Wishing Lata Mangeshkar a very happy 86th birth anniversary (b. 28 September 1929) with her songs for Naushad
A blog would start losing its appeal if it became too predictable. Today is one such day when everyone is going to exclaim, ‘’I knew it!’ However, there is no way I can avoid it. There are many who are as enamoured of Naushad as I am. As for Lata Mangeshkar, I doubt if there is anyone who does not regard her as The Female Playback Singer, as a class by herself, far above her rivals. The Great Mughal of film music and the Empress of playback singing make an unparalleled combination.
Having lived and breathed their songs, I had taken it for granted that I have already written on her best songs by Naushad, as I have done for several other composers namely, Chitragupta, C Ramchandra, Roshan, SD Burman and Anil Biswas. It took me five years, and fortuitously when I decided to celebrate the current year as the Year of Naushad, to realise that I am yet to write an exclusive post on Lata Mangeshkar’s best songs by him (though I have written on songs of Mughal-e-Azam, and about a particular song Tere sadke balam).
There is hardly anything new one can write about them which has not been written earlier many times elsewhere. Lata Mangeshkar had an inconspicuous debut as a playback singer in 1947 (Aap Ki Sewa Mein). Come 1948, and some aura starts building around her. As per the popular folklore, she was ‘noticed’/’discovered’ by Ghulam Haider, in a local train, and amazed by her talent, he took her to Filmistan’s S Mukherjee for Shaheed, who rejected her on the ground that her voice was too thin, whereupon the Masterji is said to have remarked, “a day would come when producers and music directors would line up before her, begging her to sing for them”. Come 1949, Lata Mangeshkar hits the music scene like a Tsunami, sweeping everyone aside. Naushad is one among many who ride the Lata-wave.
Naushad being the Great Mughal, his taking her as the lead singer in Andaaz, jettisoning his hitherto favourite singer, Shamshad Begum, must have added to the Lata aura. It is said that Raj Kapoor taking her in Barsaat was because of the Andaaz influence. In the first few years, Naushad seemed to alternate between her and Shamshad Begum, but it didn’t take him long to clearly settle for Lata Mangeshkar, composing about 160 songs for her. His overwhelming preference for her is clear from the fact that his once preferred female singer, Shamshad Begum, is far behind with about 60 songs, in second position. Their partnership continued strong till the very end of Naushad’s reign at the top, i.e. the late 60s.
In this interview on rediff.com Lata Mangeshkar makes an interesting suggestion that she sang the songs of Andaaz in Noorjehan-style at the behest of Naushad. It is not clear whether it was an innocuous statement, or her intent was to absolve herself of any responsibility. But in that interview itself she has high praise for him, “Naushad Saheb was a perfectionist who strived relentlessly to make each and every song a hit.” In another signed article she said, “Naushad’s music is unparalleled in polish. Even if the melody is not extraordinary, it is fashioned and orchestrated in such perfect arrangement as to thrill and inspire. Naushad has not only an extensive knowledge of music, but of allied subjects as well. He studies the story, the situation, the editing, the sound recording, the music recording, and the re-recording. He is an accomplished piano player and he is familiar with Western notations. He knows every instrument in his orchestra and what instrument is best for a certain piece of music. He was the first person to present combination of the flute and the clarinet, of the sitar and the mandolin. He also introduced the accordion, the been, the brass instruments, the daf and the vibraphone.” (Quoted in Naushadnama)
Naushad on his part rated Lata Mangeshkar as the best thing that would have happened to the playback singing. A thoroughly trained singer, she needed some polish and grooming. Different composers contributed in her development. Naushad was among her important mentors, who emphasised the importance of correct diction and pronouncing each word clearly to bring out its emotion.
Everyone would have one’s own favourite top composer for Lata Mageshkar: Anil Biswas, C Ramchandra, Madan Mohan, SD Burman, Roshan etc. At a very young age Naushad’s songs cast a spell on me, that memory is still fresh in my mind. Here is reliving my memory of those songs as a tribute to two of the greatest talents on Lata Mangeshkar’s 86th birth anniversary. These songs are not necessarily the “best”, but ones that are special to me.
1. Aaj mere man mein sakhi from Aan (1952), lyrics Shakeel Badayuni
This was the first song which left me completely entranced by Naushad magic. Lata Mangeshkar has mentioned Naushad’s unparalleled polish, and arrangement of orchestration which inspired and thrilled. This song is the best example of his talent in beautiful blending of vocal, orchestra and chorus.
2. Na milata gham to barbaadi ke afsaane kahaan jaate (Ho tamanna lut gayi..) from Amar (1954), lyrics Shakeel Badayuni
When you think of Yaman you think of Roshan, goes the saying. Here is a Yaman to touch your heartstrings. Nimmi is heartbroken as she discovers there is Madhubala in Dilip Kumar’s life. Those were the days of some sublime poetry. Shakeel Badayuni comes up with something incredibly beautiful. It is known Naushad used to spend long hours with him going over each word of the song again and again. He must have spent further long hours in composing the song, and thereafter rehearing with Lata Mangeshkar many times to get this perfect sad song of heartbreak.
हो तमन्ना लुट गई फिर भी तेरे दम से मुहब्बत है
मुबारक गैर को खुशियाँ मुझे ग़म से मुहब्बत है
न मिलता ग़म तो बरबादी के अफसाने कहाँ जाते
अगर दुनिया चमन होती तो वीराने कहाँ जाते
चलो अच्छा हुआ अपनों में कोई गैर तो निकला
अगर होते सभी अपने तो बेगाने कहाँ जाते
दुआयें दो मोहब्बत हमने मिट कर तुमको सिखला दी
न जलती शम्मा महफिल मैं तो परवाने कहाँ जाते
तुम्हीं ने ग़म की दौलत दी बड़ा एहसान फ़रमाया
ज़माने भर के आगे हाथ फैलाने कहाँ जाते
I have been often charged by Mumbaikar8 with not giving due importance to lyricists. But once in a while I am enamoured of some songs when I pay my tribute to the lyrics and the lyricist by attempting its translation.
Ah I have been robbed of all my desires, but your every breath I love.
Let others be blessed with all the happiness, I am now in love with my sadness.Had sorrow not befallen my fate, where would the tales of my destruction have gone?
If the world was a blooming garden, where would the desolate deserts have gone?It is good that there was a betrayer among my close ones.
Had everyone been my own, where would the strangers have gone?Bless me that by destroying myself I have taught you the value of love.
Had the flame not burnt itself where would the moths have gone?I am so grateful to you for giving me the riches of sadness.
Where else would I have gone with begging arms?
3. Jaanewale se mulaqaat na hone paayi from Amar (1954)
Readers may recall I have written a full post on one song of this movie, Tere sadake balam. And I have to mention that there are some readers who regard Asha Bhosle’s two songs from the movie, Umangon ko sakhi and Radha ke pyaare Krishna Kanhaayi even better than Lata Mangeshkar’s songs. So you have each song of the movie a masterpiece. It was not for nothing that Naushad crafted each song with great deliberation. Here is another poignant Yaman from the same film, and among my top favourites. Now it is Madhubala’s turn to discover something about Dilip Kumar and Nimmi.
4. Khuda nigahbaaan ho tumhara (Wo aayi subah ke parde se….) from Mughal-e-Aazam (1960), lyrics Shakeel Badayuni
While at Yaman, I can’t help mentioning this song. Madhubala has been made by Mughal-e-Aazam to betray Dilip Kumar to save the honour of the Mughals. As she is taken by the guards to the cell from where she would be allowed to go beyond the borders through the secret tunnel as a part of the deal, she is thoroughly drained out and lifeless. Her inner cry of helplessness comes out in this plaintive song. You can now try to compare Naushad’s Yaman with other music directors’.
5. Marana teri gali mein jeena teri gali mein from Shabaab (1954), lyrics Shakeel Badayuni
In every Raga Naushad composed songs that were out of this world. Here is one in Pahadi, a folk based Raga, which lends itself to both happy and pensive moods. It can’t get more heart-rending than Marana teri gali mein. He has a long list of absolutely beautiful Pahadis to his credit from Rumjhum barse baadarwa to Aawaz de kahan hai to Jawaan hai mohabbat to Mere bachpan ke saathi mujhe bhool na jana to Suhani raat dha chuki to Tasweer banata hun teri khoon-e-jigar se to O door ke musafir humko bhi saath le le. Pahadi being the most popular Raga for film music, accounting for about 23% of all the songs based on classical music, every major music director has composed a large number of songs in this Raga. However, the above list of all-time great songs shows Naushad added a unique stamp on whatever he touched. I consider Shabaab to be the best musical of Naushad. Here is a song you can hear tirelessly.
6. Jo main jaanati bisarat hain sainya (Man saajan ne har leena…) from Shabaab (1954), lyrics Shakeel Badayuni
In his heydays, there were films in which Naushad would compose 10 songs or more, each a masterpiece. Shabaab is one such movie which had amazing 15 songs. He chooses Maand for this situation. A Rajasthani folk-based Raga, it has been used in later films where they have taken the traditional folk song, Kesariya baalma padharo mharo des. Shakeel Badayuni writes beautiful lyrics again, now folk style, and Naushad embellishes it with his characteristic class.
7. Tumhare sang main bhi chalungi piya jaise patang peechhe dor (Akele akele kahan ja rahe ho…) from Sohni Mahiwal (1958), lyrics Shakeel Badayuni
Here is a delightful Bhairvi composition from a small banner movie. Bhiravi is a favourite Raga of every composer. Naushad’s more celebrated Bhairavi Tu Ganga ki mauj main is well known to the readers.
