhi Tera hum bhi tere” (1960).
Sheen Alif Daal Ye Shaadi Mere Yaar Ki
https://www.youtube.com/watch?v=F2SwyXL-VDI
The next song “Mohabbat agar na hoti” , from the film, ” Mehndi laagi mere haath”, the clip gives the name of the singer as Md. Rafi (?). It seems it is Mahendra Kapoor’s voice. At times I felt there are two voices!!. This song is missing in HFGK.
https://www.youtube.com/watch?v=4sMyavors6w
I understand there would be another post on “other male singers” employed by KA after 1970. That would be great. Let me thank you for taking the initiative. Then why not a post or two or more on female singers of KA? I would also eagerly look forward to these posts.
And finally thank you for mentioning my name in the footnote. The discussion on “Gunijanon re bhaktajanon” happened long time back, more than 11 years back. That reminds me, that was one of your excellent posts “Romancing the dunce or ‘Mahamoorkhon Ke Gaane’ “which I enjoyed downright. I miss those special articles you used to present us on Holi every year.
Thanks once again
Venkataramanji,
Welcome back again. You have more than made up by your well-researched long comment. When I started this blog, I had some blinkers. My vision was KA was synonymous with Mukesh. Rafi’s centenary coincided with KA’s turn among great music directors for detailed coverage. I had some favourite great Rafi-KA songs. A closer look was a revelation about Rafi’s songs for KA. Also a revelation was that KA had composed outstanding songs for all the other great male playback singers.
With your demand at least one more KA post about female singers would be on the anvil.
KA 2.0 are a reincarnation into different composers that catapulted them at the top. Any discussion about them is not complete without the post-1970 KA. Let us see if a more worthy person comes forward.
My compliments for your deep dredging of unheard songs. Ye rang badalti duniya samay ki chakki: I couldn’t agree with you more. Up to 0.09 one could confuse that it is Rafi, but thereafter, the voice falters and it is not him.
Sheen alif daal: Qawwalis present this difficulty. There must have been a large number of such singers floating around.
Mohabbat agar na hoti: What a discovery! A hybrid Rafi-Mahendra Kapoor song.
AK ji,
By far K-A were perhaps one of the most eclectic composers. who not only worked with many playback singers but also many lyricists. They did not have a fixed team. Thus, they could get the best out of the various talents around.
Also, I had written a post on how golden era music directors were faring in the 1970s. However, LP and KA were not covered in that post. Here is the link.
https://anitamultitasker.wordpress.com/2023/07/17/golden-era-music-directors-in-the-1970s/
I had also done a post sometime back on one movie many lyricists, in which Madhuji (of Dusted off fame) had shared some of her insights. Again, it turns out that along with OPN, it was KA who on several occasions used multiple lyricists in the same film. Here is the link to the post.
https://anitamultitasker.wordpress.com/2023/07/17/golden-era-music-directors-in-the-1970s/
Anita,
The two links are the same. But thanks a lot for posting it. It refreshed my memory. I find I have also given my comments which summarises my view of Golden Era music directors active into the 70s and later. I also find I have also mentioned KA’s reincarnation (or ‘reinvention’ if you will), which is quite remarkable.
Sorry for the error in the link, AKji! Here is the other.
https://anitamultitasker.wordpress.com/2021/08/28/one-movie-many-lyricists/
Anita
A beautiful writeup and great songs selection. If I recollect 70% of such old songs in the post , I consider the MD as ‘popular’ . Here I recall almost all the songs.
The male singers songs series would be followed by KA’s female singers I guess.
I read in the comments that someone got a doctorate degree on one song . I believe that even more than one doctorates can be produced on the same HFM song. When there are so many songs , there is scope for an infinite number of doctorates on HFM songs . That is why I also believe that the blog ‘Songs of Yore ‘ will go on forever .
In one 1963 year movie ‘ BLUFF MASTER ‘ , there were 3 singers used for the lead actor Shammi Kapoor . I never noticed any protests from the public when the same actor sings in different voices in the same movie. Perhaps the public does not bother about such things .
We all know Mohammad Rafi singing the classic …’ Govinda Aala re…’ .But the MD used Hemant Kumar and Mukesh for two other songs in the movie. All this when it is well known that Rafi is a versatile singer who could handle and sing in any situation. In such a situation, only experts can throw some light on why the MD had to use 3 different voices in this same movie for the same actor.
Here is one song in Hemant’s voice…
‘ Aye dil ab … ‘
https://youtu.be/znNJoXP25BY?si=wOC3Onxn8FYA0Gsa
Another song from the same movie in the voice of the 3rd singer , Mukesh ..