8. Tere pyaar mein dildaar jo hai mera haal-e-zaar (Paas rahate hue bhi tujhse bahut door hain hum..) from Mere Mehboob (1963), lyrics Shakeel Badayuni
By now the readers must have noticed a unique speciality of Naushad-Shakeel Badayuni, creating a charming effect by preceding a song with a recital without tune. You remember Madhubala dares Shahenshah by a recital, Insaan kisi se duniya mein ek baar mohabbat karta hai/Is dard ko lekar jeeta hai is dard ko lekar marta hai, before she sings in his face Jab pyar kiya to darna kya. Naushad fans can instantly recall some more great recital preludes: Khushi ke saath duniya men hazaaron gham bhi hote hain….Mera jeevan saathi bichhad gaya; Akeli mat jaiyo Radhe Jamuna ke teer…Tu Ganga ki mauj main; Chale aaj tum jahan se… O door ke musafir; Sambhal kar khelna dariya…Na toofan se khelo; Asir-e-panja-e-ahad-e-shabab kar ke mujhe…Hue hum jinke liye barbaad; Laaga gori gujariya se…Nain lad jaihain; Aaj furkat ka khwab toot gaya…Tumse izahaar-e-haal kar baithe; Ye raat jaise ban gai chiraagon se…Aaj ki raat mere dil ki salaami le le etc. The grandest recital as prelude must be in Ayega aanewala (Khamosh hai zamana..). Did Naushad take it from his mentor Khemchand Prakash, and use it in song after song to add to its beauty? I courted strong rebuttal when I put Naushad as the best in LDDS (Long Distance Duets of Separation). I am again sticking my neck out, and dare make one more assertion – there is something very special about Naushad’s SWRP (Songs With Recital Preludes). I am sure readers would add many more of other MDs. CR, who is being discussed in tandem, also has some very beautiful SWRPs. Here is another delightful song which starts with a short recital.
9. Dil mein bajeen pyaar ki shenaiyan from Kohinoor (1960), lyrics Shakeel Badayuni
The Tragedy King and the Tragedienne change tack to star in this comedy film which had every song of outstanding quality, which you expect from Naushad at his top. A delightful song with Meena Kumari dancing in a happy mood, which is not very usual for her.
10. Ghunghat nahi kholungi sainya tore aage from Mother India (1957), lyrics Shakeel Badayuni
In 17 years after Aurat (1940), Mehboob was still around to remake his classic, but his erstwhile friend and a titan of that era, Anil Biswas, has now been replaced by Naushad. The new Mughal creates one landmark song after another. This song is also an example of his creative auto-inspiration. He composed Lagan more man ki balam nahi jaane in 1950 for Babul, he tweaked it a little to create another classic Jogan ban jaaungi sainya tore kaaran (Shabaab, 1954), and three years down the line he gives it a completely new effect in this peppy dance song on Kumkum who is exultant at the prospect of her love for Rajendra Kumar coming to fruition.
11. Phir teri kahani yaad aayi from Dil Diya Dard Liya (1966), lyrics Shakeel Badayuni
All good things come to an end. Naushad had a very high percentage of superhit songs. I have not touched his major Lata vehicle Dulari, or Udankhatola as it has been discussed in detail in yearwise review for 1955, or even the path breaking Andaaz. Before I part, let me present this bonus song from a movie, based on Wuthering Heights, which was a resounding flop, but its songs were nevertheless of very high quality.
{ 200 comments… read them below or add one }
Thanks for bringing one of the iconic pairs of ohfm history. Delighted by seeing them in a very pleasant morning !
Happy birthday Lata maa .. Namaami.. Long live
i want but have no time ryt now to comment further..coming back in night time Akji.
Jignesh,
That is quick. Looking forward to your comments.
AK,
Another quick one. (The real reason is that one needs to comment to see all the subsequent ones by the knowledgeable ones, and your rejoinders too!)
So first, I do look forward to your presentations, as well to the ensuing comments, flying thick and fast bothways.
Having said this, yes, Naushad was a good MD, and Lata was of course the best ever, but I have to admit that your and my own choice of music often tends to be divergent. The list contains songs that I really do not care about at all, such as the one from Mere Mehboob. But then everyone is free to like what they like.
AK, I would really like you do a few lists in due course, like: the best 10 and the best 5 duets, and so on from SDB, Salil, and Khayyam – my three most favourite MDs, on the basis of your own trademark popularity polls here. Game for it?
In a recentb thread on Asha Bhosle, AKJi said “… when it comes to Lata because of the sheer numbers of her landmark songs. How many singers have sung Ye zindagi usi ki hai, Yaad rakhana chaand taaron, Ye thandi hawayein, Ae ri main to prem diwani mera dard na jaane koy, Lag ja gale ki phir ye hanseen, Ae mere watan ke logon, Rahte the kabhi jinke dil mein, Khuda nigahbaan ho tumhara?” There seem to be more C.R. Ramachandra and Roshan songs than those of Naushad. Just wondering. it may be a different context.
My tributes to Lata Mangeshkar on her 86th birthday.
I thought, you would do a post on Naushad-C Ramchandra comparision /contrast with Lata Mangeshkar as you have done for Md.Rafi earlier this year. I remember, you have done a post on best songs of Naushad for Md.Rafi on their birthdays in 2011. The same year, on Lata Mangeshkar’s 82nd birthday you did a post on your favourite songs of Lata Mangeshkar by C Ramchandra.
Thanks for the post. I will go through the write-up and songs and the subsequent comments by our knowledgeable friends and comeback, if I have anything more to add.
Dinesh,
If Naushad was just ‘good’, and if you do not care about the songs in the present list at all, we surely have very different tastes. These are the songs that have held me spellbound for years, and these are the songs that I can hear endlessly.
I have done extensive coverage of SD Burman. You can see all the posts by clicking here. Making a list of best solos or duets seems to be an undoable task. How do you compare Hum bekhudi mein tumko pukare chale gaye or Jaane na mera dil deewana with Ye thandi hawaayein or Jhan jhan jhan payal baaje? Do not forget we have to reckon with O re maanjhi and Sun mere bandhu re. These are incomparable. Therefore, I have broken down in convenient groups, such as best of SDB-Rafi, SDB-KK, SDB-Lata etc. An overall list is possible for MD whose total work is very small, for example, those who fall under my series on Forgotten Composers Unforgettable Melodies.
Salil Chaudhary: SSW has done a guest article on him. He needs some more. A proper post on Khayyam has to come.
Gaddeswarupji,
Please do not read any meaning into it. I wrote that when Naushad-Lata post was already on the anvil. Therefore, I was conscious not to include too many of his songs.
Venkataramanji,
Rafi comparison arose because CR is not associated with him, but in Rafi’s early career he was more prominent than Naushad. There was no such scope with Lata Mangeshkar. They both fell hook, line and sinker for her from the very beginning, becoming almost a one-singer composer. Their work is also very huge. Both are my great favourites. But it would be a good idea if you and the other readers comment on that also.
AK ji,
Let me first join you and all readers in wishing Lata Mangeshkar “A very happy birthday”.
I scanned through the post very quickly in the morning itself and would like to be very frank and candid in registering my displeasure over the choice of songs. I deeply respect your feelings to the songs but then was left wondering why the Lata songs from Dulari, Babul, Deedar, Deewana, Uran Khatola, Jadoo and more importantly Baiju Bawra were missing.
I am sure you do have a reason, but the total exclusion of the above films which definitely had more melodious songs baffles me.
I know its easy to sit back and offer comments, but a comparison of Naushad with Ghulam Mohammed for Lata songs will be very interesting.
Perhaps the only element surprise would have been in presenting the songs that are on the brink of the fading memory – if there are ones !
AK, the folklore is not that Lata was ‘discovered’ by Ghulam Haider on a local train – why, do you think she was singing on the local? It is that after she was rejected by a producer because of her ‘patli voice, they (Ghulam Haider and she) waited at the station for a local, where he tapped out a tune on his paan daani (or cigarette box, I forget), and asked her to sing to that.
Like Mahesh, I do not think these songs are anywhere near the best of the Naushad-Lata combination, even from the films you have chosen. Khuda nigehbaan is a favourite of mine as well, but I would have chosen Bekas bekaram keejiye to showcase their collaboration, for instance.
But then, you said these were the songs you like, so that’s a different kettle of fish.
For me, Mohe bhool gaye saanwariya would certainly be one of the selections. Uthaye ja unke sitam from Andaz would be another.
Thanks for a good read.
AK,
Wishing her on this special day.
Most predictable as already mentioned.
SWRP seems interesting idea.
My song for them from late sixties, beautiful poetry too. Saathi Yeh kaun aaya
https://www.youtube.com/watch?v=vM-djzXi9sk
Mahesh,
I should have explained that Babul, Deedar, Uran Khatola, Jadoo have been excluded because they have been discussed in detail in year wise reviews. Be that as it may, I can take only ten. There would be at least 30 more songs which would be as melodious as I have included. I was aware that many iconic films are missing. But if you agree that these ten are outstanding songs, it only affirms Naushad status that at his peak everything he created was top class.
On GM I agree with you. His best is as good as Naushad’s.
Ashokji,
May be that was one thing at the back of my mind. Hence, omission of some films that are would be in everyone’s list.
Anu,
The story of her encounter with Ghulam Haider has come in her own interviews. Thus, that has to be their first meeting. I have read at countless places that he took her to Shasdhar Mukherji for Shaheed, who rejected her because of her patli voice. Thereafter, comes Ghulam Haider’s famous prophecy. Am I missing something in the sequence?
On the songs, I was aware readers would mention Andaaz and Baiju Bawra. I have also responded to Mahesh and Ashokji on this point.
Mumbaikar8,
The post was predictable, but I knew some songs would be unexpected. Saathi in my list comes after the best of Naushad was over.
AK, all I’m saying is that Ghulam Haider did not discover Lata on a train. That sentence makes it seem like that was the first time he met her – on a local train. : )
AK,
I was expecting some songs discussed earlier would not be repeated, to some extent that was predictable too.
Saathi comes after his best was over, probably.
For me Lata’s Yeh kaun aaya and Rafi’s aaj purani rahon se from Aadmi are mesmerizing.
Anu,
Some respect for mumbai’s local train singers:)
AK,
BTW, forgot to thank you for the credit.
Belated thanks:)
AKji,
Nice post & a good selection of songs. As you have said in the comments, you have included only those songs, which have not appeared in your earlier blogs. So, within this limitation you have done a good job.
There are two points of interest you have raised in your narration
1) SWRP skills of Naushad. I think such songs are descibed as “Sher” prelude songs. For your information OP Nayyar has composed close to 70 songs with “Sher” prelude for films. On top of that there are 17 non-filmi songs composed by OP Nayyar with “Sher” prelude. I had taken a couple of years back, a bet with my friend & I have the complete list available with me.
2) The film Shabab has 15 songs. Now it’s a well known fact that Naushad as a rule did one film per year after the success of “Baiju Bawara”, as claimed by Raju Bharatan in “Naushadnama”. So if a film like Shababb has 15 songs, it was not a very difficult task to compose 15 wonderful songs in a year for as great a composer as Naushad & as you have mentioned he was at his peak at that time. So in my opinion, it’s no big deal. The main point that needs to be admired about Naushad was that it was a policy fraught with great risk , since if the film bombs at the Box Office, you don’t have anything else to bank upon, to recover the lost ground. So it’s remarkable that Naushad maintained his stature for 15 years or more after Baiju Bawara with this policy. Of course, it helped that in many of the films he had Dilip Kumar as a hero, also had a lot of big banners like AR Kardar, Mehboob Khan, K Asif, etc. It also needs to be rememberd that he had great PR skills. Even if one takes into consideration all these points, I must say that Naushad had great guts to stick to the policy of one film per year from 1952 or 1953 onwards (it could be that in one year he had more than one release, in case a film was delayed) .
The article was expected. But, the selection of songs has not been approved by readers, which is understandable because everyone has personal choices. Lata sang more than 100 solos (102 as per my list based on HFGK upto 1980) most of which were gems, so it is very hard to choose. I agree with you about Shabaab. Lata really sang its songs superbly.
I will add two songs which fascinate me. One is ‘teer khate jayenge’ from Deewna picturised on Sumitra Devi, who has a strong role besides Suraiyya. https://www.youtube.com/watch?v=C1DdbGPveq0
The other is ‘do hanson ka joda bichhad gayo re’ from Ganga Jamna
https://www.youtube.com/watch?v=puvonsaBhmE
Anu,
It is not terribly important. But just for clarification – Are you saying the rejection by S Mukherji happened before she met Ghulam Haider? My information is he, being the MD and having formed a high opinion of her, took her to the Boss.
Mumbaikar8,
As I said to another friend, “Tere phoolon se bhi pyar, tere kaanton se bhi pyar“.
Quite good selection of songs when most of the memorable songs are discussed elsewhere on this blog.
Akji, after Ldds, you brought his another striking peculiarity : Swrp ! Yes, i never marked it before..his recitals are also as fascinating as his songs ! Thanks for this attention drawing.
Third, he also had mastered that Tanga rhythm way before OPN did. He has not scored much Tanga rhythm songs , i can recollect his 4 such songs and all are superb.
1. Udan khatole pe ud jaaun
2. Bachpan ke in bhula na dena
3. Pyar ki raah bahaar ki manzil
4. Duniya chhute yaar na chhute
the last song is a duet sung by Rafi and Bhupinder from (Dharam Kanta,1982) A fantastic one having all the peculiarities of golden era and Naushad..A male version of Bachpan ke din bhula na dena…years after his melodious streak ended..
Duniya roothe yaar na roothe
Jaan se badhkar yaari hai
Dil ke dharam kaante par dekha
Pyar ka palla bhaari hai
mumbaikarji
Ye kaun aaya is also my favorite
and i also love to listen again and again : Mere jeevan saathi kali thi mai to pyaasi..
mind blowing !
from me to this thread..a special of mine
Takdeer jagaakar aai hun
Main ek nayi duniya basaakar laayi hun
duniya basaakar laayi hun..
AK’ji ;
Thanks for this wonderful return gift on Lata’ji’s birthday . I must confess that I am a hearty fan of Naushad music and when combining with Lata’ji golden voice ….its a feeling beyond words . I know each and every song of their combo is difficult to accomodate at one place ; but the one you have chosen are my best as well . When Naushad / Lata ‘s song is good in composition and in lyrics , other department like Direction, camera angle/work , Light and shades , art direction, etc has to match and as efficient for greater impact . I cannot forget the beautiful picturisation of ….Pyar kiya to darna kya . How the expression of the actors changes with each word and stanza is a delight to watch . How good is the camera man’s worth ; we can see watching …tere sadke balam….or….na shikwa hai koyi na kyi geela hai .
Ak’ji, Your detailing of recital preludes of the songs is another good thing you have brought in . Such preludes are catalyst which brings out melody stored in the song like , Khamoshhh hai zamana , chup chap hain …is a fine starter to the great Lataji’s song ….ayega aane waala . This could be another topic of discussions for SoY family .
No, silly, that part is true – that GH took her to Sasadhar Mukherjee who rejected her because her voice was too thin. And he left in a huff, and while waiting for the train, tapped out a tune on his cigarette case and asked her to sing the notes, predicting that she had a very bright future ahead of her.
What I was clarifying was your choice of words: As per the popular folklore, she was ‘noticed’/’discovered’ by Ghulam Haider, in a local train,
That makes it seem like Lata was discovered singing on a local train by Ghulam Haider, who then took her to…. so on and so forth. To clarify – she was NOT noticed on a local train. (Or even an intra-city one.)
Jignesh,
Even Pankaj Mullick has used Ghoda gaaadi beat in Doctor in 1941. But we have to grant it to OPN. He did it again and again and made it his trade mark. SWRP is an interesting device to create a startling impact on the listeners. There is a sharp, unexpected bend when the song starts. Naushad seems to have special fascination for this. Others have also done it. I have highlighted it to make readers think about such great songs. Let me give an example, think of the recital prelude of Jeevan mein piya tera pyar rahe.
KS Bhatiaji,
You are a kindred soul. I knew a real Naushad fan would be as charmed by these songs as I am.
AK,
Hamare kante keep on toes to attain the great heights.
I am gooood at taking credits (due or undue).
Jignesh,
Shukriya for acknowledging.
Ravindra Kelkar,
Can you share the list with us?
Ravindra Kelkar,
Thanks for your appreciation. ‘Sher’ to my mind refers specifically to a unit of ‘ghazal’. This is, of course, standard feature of a qawwali performance where slow recital is used to build up the tempo, leading to the fast-paced rhythmic clapping.
I know every MD has used SWRP, bur OPN has done it 70 songs sounds interesting. Let us have some good examples.
Hans,
Teer khate jaayenge is also my favourite.
AKji,
I like all the songs you have posted. My favourite of Naushad-Lata combo are songs from Dulari.
Thanks for the wonderful post.
Siddharth,
You are welcome. I am happy you enjoyed the songs. In the write-up of song no. 11, I have mentioned Dulari and some other movies which are famous for Lata Mangeshkar songs. One idea was to include some songs from minor films, which are no less beautiful.
AKji & Mumbaikar8,
Of course, I can share the list of OP’s SWRP songs. But this post is about Lata-Naushad, so I was a bit hesitant about it & you see, OP was a completeltly different personality as compared to Naushad & OP didn’t use Lata at all…..However, AKji, has asked for some good samples in his comment no 31, so I promise, I will post some samples (70 film songs + 17 non-filmi songs is too big a list) soon.
AKji,
You have not commented on my second point or have you not read it carefully? It’s quite commendable, that Naushad stuck to his rule of scoring music for only one film per year.
Ravindra Kelkar,
It would be a good idea to suggest best SWRPs of different MDs. I mentioned one by Vasant Desai (Jeevan mein piya tera pyar rahe). I can think of some very good songs of CR.
I did notice your point about Naushad’s sticking to rolling out designer collections. It showed his supreme confidence, and probably made a huge difference in quality. CR on the other hand was famous for quickies, but he has proportionately more unremarkable songs.
AK,
Two SWRPs to begin with S D Burman and N Dutta
Lata singing, reciting and Rafi reciting ( I am always stuck with two of them)
Sheeshe ka ho ya patthar ka dil
https://www.youtube.com/watch?v=k7WlmlW4Q8Y
Mai tumhise poochhti hoon
https://www.youtube.com/watch?v=AsN8mL8Cb4U
Mumbaikar8,
Both are excellent examples. I would include the second song as it is very well known, and the recital was a surprise.
AKji & Mumbaikar8,
Here is the first intallment of 5 OP songs of SWRPs.