‘ Socha thha pyar…’
https://youtu.be/5CIfDgX3D2w?si=7NRW6-EKWCGiEOHx
Sivanandamji @24, and my @25,
About your first query, in the initial years of the blog Gaddeswarupji (Anandswarup Gadde) – an octogenarian now – a mathematician in Australia used to be very active despite his unfamiliarity with Hindi. His range of interests was amazing. He had drawn our attention to the article: The Lapak Jhapak approach to Bollywood, Indian Aesthetics, and Vedic Religion written by Sunthar Visuvalingam. Fortunately that link is still available, you may like to go through it.
AKji
After seeing the vast array of great comments by many notable followers, I hesitate to add my plebian one. I utterly lack skill to search for songs relevant for the theme.
You have done a thorough job in the post as is your usual wont. Thanks to this, I see KA through a new angle. In conclusion I state unhesitatingly your post is chef doeuvre.
Mr S Joseph @32, 33,
Thanks a lot for your generous words, and for adding some more songs.
“The PHD thesis on a film song”: I have attached the link of “The Lapak Jhapak approach to Bollywood, Indian Aesthetics, and Vedic Religion” @34 in my response to Sivanandamji.
Mr DP Rangan @35,
You have always been very generous in your praise, Thanks a lot.
Joseph ji,
Though the theme is about male singers, I am writing this for completion sake.
There is a 4th playback singer here from Shammi Kapoor. …Shamshad Begum. ( A qawali with Usha Mangeshkar…
Oye chali chali kaise hawa ye chali. )
A few years later, SB joined another Mangeshkar sister, Asha Bhosle, for
Kajra mohabbatwala…
again for a hero. Of course, this song is much more popular.
… for Shammi Kapoor, not from.
# 34-AK Ji, thanks a lot for providing the link . Will go through at lesisure as it seems to be quite an exhaustive write up…
Like SD Burman , Kalyanji Anandji also had the habit of choosing more than one playback singer for main players . The combination of Rafi and Kishore for the hero was there in several movies like Sachha Jhutha, Mahal and Rafi and Mukesh in older movies like Raaz and later Adalat. There was also combination of Rafi and Mahendra Kapoor in Gopi and Geet for the hero and there were three singers as in the case of Bluffmaster. Mukesh sang for both Dharmendra and Balraj Sahni in Dil Bhi Tera Hum Bhi Tere. There were excellent results in many cases.
KB,
I agree with you. If a music director was used to working with several mainstream singers, he did not mind multiple voices for the hero. Same with heroines, but to a letter extent.
AK,
This was on the cards. A nice write up. You could have gone upto 1973 and some variety would have come up for Kishore Kumar. You have done earlier this in some posts. As I went through songs, a number of songs had come in my mind and I found a number of them on your list. I would have included most of them excluding perhaps 7-8. You included just the duets of Hemant Kumar and no solo.
There is an advantage to a late comer that he gets to see comments of others and as DP Rangan said very knowledgeable they are. Besides the clinical recall mentioned by you Dr Shetty has solid data too with him. Rahul Muli has posted the unique songs. Anita has made a great observation about KA using multiple lyricists pointing out advantage of that. I think this has disadvantages too. Using more lyricists in the same film results in loss of focus on the story. On KB’s comments I would write separately. The best comment came from Venkataramanji. He has researched and highlighted the songs where it is a challenge to find the singer. The songs from Satta Bazar and Dil Bhi Tera Hum Bhi Tere I have listened earlier too and again listened but could not locate the singer. But the song from Mehndi Lagi Mere Hath is sung by Mahendra Kapoor and Manna Dey. Mahendra Kapoor sings for Shashi Kapoor and Manna Dey for Agha and the other actor.
For songs I would first post the solos from Hemant.
Chandi ke chand tukdon ke liye – Satta Bazar – Gulshan Bawra
https://www.youtube.com/watch?v=4_mgDShGJG8
Tumhen jo bhi dekh lega – Majboor – Indivar
https://www.youtube.com/watch?v=5KOlH9VCxts
A backgraound song ‘dharti ki tarah har dukh seh le’ by Kishore from Suhagraat written by Indivar.
https://www.youtube.com/watch?v=mpAkeIM-Tx4
And now two from Mahendra Kapoor.
Sau saal pehle ki baat hai – Saraswati Chandra – Indivar
https://www.youtube.com/watch?v=-O5KAqDiXrs
Wo khet mein milega – Yaadgaar – Indivar
https://www.youtube.com/watch?v=18C9qFCIRm8
Hans,
Thanks a lot for your detailed comments. Kishore Kumar post 1970: He had reincarnated as KA had. And they had to get together. May be sometime I would be ab able to get myself to explore this combo.