1) Humdum Mere Khel Na Jao-Phir Wohi DIl Laya Hoon. A superb duet, with all the OP ingredients, like, Drum Beats, Dholak, Claps, change of rhythm & with “typical Nok” “Jhok” between male & female singers, which was such a great feature of OP duets – https://www.youtube.com/watch?v=V1Qt6Yxcrjs
2) Ek Tu Hai Piya – Pran jaye par vachan na Jaye- Another gem of Asha-OP Combo. http://www.dailymotion.com/video/xxis3p_pran-jaye-par-vachan-na-jaye-ek-tu-hai-piya-hd_shortfilms
3) Mohabbat Cheez Hai Kya-Yeh Raat Phir Na Aayegi-Asha & OP at their best-Mumtaj looks very beautiful. https://www.youtube.com/watch?v=LC9VYilecfQ
4) Roop Tera Aisa-Ek Baar Muskura Do-A very popular song, at the fag end of OP career Of course, it’s almost a torture to watch Deb Mukherjee
https://www.youtube.com/watch?v=gMsqMxSSfbc
5) Mori Need Chura Ley Gayo-Aasman-Rajkumari. This was OP’s first film. All other female songs in Aasman were sung by Geeta Dutt. It is claimed that for singing this song OP had called Lata, but she never turned up, so OP felt insulted & decided not to ask Lata to sing again. Of course OP always denied that it ever happened. Nevertheless this is a very melodious song sung very well by Rajkumari. Also, for your information in the TVS SaRaGaMA final, probably in 1998, when as judges, OP,Anil Biswas, Naushad, Khaiyyam along with Rajkumari were called upon, Rajkumari sang this song “live”…..(I think the video is available on YouTube).
https://www.youtube.com/watch?v=_HkD1WJMvNg
AK’ji;
Here is one from Dil tera deewana , the theme song with beautiful prelude recital .
https://www.youtube.com/watch?v=JwnXbIDm_EE
Legendary Lata, Legends and Folklores:
Morning papers in England are screaming: Rivers on Mars, Water oozing from the icicles, Frozen ice peaks melts in heat, Mars is a twin planet of Earth, Space Scientists are sure that life on the Mars will be found etc, etc.
And look what I found while thumbing through the second volume of Har Mandir Sinh (not Singh) Hindi Film Geet Kosh:
Film Jeewan Yatra 1946 produced by Rajkamal Directed by Vinayak, Music Director Vasant Desai, Lyrics by Diwan Sharar, total number of songs ten, sung by Zinat Beghum, Joharbai, Manmohan Krishna and Lata with “patali” voice.
The song that Lata sang in this film is called:
चिडिया बोले चूँ चूँ चूँ – “जीवनयात्रा‘ – 46 – वसंत देसाई – दीवानशरर
The director Vinayak had achieved fame with his films like “Brahmchari 1938, Brandi Ki Botal 1939 etc. He was a cousin of V. Shantaram and had his own film production company.
He also was the patron of Lata Mangeshkar family after the death of her father.
The film has famous cast like Yaqub, Nayantara, Sunalinidevi, Shantarin.
There is no note by Har Mandir Sinh at the end of his entry of the “Jeewan Yatra”
All the songs were recorded by the record company called Young India.
Later on, at the end of the entry of the film “Aap Ki Sewa Meing” 1947, music by Datta Daojekar, lyrics by “Mahipal (?) (Question mark is mine about who is this Mahipal?- the song:” पा लागू, ना कर जोरी रे” has an asterisk (*). And at the bottom of the entry there is a note in bold “Singer Lata Mangeshkar’s first singing song.”
Shalan Lal
Ravindra Kelkar,
You have been true to your word. Even if we know the songs, the recital prelude is either unknown or we can’t recall off hand. Rajkumari’s song is too good. Serial no 1 and 3 are also my favourites.
KS Bhatiaji,
A terrific SWRP. Now we are getting some great gems.
AKji,
How about this SWRP-
Ye mera deewanapan hai..yahudi1958 -mukesh-shailendra-shankar jaikishan
https://www.youtube.com/watch?v=AppcdtqKuxE
Shalan Lal,
Aap Ki Sewa Mein was her debut as a playback singer. She sang (and acted) earlier too in Badi Ma (1945) and in some more Hindi films. Prior to that she had acted and sung in Marathi films from 1942. Therefore, there are many firsts associated with her:
1. First song in Marathi (not used)
2. First Marathi song in a Marathi film
3. First Hindi song in a Marathi film.
4. First song in a Hindi film as actor.
5. First playback.
People are often unaware or casual in distinguishing which first they are talking about. Many supposedly knowledgeable programmes/sites routinely mention Dil jalta hai to jalne de as Mukesh’s first song, whereas his first film song Dil hi bujha hua ho to came four years earlier.
To make matters more clear on Mukesh…. or is it confusion to clarity 🙂
Dil hi bujha hua ho tho was his first solo song sung on himself.
Dil jalta hai to jalne de was his first solo playback song.???
I say this because Nirdosh 1941 also had two duets with Nalini Jaywant.
And, Pheli Nazar 1945 had 2 solos and 2 duets with Naseem Akhtar.
We consider the referred songs as firsts only because of their immense popularity. They may or may not have been the firsts to have been sung in the recording rooms or in the respective movies in reality.
Secondly what is this SWRP? I missed the bus. We need a list of abbreviations on this blog. New ones are being formed every other week.
Ravindra Kelkar,
Thanks for sharing, waiting for further installments.
Rajkumari song was a pleasant surprise.
Siddharth,
This is among the tops. Thanks for mentioning it.
Mahesh,
You are absolutely right. That is the same error they do in the case of Lata Mangeshkar. My simple point is that Mukesh’s first song is not Dil jalta hai to.
SWRP: This figures in my post. Stands for Songs With Recital Preludes. Naushad has a good number of beautiful SWRPs, therefore, I suggested to the readers to look for best of other MDs. The only unfamiliar abbreviations I have coined so far are LDDS and DBI. I will take care not to create too many.
I realise my knowledge of song technicalities is very limited and am not able to grasp what SWRP implies. Can the song “Aurat ne janam diya mardon ka” ( Sahir/N Dutta from film Sadhna 1958) be fitted into this.
https://youtu.be/RSAjnqg7OeE
AK as the writer of the blog is fully at liberty to air his views on choice of songs. I feel commentators should not question it. Their role is to play as contributors and bring out hidden gems. Many of the visitors of the blog who have no time to trawl through You Tube will stand to benefit.
AKji & mumbaikar8,
Thanks for the appreciation.
Here is the 2nd instalment of 5 more OP songs of SWRPs
6)Aao Huzur Tum Ko-Kismat. A very famous song, with a very long oral prelude of nearly one & a half minute. A terrific song, Asha’s singing is absolutely matchless.
https://www.youtube.com/watch?v=x11QNC9aA70
7)Zaban-e-yaar Man Turkey-Ek Musafir Ek Hasina. OP in his creative element. What a song!!. Excellent oral prelude, with typical OP style of changing rhythm pattern & of course prominent claps. Very enjoyable song. https://www.youtube.com/watch?v=h4LCyCgws6o
8)Kar Ke Pyar Pyar Pyar-Mujrim. Wonderfully sweet & melodious. Highlight of the song is the exquisite use of Sarangi with a soft rhythm. http://flapshap.com/karke-pyar-pyar-pyar-jadu-dar-dar-dar-song-mp3-lyrics/
9)Andhere Mein Jo Baithe Hain-Sambandh. Great lyrics by Kavi Pradeep, tuned equally well by OP. https://www.youtube.com/watch?v=tCG7IvgmDmg
10)Oh Mazi Albele-Baaz.Sung beautifully by Geeta Dutt. This was OP’s second or 3rd film. Very well picturised by Guru Dutt. Both Guru Dutt & Geeta Bali look so young & fresh. https://www.youtube.com/watch?v=2sa0E7Xy_1A
Link to only audio-better sound quality. https://www.youtube.com/watch?v=SqyoT9BOGcU
In the last intallment I had posted Rajkumari’s song which was OP’s first film assignment & in this post I have posted the song from Baaz, probably his 2nd or 3rd film, just to highlight that OP was fully equipped even at this early stage of his career to use SWPR technuique very effectively.
AK,
I have one more with SJ, Mayur Pankh. Khooshiyaon ke chand muskuraye re.
https://www.youtube.com/watch?v=f86pavPGg_w
This list SWRP might go into 100s, how will you scrutinize it?
I agree with Mahesh “We need a list of abbreviations on this blog.” It is only three as per your count but how many sub abbreviations we had in LDDSs it keeps multiplying and it is difficult to keep track.
DP Rangan,
There is nothing technical in SWRP. It relates to a ‘recital’ preceding a song. It should appear as an integral part of the song, such as Khamosh hai zamana.. before Ayega aanewala, or many examples I have given of Naushad, or the examples the readers have added.
On your second point, I appreciate it is well-intentioned. But as the blog host I am quite open to disagreement, including the readers saying they don’t like my selection of songs. It would be a bonus if they mention their choices. But I would not like to impose any censor or prescribe what or how they write their comments. The only obvious ground rule is that everyone has to exercise moderation in language, and we take care that what we write should not appear offensive to others.
Mumbaikar8,
Another winner SWRP. The important part of this exercise is the discovery of the recital part. In many cases the record version omitted the recital part. There are a large number of such songs. At some stage we may discuss best 5 of some major composers.
Ravindra Kelkar,
Thanks again. #6 is an outstanding SWRP.
AK’ji;
Here are a few SWRP songs from SJ camp :
1 Hum dard ke maroan ka……..Daag….. Talat……SJ
https://www.youtube.com/watch?v=LRlfzE9WbW0
2 Koi nahin mera is duniya mein……Daag……Talat …..SJ
https://www.youtube.com/watch?v=3ZdbCDSLHig
3 Kahe ko der lagai re ……..Daag…….Lata……SJ
https://www.youtube.com/watch?v=-QU9NANirW4
4.Aaa Aa bhi jaa raat dhalne lagi…..Teesri kasam…..Lata….SJ
https://www.youtube.com/watch?v=y_pNIhzE1kU
5 O jaane wale mudke jara ….Shri 420….. Lata…..SJ
https://www.youtube.com/watch?v=NeXOsG4_JIs
6 main sunaati hun kissa……Teesri kasam….Mubarak begam, shanker shambu…….SJ
https://www.youtube.com/watch?v=RxbQZuFshWE
7 Dil ek mandir hai…..Dil ek mandir….Rafi, suman kalyanpur…..SJ
https://www.youtube.com/watch?v=gMw7w-d5A_E
8 Khuli palak mein jhootha gussa…Professor ….Rafi…..SJ
https://www.youtube.com/watch?v=AUu0Z2CF9iY
9 Aaja re aa zara aa……Love in Tokyo……Rafi ……..SJ
https://www.youtube.com/watch?v=EgX_b7j4v6M
10 Chheda mere dil ne tarrana…Asli Naqli…..Rafi……SJ
These are some of my own fav. songs of SJ and have repetitive listening qualities .
…..in continuation …..Asli naqli song.
https://www.youtube.com/watch?v=xdszpeEggP8
At 54
AK thanks for clearing the cloud of ignorance on my part. I am sure C Ramchandra will lead the field. Practically every song sung by Lata Mangeshkar under his banner carries SWRP in the beginning.
Ravindraji
you have presented 10 Wonderful recitals..OPN ke kya kehne..the only brave man who ran successfully against the direction of wind. Opn denies this fact that lata refused to sing in his first film but it seems very true that she had refused..Bcz she was very reluctant to work with new comers..we have another example of madan mohan….and she wasnt also in Roshan’s first two films Neki aur badi and Bawre nain…but she worked with MM and Ro only after the musical successes of Aankhen and Bawre nain ! She worked readily with SJ in their first film because of the RK-PRK group aura.
She was heavily busy with the established forces of that time like Anilda, KP, Naushad, HB, CR, Govindram, Shyam sundar, K. Dutta, Vinod etc so it is most likely that she would have denied newcomers. We dont know whether it was her own decision or she was led by the instructions of her mentors. So the story of OP-Lata ego tussle is not mere a story but a fact.
I love this recital from Sambandh very much
kis baagh me mai janma khela
mera rom rom ye jaanta hai
tum bhul gaye shayad maali
par phool tumhe pehchaanta hai
and can we count this one as a half recital ?!?
from Naya Andaz, kishorda’s voice
Hawa pichhle pahar jab door shehnai bajaati hai
and then the song starts : Mujhe ek baar phir apni muhabbat yaad aati hai.
Akji
All 11 songs in your selection are penned by Shakeel Badayuni !?! Was not there any chance for a Majrooh song ? 🙂
KS Bhatiaji,
Too good. Chheda mere dil ne is very good. Daag songs too.
Jignesh,
Naushsad virtually became a one-lyricist composer. Mumbaikar8 has added a song from film Saathi. I could have added a song from Andaaz, but I wanted to include some songs from minor films.
Jignesh,
Thanks for you appreciation. OPN is pure joy, happiness & energiser. The songs you mentioned are SWRPs & are in the list of 70 or so SWRP songs of OPN. The story of OP-LATA tiff is impossible to verify, Lata camp says it happened, OP on his own has always denied it.
AKji,
It seems you didn’t like song no 7.
Jignesh,
Your comment no.60
I can not say if LM refused to sing for new comers,but from her statistics of songs sung,it does not look like it. She has sung for 40 unknown composers like for example, Prabhakar,Natraj,Brij Bhushan,D M Tagore,Ghanshyam,Shrikant,Govind naresh,Manoj Gyan,Raj Ratan etc, besides Chand Pardeshi C Arjun,Sapan Jagmohan, Lala Sattar etc etc. Not all composers from these 40 were ever successful,but she did sing for them.
As far as Madan Mohan is concerned,the story goes- LM knew MM very well before Aankhen,from her association with Filmistan,where MM used to loiter. When he called her for Aankhen her dates clashed and she informed him to give other dates,which could not be done. After Aankhen, when MM started his next film, Lata herself went to him and offered her services. The rest is history,as they say.
-AD
AK ji,
Like last time, I again support your views on Naushad having a large number of melodious SWRP. They are across various singers such as Surraiya, Shamshad Begum,Lata, Rafi, Mukesh,Talat saab etc..
However for the time being I give below a list of a dozen Mukesh SWRP numbers starting with a song he himself composed.
1. kisse yaad rakhun………………………….Anuraag 1956
2. jis pyaar mein……………………………….Phir subah hogi 1958
3. masoom dil ki haan par…………………Mashuka 1953
4. tara tuute duniya dekhe………………..Malhar 1951
5. mujkho yaroon maaf karna……………Main nashe mein hoon 1959
6. sab pyar ki baatein karte hai………….Matlabi duniya 1961
7. teri duniya kaisi tu jaane……………….Chandi sona 1977
8. zindagi khwaab hai……………………….Jagte raho 1956
9. kar bhala hoga bhala…………………….Tangewala 1972
10. bina bhadra ke……………………………Bhandan 1969
11. hum tho jaate apna gaon……………..Diwana 1967
12. mahalon ne cheen liya………………..Zabak 1961
What is so interesting (amusing!) about these comments is how easily and effortlessly they oftentimes drift afar from the subject. From Naushad-Lata combine, we are now so focused on SWRPs, just as earlier a discussion on Naushad’s LDDSs had become a free-for-all for all various LDDSs. I suppose such versatile free flow keeps all of us aficionados engaged with the SoY.
KS Bhatiaji,
A very good selection. #1, 3, 4 and 8, 10 (mentioned earlier too) are my favoutites.
Ravindra Kelkar,
I heard it again. Terrific song. By the title I could not locate the song. I am happy that we have an OP Nayyar expert among us.
Mahesh,
Beautiful collection. I am sold over #1. #4 and #12 are also my favourites.
Dinesh,
Thanks for your endorsement. But you don’t disclose your hand.
In addition to the drift mentioned above, some times a post of the best of so and/plus so does not include many of the best because they have been mentioned in some other post. I wonder whether it would be possible at least mention some of those songs in a sort appendix. It would be useful to people like me with very scratchy knowledge, but may not matter to many of the reulars here. If it is not too much work. Thanks.
Bhatiaji,
Song #5 in your list is my all time favourite. Here is the full version of the song –
O Jaanewale Mud Ke Zara Dekhte Jaana (Full Version)_Shree 420 music SHANKER JAIKISHAN
https://www.youtube.com/watch?v=kZPafLWuZZI
I will add another great song –
Mitti se khelte ho baar-baar kis liye..lata – Shailendra- S J – Patita(1953)
https://www.youtube.com/watch?v=UOAOvDWwrrY
AK,
SDB on this day Insaan jaag utha short and sweet SWRP Nat khat taron hamen na niharon.
https://www.youtube.com/watch?t=3&v=zf-GnHFNYaQ
Ravindra Kelkar,
Thanks for the 2nd installment,
Teri talash mujhe ko my all-time favorite, I was waiting for that one, I consider, Ek Musafir Ek Haseena, his one of the best album.
Enjoyed Majhi albele beautiful song, love Geeta Bali amazing, energetic actress.
Gaddeswarupji,
Normally in the write-up I mention some extra songs. I would try to see if it can be more structured.
Mumbaikar8,
Absutely. Chaand sa mukhada kyun sharmaya is an absolute gem.
Here are some SWRP I came across.
01 – Kaisa insaf tera – Lata Mangeshkar – Satta Bazaar (1959)
Hemant Kumar/Gulshan Bawra
https://youtu.be/QxIExowYlLA
02 – Tere dwar khada – Hemant Kumar – Nagin (1954)
Hemant Kumar/Rajinder Krishan
https://youtu.be/KS84LtwArG0
03 – Teri ankh ke ansoo – Talat Mahmood – Jahan Ara (1964)
Madan Mohan/Rajinder Krishan
https://youtu.be/Mrz98FY_31Q
Her is another song from Majboor (1948) of Lata Mangeshkar
Ghulam Haider/Nazim Panipati
Daman hai chak
https://youtu.be/bN3xZf5Dq6Y
A SWRP from Swami Vivekanand (1955) – Talat Mahmood
R C Boral ?Shankar Sen
Abhiman ko mere
https://youtu.be/uRPTUowBl6s
AKji,
I am glad you liked song no 7. I present here the third instalment of 5 more OP songs, of SWRPs. I plan to post in all 25 songs, unless I am overwhelmed with requests for additional songs. I hope my friends here on this blog don’t get fed up with me. If so, please let me know & I will stop.
11)Sambandh – Akeli Hoon Main Piya Aa. A very well known song, superbly sung by Asha. https://www.youtube.com/watch?v=Sz_a7Y4PT6Q. A classical based song, which Ustad Amir Khan was fond of & he again argued with OP that he is fooling people when he claims that he has no Classical knowledge.
12)Phir Wohi Dil Laya Hoon-Zulf Ki Chhaon Mein. A very soothing & sweet melody, having minimal orchestration, with only Santoor for interlude. Outstanding singing by Rafi & Asha. https://www.youtube.com/watch?v=6rcG6fM72wY
13)Phagun-Sun Ja Pukar. Wonderful song. The highlight of the song is the interlude of Clarionet & violins. It just hits you with full force. The video song is a bit short, however, the audio songs available on internet don’t have the starting “Sher”. https://www.youtube.com/watch?v=ikA-JPtV3Qo
14)Musafirkhana-Jhoote Zamane Bhar Ke. Sung by Rafi & Niramala Arun. As many of you may know, Niramala Arun was the mother of famous actor Govinda. She has sung the song quite well, but Rafi is absolutely sensational, what feelings has he put into it. It is to be noted that the film did very well on the box office, mainly due to the songs which were pure rage in that time period, with this song being extremely popular. https://www.youtube.com/watch?v=0gYL1iDclNo
15)Kalpana-Humein Maro Na Nainon Ke Baan. A mujra song. Asha has put in everything in singing this song. This being a mujra song, OP has a full license to use his favourite sarangi to his hearts’ content, & the sarangi interludes are quite superb. Please listen carefully to the last antara , especially the second line “Bina Ashkon Se Jo Hoti Hai Wo Barasat Kya Jaane” which follows the first line “Are o Janewale Tu Mere Jajbaat Kya Jaane” . The lyrics are very good, & the way OP has tuned them by coming to lower notes in the second line from the high notes of the first line is fabulous. https://www.youtube.com/watch?v=aHftUVQ12tM
No youtube link is available. Posting a soundcloud link for listening.
https://soundcloud.com/user978669606/chanda-deera-se-aa
mumbaikar8,
Thanks. Ek Musafir Ek Hasina was the turning point for OPN, the film where he turned a new leaf. He revamped his style from this movie & had a second lease of life. From this film onwards, his music became more refined, more melodius & more varied. His music from this point included Sitar, Sarod, Tar Shehnai, more prominently in his orchestration. Also, by this time, Asha had also matured & with Rafi also at his peak, OP, Asha & Rafi created magic & scaled new heights.