Tumhein jo bhi dekh lega: This is as good as any Hemant Kumar solo. Thanks fpr refreshing our memory.
Sau saal pahle ki baat hai: KA embellished teir tune further and made a superhit song, Bharat ka rahnewala hun Bharat bi baat sunata hun.
AKji,
A nice post on KA.
In fact, tributes to the Big3 ( LP. KA, RDB) are much-needed. But, of course, you need to include their post-70s contributions.
You have already explained about the pre-70 timelines , but I would still echo the feelings expressed by others. We have to delve into the 70s and beyond (KA2.0) for a full tribute and Kishore Kumar cannot be considered as one of the other male singers.
His songs for KA kept releasing even after his demise, right till 1990.
It would have been great if this had been a KK sings for KA post, considering KK’s 95th birth anniversary is due on 4th August.
Anyways, since the post is restricted up to 1970, here’s one KK song that I am fond of:
Ghar Ghar Ki Kahani 1970
Sama hai suhana suhana
https://www.youtube.com/watch?v=-80vzCK3NEg
Adding one more KK song…from Holi Ayee Re 1970
Meri lottery lag jaanewali hai
It actually has KK singing this line in the mukhda…ab to tumko jhukna padega mera zamana aaya (and that’s what happened)
https://www.youtube.com/watch?v=cnwvVsuxFHQ
Dr Deshpande,
The Big Three of the 1970s and 80s present a uniwue combination. KA as we have seen debuted in 1958 and composed a large variety of extremely melodious songs. In male singers they show great diversity. KA 2.0 reinvented themselves into different music directors with a different style that catapulted them among the Big Three. Not all greats could navigate the choppy waters.
LP debuted in 1963 and they were so talented and it is commonly said they displaced Shankar-Jaikishan from their perch. They were at the top in the 60s and remained at the top later. But their transformation was incremental to my mind.
RD Buman was an expermientar with beats and sound. Though he debuted two years before LP, he was not among the biggies in the 60s. He flowered into a great music director post-1970. He did compose great music in the 60s, but there is no RDB 1.0 and 2.0. He is almost a 2.0 phenomenon.
Coming back to KA, a middling great in the 50s and 60s, and a different KA 2.0 post 1970. One has to look at the later period to have a correct picture of them.
Saman hai suhana suhana is among my list of best Kishore Kumar songs. Thanks a lot for posting it.
Of course, Shankar Dasgupta wasn’t quite cut out for being a Qawwali singer. Yet his song is a perfect example of KA’s willingness to experiment with diverse male vocalists and different genres, irrespective of the end results.
As far as exclusion of Naushad is concerned, when I used the word ‘versatile’, I meant those composers who are/were capable of composing both slow melodious and fast numbers in both Indian and western styles. To do so effectively, means having equal command over two distinct forms of music, which not many had. Indeed, many of our greats like Kamal Dasgupta, Naushad, Roshan, Jaidev, SN Tripathi, Khayyam etc., were largely classicists and purists. Some of them even went to the extent of scoffing at Western music and labelling it as inferior in comparison to Indian music, which if one is objective enough, isn’t exactly true or right. Both forms of music are equally accomplished and beautiful in their own ways.
So from this perspective, Naushad saab didn’t feature in. Because not only CR, SJ, KA, RD, BL, Pritam; even Chitragupt, Salil Choudhury and OP Nayyar were more adept at composing in both Indian and Western styles respectively, on an consistent basis. Of course, being versatile, doesn’t mean the greatest or the best ever. Because for that to happen, a hell lot of different criterias and perspectives need to be taken into consideration, which is a mammoth task and needs an insane amount of time, research and impartial analysis to do justice to. Suffice, to say, if the criteria were say “5 best Indian composers for Indian folk style numbers ” or ” 5 best Hindi music composers of background scores”, Naushad saab would have definitely fit in. But in the perspective under consideration, he wasn’t. So his exclusion wasn’t by any design or pre-planning on my part.
I am really thankful for your invitation/offer. But, I need some time to decide about the same. Will inform you about the same in due course. Thanks again for the kind offer. Genuinely means a lot.
Raunak,
Thanks a lot for your detailed comments. I was looking more at a simple criteria for Diversity Index – number of singers a music director worked with with great success. This also resulted in diversity in styles/ genres of music. I confine myself to the 50s and 60s for same to same comparison. The one music director who stands out is SD Burman – he composed some songs that would be easily counted among the best of Rafi, Kishore Kumar, Manna Dey, Hemant Kumar, Mukesh, Lata Mangeshkar, Asha Bhosle and Geeta Dutt. On this criteria I would not include Shankar-Jaikishan, OP Nayyar and C Ramchandra. I mentioned Roshan in that context.