I have just posted the third instalment of five songs, hope you like it.
I agree, Mazi Albele is a quite a nice song, sung beautifully by Geeta Dutt, very well picturised by Guru Dutt & yes, Geeta Bali is wonderful.
DP Rangan,
Tere dwar khada ek jogi and Teri aankh ke aansoo pi jaaun have long been my favourites. Other songs were new to me. Thanks a lot for theses additions.
Ravndra Kelkar,
I like #12, 13 and 14 a lot. From Kalpana my favourite is Bekasi hud se jab guzar jaaye, but als, it is not an SWRP>
Quite late to the party as usual. The songs you have chosen are indeed very beautiful. I love ‘Jaanewaale Se Mulaqaat’ and ‘Khuda Nigehbaan’. Naushad and other composers who had the good luck to work with Lata in her freshman years were very fortunate to have found a voice of enormous dexterity and boundless sweetness which they could mould as they wished. When they composed for her in the lower scales she trilled like an angel. Unfortunately she often had to sing at a higher scale which made her voice quite shrill. After the sixties unfortunately her voice lost its sweetness.
Arunji
thanks for calling me only Jignesh. It’s a huge relief for me..and again thanx for coming out to clarify this matter also.
still some doubts are not ceasing in me.
1. These incidents were seen between 1949-1951, when she was a fresh storm in music world..every MD wanted her voice but she was still under the influence of her mentors..in such an environment and with a little age she might have failed to look after some novices’ projects.
According to her songs list of 1950, she had worked vastly with those MDs only who were quite established at then time (Anilda, Naushad, CR, HBhagatram, Govindram, SBhatkar, GMohd., Vinod, SDB, HBahal, Hafeez khan, Sajjad, Shyam Sundar)
Later she might have realized her costly decisions taken with MM, Ro and OP and accepted to work with every novice MD to avoid the possible loss of quality songs.
2. Some ego clashes do remain undercurrent and never come out. It is the goodness of OP that he denied any dispute with Lata and later in 70’s with Asha..but we all saw that Asha had never worked with him after 1973/74..so there must be some conflict between them.
these are my personal views which may be true, partially true or completely untrue. So, it is better that we believe your explanation as the most probable sequence and move forward from here.
Soumya,
I am happy you liked the selection.
Ravindra Kelkarji
OPN’s 62-69 streak is really Exceptional !! From where he brought such lively tunes ?? i would like to say that he was a miracle in hfm.
Akji
coming back to the original stars of this post
a Lata Naushad swrp melody
Aai thi raat josh-e-tamanna liye hue
Jaati hai ab luti hui duniya liye hue
Sitaaron ki mehfil saji tum na aaye
saji tum na aaye
tumhe hamne aawaaz di sajnaa
tumhe hamne aawaaz di, tum na aaye
i love each piece of Udan Khatola..a sublime music
two more from my favorites with the Same Mukhda Recitals.
1. Haal e dil main kya kahun mushkil hai mere saamne
bhole bhaale roop me qaatil hai mere saamne
2. Na ro ai dil kahin rone se taqdeere badalti hai
kahin aansu bahaane se tamannae nikalti hai
Jignesh,
Fabulous songs.
Jignesh,
There are always many angles to look at one thing. I can only say that in the period 47 to 65 or so, the good music was riding high and all the major composers had their hands full with films. Obviously, the novices and the less lucky composers got very few films to compose songs. That may be the reason that Lata seems to have sung maximmu songs with the established composers,because all the films were distributed amongst them on priority.
Where there are celebrities matters like egos,disputes and controversies do exist,whether one likes it or not.
As you rightly said, let us discuss these things as they come and forget about them,without utilising time on them which we can utilise in enjoying good music.
-AD
Mahesh, Mumbaikar8
Does this ring a bell?
हो गये दो रोज़ में आबाद भी बरबाद भी
अब तमन्ना है यही आये ना उनकी याद भी
Listen to this excellent Mukesh SWRP.
Legends and Folklores of VIP in the filmy world:
Lata, Mukesh and other filmy legends have many folklores. Some may look that they themsleves have invented them.
Mukesh himself said that his first song was “Dil Jalata Hai” and it is on one of his LP of songs.
Lata’s story about Ghulam Haider telling her a tune beating on the cigarette tin seems to be more in the line of make up as you go along in the story telling long after the event.
There are a lot of real things. In the old time as the cigarettes were sold fifty in a tin container and carrying the tin containers was a fashion of old the days. Sicarettes also kept crisp and fresh and not get wilted in the Bombay’s muggy weather.
But Lata’s story about how she met Kishore is very comic and funny. And I do not think it is real. But there you find all the mad behavioural patterns which Kishore developed later on as a comic actor. If readers want it I shall tell later on this famous comic story that tells Lata is and was very good comic story teller.
Shalan Lal
Ravindra kelkarji,
Thanks for the opn treat. With so much info it could have been a separate post.
Ravindra Kelkar,
Ref your comment 20 and the lists of OPN SWRP songs. Both the points you raised are well thought out and intelligent. You are rightly named OPN expert by AK as Mahesh is Mukesh specialist. I am a fan of both Naushad and OPN, therefore I feel I can compare the two. I have had a cursory look at SWRP songs of OPN, but did not make a list of these because I feel your stats are correct. I estimate them to be somewhere between 60 and 70. I have followed so many such songs of Naushad that I knew there are quite a number of them. My estimate was that there may be between 35 and 40 such songs. But, when I made out a list, I was myself surprised. I found 40 such songs from 1951 to 1970. These does not include ‘gaadiwale gaadi dheere hank re’ and ‘daiyya re daiyya laaj mohe lage’ which both had different prelude but that is tuned instead of being a recital. In the 40s I found 7 such songs starting from Dard (1947). As mentioned by AK in his Suraiyya article there are a number of songs of Suraiyya composed by Naushad which have a combination of recital and singing. I have also not included them. Post 70 also there may be about a dozen such songs. So Naushad’s number is also not much less.
But, it is the quality which makes all the difference. Almost everyone of his 45 SWRPs from 1947 to 1968 is a gem. In the matter of LDDS I differed with AK, but here I fully agree with him that the output of Naushad is far superior to any other MD. Why this difference despite OPN having such a big number. Firstly, Naushad had Shakeel, who was a great poet, had a great understanding. Secondly, Naushad used these recitals mostly for solos, which have undoubtedly more impact than duet situations. Only seven of his 47 songs upto 1970 have duets. Thirdly, he relied more on Rafi for these recitals, who was a master at bringing turns and twists and produced a variation in each of his recitals. In fact, Rafi’s recitals are the best. Also, alongwith Lata he had the best two singers in his team who cornered most of such songs from 1951 to 1968. During this period Lata had 13 solos and both singers had 3 duets, while Rafi got 16 solos. OPN on the other hand did not care for the best lyricist. His best known SWRP, which you still have not listed, is ‘raat bhar ka hai mehman’, which was penned by Sahir. But, OPN refused to work with him after that. He also used recitals for more duets and also used Rafi very sparingly for solos. As per what I have observed in my cursory look, he gave Rafi only 2 or 3 solo songs with recitals including ‘raat bhar ka’. Though, I am a fan of Asha too, but, in the matter of recitals Lata stole a march over her. These are, in my view, the reasons for lesser impact of OPN.
Regarding you other point about Naushad following the policy of one film at a time, I agree with you on most of the points. In fact Naushad who composed for 27 films in 41-50, did 12 each in the next two decades and by this policy lost out the number one spot to OPN in 1957. In fact, in 1955 itself the number one debate was raised by CR supporters because he had two huge successes in that year in Azaad and Yasmin, while Naushad’s Udan Khatola barely managed the silver jubilee. Naushad managed to hold his position on the basis of his past status and because CR had no great success in 1954. Naushad’s field was barren again in 1956 and he was shot by the double barrel gun of ‘Naya Daur’ and ‘Tumsa Nahin Dekha’ in 1957 when he was flying high with his sole film ‘Mother India’. His failed Sohni Mahiwal and no release in 1959 pushed him further back. So, this policy did Naushad irreparable harm, though his status remained high because of his legendary music in the past. But, what OPN himself did after reaching the top baffles me. He himself adopted the policy of Naushad. In the seven years from 1959 to 1965 he gave only 9 films. He also tried a hand at classical based story Kalpana. But, he was no Naushad and he was declared toppled from the top by SJ. This, after he had given 4 stupendously successful films out of 5 he gave from 1962-1965. Because of his no-Lata stand he was never the darling of the film media, though the whole of North India just revered him. Unfortunately for him SJ also peaked at the start of the 60s and they had also in their kitty the top star Rajendra Kumar and Lata, which added to their propaganda. SJ also used Rafi more judiciously during the 60s than OPN. In fact OPN’s solo percentage for Rafi was very low. He gave Rafi 3 or more solos in just 7 films, he was so Asha oriented. And this despite Rafi being a golden goose for him. In 1957, 3 solos each in the two hits brought him top spot. And of the 5 films in the four years from 1962-65 all the four grand successes EMEH, PWDLH, KKK and Mere Sanam had 3 or 4 solos from Rafi. The lone failure Hongkong had 7 solos from Asha and none from Rafi. If he had continued with 3 0r 4 films per year and more of Rafi, he perhaps could have given better competition to SJ. He realised his mistake of lesser films and started taking more films from 1966 but now he started sidelining Rafi and finally discarded him. I think as a OPN fan you would also agree if he had not committed these mistakes, he could have remained at the top for a longer period.
Ravindra Kelkar,
Thanks for another installment as well as response to my comment.
I for one would request all the songs, but decision will be yours.
Coming to your third instalment I had uploaded # 12 song in AK’s Zulf song article, just love it, and # 14 too.
Thanks once again.
AK,
The bell? Ravi recycled it in Do Badan?
One SWRP, this song was my mother’s favorite song, I remember her humming it all the time, I did not know it was SWRP , luckily tripped over it, listen to this wonderful song.
Hans rightly mentioned, Lata recites it so well. (Hans kahan kho jate ho?)
Baju bandh khool jaye from Bajubandh.
https://www.youtube.com/watch?v=QEkfvZ0MtPk
Jignesh,
Uran Khatola my favorite album too. Host of enchanting songs
Hans
And I always thought that the number of male or female solos and duets eats was determined by the story situations and the film director,and the producer and distributors to some extent, but the MD…!
Ak,
Correction.
According to Hans, bajubandh can not be considered as recital, because it is tuned and has been incorporated in interludes too.
AK,
First Sidharth mentioned ‘ye mera deewanapan hai’ then Mahesh – the Mukesh expert – gave his dozen and now you have posted my absolute favourite Ravi composed song. Mukesh is very much in the race.
Mumbaikar8,
Geeta Bali was not only energetic, but a great all-round actress who could produce all emotions efficiently. She was the top actress before she married Shammi. She has the unique achievement of an actress having performed the role of a male. She acted as the brother of Mala Sinha in Rangeen Raaten (1956).
Bhatiaji,
Your list of SJ is stupendous. ‘Khuli palak men’ had perhaps the shortest recital before the start of the song proper. Here are some more from SJ.
Meri zindagi men aate – Kanyadaan – Rafi
https://www.youtube.com/watch?v=gUT4Zeiu7mk
Badi der bhayi kab khabar loge – Basant Bahar – Rafi
https://www.youtube.com/watch?v=FW547V_wmyc
Dil bekaraar hai mera – Nageena – CH Atma
https://www.youtube.com/watch?v=bfDZKoHYMGs
Siddharth,
Thanks for the compliments, though probably undeserved. I was just happy to forward OP songs, so that they may get noticed & for this I am thankful to AKji. I have always felt that, due to his non association with Lata, majority of the times OP is not given his due, it is as if praising OP means putting down Lata, which is so unfair.
AKji & mumbaikar8,
Thanks for the appreciation. Here is the list of next 5 OP songs of SWRPs.
16) Kalpana – Tu Hai Mera Premdevata. Raga Lalit based song, very well sung by Rafi & Manna Dey. It has a long postlude for the dance competition. Again, makes it hard to believe that OP had no knowledge of Classical music. https://www.youtube.com/watch?v=yVMRDiSZBGY
17)Ek Musafir Ek Hasina-Meri Najare Hasin. A very nice song, but probably not as well-known as other songs of this film. Asha is in her elements. It has all OP ingredients, like, Dholak, Clarinet, Sarangi & Sitar. Makes you feel happy. https://www.youtube.com/watch?v=LJRN3Db5sjk
18)Do Ustad-Hum Pe Dil Aaya To Bolo Kya Karoge-Rafi, Shamshad & Asha. What a song!! OP at his very best. Melody plus rhythm going hand in hand. Joy & happiness is the end result. Excellent use of harmonium which was also OP’s favourite instrument . Rafi giving voice to Raj Kapoor is a novelty & also only film of OP, in which Raj Kapoor acted. Madhubala looks so very beautiful. https://www.youtube.com/watch?v=bejHWjXB5a0
19)Phagun-Baraso Re-Asha & chorus. A very simple & melodious song. Asha again doing her best, excellent use of chorus & clarinet in the interludes. This was the film for which OP composed all tunes of 11 songs at one sitting, in about 3 hours. https://www.youtube.com/watch?v=NoeCIyUzEfU
20)Subse Bada Rupaiya-Suno Hoten Pe Dil Ki Baat. This song may be unknown to many of you. A very breezy & sweet melody. I honestly feel that I can’t imagine anybody but Asha singing it so delightfully. This film was produced by PL Santoshi(Rajkumar Santoshi’s father) in 1955. OP got fed up with PL Santoshi’s whimsical ways & left the film half way, by which time OP had composed five songs. Nashad took over to compose the remaining songs. I personally like this song very much. Every time I listen to it, it lifts my spirits. https://www.youtube.com/watch?v=NoeCIyUzEfU
Mumbaikar8,
Which one – Raha gardishon mein hardum or Bhari duniya mein aakhir dil ko? I find these songs very different.
Mumbaikar8,
My observations or interpretations are based on the definition set by AK. In my view the recital or alaap should be connected as well as disconnected with the song proper. The Bazooband song’s first line is in fact a recital but it appears part of the mukhda and the second line of the mukhda cannot exist without it.
I would here give the example of the two great songs from pyasa.
Ye mehlon ye takhton ye tajon ki duniya
ye insan ke dushman samajon ki duniya
ye daulat ke bhuke rawajon ki duniya
Ye duniya agar mil bhi jaye to kya hai.
In this the first three lines are in fact recitals and in the song just the fourth line is repeated time and again. But can we disconnect the first 3 lines and declare it a recital. Similar is the case with ‘Jinhen naaz hai hind par’, in which also the first three lines are a recital. This is because Sahir did not write the first 3 lines specially for a recital. It was SDB who composed it as such. To me the recital should be written separately.
But, there may be exceptions or grey areas like ‘kisi ke dil men rehna tha’. In this also there is recital and the pattern is followed in the next stanzas. But, since the two lines of the mukhda ‘kisi ke dil men’ and ‘basai thi koi mehfil’ stand independantly, this can be taken as SWRP.
Ravindra Kelkar,
Thanks once again , I lke # 16 and @ 17 a lot. Suno hothon pe dil ki baat is missing Barso re is repeated at #20.
In this interview he talks about the two incidents about Lata and Mukesh.
http://www.cinemasangeet.com/hindi-film-music/interviews/o-p-nayyar-an-intimate-interview.html
AK,
That was a question to your “does this ring a bell” the situation is somewhat similar to Do Badan.
Another forgotten gem by Geeta Dutt from Anarkali (1953) – C Ramchandra has a good SWRP. Salim hides when Akbar comes. The latter tells Anarkali to call her lover. At the end of the song Salim returns and conceals himself behind a bush and shows his feet only. Akbar is impressed.
https://youtu.be/FTkO33QNSVA
Hans,
I did not get what you mean by “ the second line of the mukhda cannot exist without it” because I remember the song without the recital and never found it amiss.
Let AK decide whether it is SWRP or not.
A photo finishes between Khuli palak me jhootha gussa and Chand sa mukhda kyoon sharmaya for shortest recital?
DP Rangan,
A small clarification. Geeta Dutt’s song was composed by Basant Prakash (brother of Khemchand Prakash). Rest songs are by CR. There are different versions why BP was replaced after one song.
Mumbaikar8,
This is an excellent interview. Thanks for the link. I like the man’s bluntness and sense of humour. However, it shows the reason for their not working together is not the famous spat.
For the last couple of months I have been quietly enjoying the posts of SoY without commenting. The last two weeks I was out of India and had only a hand-held device to access the internet. Anyway now I am back with loads of appreciation for this post and the learned comments. SoY posts are usually known for discovering forgotten gems. This post does not do so – all the songs are very much alive in one’s memory – yet the way they are presented by AK makes the experience very enjoyable.
Amar was the first Madhubala film I saw when it came for a re-run. By that time I had heard a lot about her legendary beauty, and I remember being somewhat disappointed. It took a little while and a few more movies like Kala Pani and Chalti Ka Naam Gaadi for her to grow on me. In contrast Suchitra Sen knocked me flat the very first time I saw her on screen. Coming back to the songs, the two songs included in this post make an interesting pair. They are filmed on two different actresses and I must say Lata sounds different in the two. ‘Na milta gham…’ has her sounding a little raw with the ‘patli’ voice; while ‘Jaane wale se…’ has a certain depth. I don’t know whether Naushad and Lata managed this consciously or it just happened.
‘Jo main jaanti bisrat hain saiyan’ is one of the old gems I discovered thanks to my involvement with SoY and it has joined the list of my all time favourites. The original composition is by Amir Khusrau – Shakeel Badayuni has adapted it to the situation in the movie. Here is a link to the Khusrau version:
https://youtu.be/r_SX6cf1WJY
The Youtube page has a link to the traditional Maand composition ‘Padharao mhare des’ by the same group.
Another one from SJ-
Ye mera prem patra padhkar – Sangam
https://www.youtube.com/watch?v=PuaFmVz3dr8
mumbaikar8
Thanks a ton for that OPN interview; extremely interesting.
He also states (reiterates?) quite categorically and emphatically that all that talk about Lata not turning up for the Rajkumari song in Aasman was all “humbug”; lata was the best but her ‘patli’ voice – and plain looks – just did not fit his music!
He also makes a very interesting revelation about a slip-up in the Piya piya piya song.
All in all, enjoyed the big boast boasting.
mumbaikar8 & AKji,
Here is the link to Song no 20)http://www.rockmp3.eu/song/mp3/download/kahe-patanga-deep-se-%E2%94%82-sabse-bada-rupaiya-1955-%E2%94%82asha-bhosle.asp
Mumbaikar8, Hans
Disconnected as well as connected is a good way of describing SWRP. Like the famous US Supreme Court Judge Potter Stewart said in 1964, you know an SWRP when you see it. Pyasa songs Hans has cited are clearly not SWRP. They are very much the songs. Bajuband khul khul jaaye is very different. It is a traditional Bhairvi bandish which every major singer has sung. You would find dozens on YT. Lata Mangeshkar’s sounds to me very much like a recital. Therefore, I would put it as SWRP.
Does recital have to be absolutely without tune to qualify as SWRP? No. The recital prelude is not the dialogue. It is always tuned, but very subtly. It is the absence of instrumental accompaniment and percussion that may give an impression that it is without tune. Listen to all the SWRPs carefully. All have some tune. SWRP becomes interesting because of this unique feature of both being there and not there. Schrödinger’s cat? The radio often played Wafa jinse ki without the prelude. Some SWRP songs would sound very barren without the recital prelude, and records always carried the prelude. Thus, over the years we got conditioned to treat recitals as an integral part of some songs, whereas some songs we were quite used to without the prelude, and when we got an opportunity to listen to the full song, it came as a delightful surprise.
Subodh,
Welcome back to India. Hope you are able to devote more time to SoY. The Sufi version of Jo main jaanati is too good. Thanks a lot for the link.
Siddharth,
This is perfect. Shall we say you are an S-J expert?
mumbaikar8,
Excellent interview, I had read it before. But it was good to get a refresher course. Thank you very much for sharing it.
Hansji,
Thanks for your comments (post 94). I will try to express my thoughts. Please remember that, these are just thoughts, there is no finality about it, they are not cast in stone.
Your point about SWPRs is good. Your analysis about solos & duets as well as male solos, female solos & duets is quite interesting. In my view, the oral recitation before the main song, is to set the tone of the song & nothing more. So for me, in most of the cases, the quality of the main song which follows the oral recital decides whether I like it or not. Now, may be, you are right that the lyrics of the oral recital of Naushad’s songs are better than those of OP’s songs, due to Shakeel being the writer. However, if you compare the song in totality, I don’t think OP’s songs suffer in comparison with Naushad’s songs. But again, you are your own man, so are fully entitled to consider Naushad’s SWPRs as better than OP’s. Absolutely no issues. Generally speaking for me, I know that with Naushad, I will get a certain assured quality song, but very few songs manage to take my breath away. They become fairly predictable. This is especially so, when he became totally classical oriented with the success of Baiju Bawara. I get more attracted to his songs prior to Baiju Bawara. There was something magical about his earlier songs. But one thing I will like to assure you, OP had a very good understanding of the Urdu Poetry & was very particular about it. It’s true that he worked with lesser known poets like Shevan Rizvi, Aziz Kashmiri, SH Bihari, Anjan, Verma Malik, etc. but they were quality poets in their own rights. Just to stress this point further, OP in his interview on “Vividh Bharati” has gone on record (as well as in the Interview link given by mumbaikar8) – “50% of the credit of the song goes to Lyrics, 25% to singers & orchestration, & only remaining 25% credit goes to me as a composer, if at all”. That much importance OP gave to lyrics (all those who are “lyrics” oriented should feel very happy!!).
Your next point is interesting. It’s true that the success of “Naya Daur” & “Tumsa Nahi Dekha”, took OP to a new high. OP had 8,8, & 9 releases in the years 1956, 1957 & 1958 respectively. Many of these films were by small banners. So he did a lot of films, but whether he reached the top with respect to other music directors can be disputed, because majority of big banners remained with SDB, SJ, Naushad, & others. He also had a fight with Guru Dutt after CID(1956) & refused to work with him. After success of “Naya Daur”, he had an altercation with BR Chopra & so no more BR films. After “Tumsa Nahi Dekha” he had a spat with S Mukerjee, so he took Usha Khanna for “Dil Deke dekho”. Another factor was that OP had increased his fees per film after the success of “Naya Daur”, so the small banners went to N Dutta, Ravi, Chitragupta, etc, during the period of 1959 to 1962. So the fact that,he scored music for only 10 films in the period from 1959 to 1965 was because, these were the only films he got. So there was no question of OP following Naushad’s policy of one film per year. Due to tremendous success of Ek Musafir Ek Hasina(1962), Phir Wohi Dil Laya Hoon(1963), Kashmir Ki Kali(1964) & Mere Sanam(1965), he got a clutch of films, & so he composed music for 7,2,5 films in the years 1966,1967, & 1968 respectively. Also make a note that OP was a very strong individual, had very poor PR skills, while on the other hand Jaikishan’s PR skills were legendary, so there was no question of OP toppling SJ from the top position & if I know my OP he didn’t give a damn for PR. These personality traits of OP, can be seen in the same interview posted by mumbaikar8
Your last point is about Rafi. Here you are implying that if OP had managed to have more Rafi solos in his films there was more chance of those films becoming hit. Well, it is an interesting thought. But somehow I don’t see how OP could have influenced the Director/Producer to have more male solos. I don’t think the Music Director has much say in these matters. Basically if the film has Dev Anand, Dilip Kumar, Raj Kapoor, Shammi Kapoor, Rajesh Khanna, etc. as lead actors, you will have more male solos. So, I don’t think OP’s obsession with Asha, had anything to do with it. OP was very much aware of Rafi’s contribution in his success as a music director. In fact, in Raju Bharatan’s book “Naushadnama” , he has quoted OP as saying that “if there had been no Rafi, there would have been no OP”. But OP’s parting ways with Rafi(due to his obsession with punctuality), hurt him very much. In many interactions/interviews OP has candidly accepted it as his major mistake. With no Lata & no Rafi, you can succeed only to a certain extent & no more (BR films did it, after “Dharmaputra”, but music was not the main reason for success of these films). I feel that if he had not ditched Rafi, he would have lasted a bit longer. Just for those who are statistically minded, Rafi sang 57 solos & 202 duets for OP. Mahendra Kapoor sang, 16 solos & 18 duets(till Rafi was alive), which logically would have gone to Rafi. So, hypothetically speaking, Rafi would have sung 73 solos & 220 duets as maximum for OP.
About “Rat Bhar Ka Hai Mahima”, it will be in my next instalment, so no worries.
mumbaikar8, AKji,
Here is the link for Subse Bada Rupaiya song again. I don’t know if the earlier link works, since it’s not highlighted
https://www.youtube.com/watch?v=oM1EmFZyHWA
This should work, I hope you enjoy it.
AK, Sidhharth, Hans’ji[s] ;
Thanks for liking the SJ’s SWRP songs and thanks also for adding to the list which are superb . Hans ji ; you have opened one more window as to shortest and longest prelude recital songs which I think everyone would be liking .
Here is one from Salil’da’s camp .
https://www.youtube.com/watch?v=_6bRWTtKjkw
Apni kahani chhod ja ……Manna dey, Lata…..Do Bigha Zamin…..Salil.
……in continuation…….
2. Hum haal e dil sunayenge ….Mubarak begam…… Madhumati….Salil
https://www.youtube.com/watch?v=swBAFi4oqY4
AKji & mumbaikar8,
Here is the final instalment
21) Sone Ki Chidiya-Raat Bhar Ka Hai Mahima Andhera. One of the very few OP songs of “Philosophical” nature. Supreme words from the pen of Sahir, equally well-tuned by OP. Hansji, says it’s the best OP SWPR. Rafi is Rafi, so I need not say anymore. Very effective use of chorus. https://www.youtube.com/watch?v=xCm3UvUkWa4
22)Taxi Driver-Jinhe Ho Pyar Sanam-Asha Bhosale & Usha Khanna. Obviously, a mujra song. Again excellent use of harmonium. One of the last few songs of OP-Asha, before the break-up. https://www.youtube.com/watch?v=ULT6JGFSyEo
23)Ustad-Kis Ke Liye Bekarar Gori Aaj Tera Pyar-Rafi, Asha-Lyrics Jan Nissar Akhtar. Absolutely wonderful duet. Typical OP interlude of Clarinets & Mendolin, which was hallmark of OP’s earlier style of orchestration. Very rhythmic song, guaranteed to make you to start tapping your feet. Quite a popular song in those days, I remember listening to it very often on Radio Cylon. https://www.youtube.com/watch?v=oGrxC-SI19o
Just as an interesting side issue, I think this song inspired Chitragupta to come up with the song “Kali Topiwale Jara Naam To Bata” in the film “Kali Topi Lal Roomal”- https://www.youtube.com/watch?v=6fPHuW7Yt2U Not really surprising, since it was that period-1958 to 1960, where many MDs were forced to come with OP like tunes.
24)Phagun-Tum Rooth Ke Mat Jana-Rafi, Asha. Yes it’s a SWPR. In the movie, the “Sher”, sung by Asha is missing. So here is a link to full audio- https://www.youtube.com/watch?v=FfL0F30NxTE. Link to video- https://www.youtube.com/watch?v=Rk3t9QfJE7I. Already this song has come up in LDDS songs, so it’s well known. There is an Anil Biswas song of similar tune from film Badi Bahu(1951)- https://www.youtube.com/watch?v=ftMEs89vt-E (which is a happy mood song) & both songs are based upon Punjabi folk music called “Heer”, as per my limite knowledge.
25) Kalpana-Main Khidki Mein Aaoongi-Rafi, Asha duet. Typical OP duet, with Rafi & Asha competing with each other, & trying to out-sing each other. The oral recital is very good. The interlude music reminds you of “Humdum Mere” from Mere Sanam. It’s my observation that the structure of the song is similar to that of “Jivan Mein Piya Tera Saath Rahe” from Gunj Uthi Shehnai & probably OP was inspired by it.
https://www.youtube.com/watch?v=26bEtGZJ4-w
26) Sambandh-Jo Diya Tha Tum Ne Ek Din-Mahendra & Hemant Kumar. Kavi Pradeep’s lyrics are superb. https://www.youtube.com/watch?v=BojAVUajGoI
27)Naya Andaz-Mujhe Ek Baar Phir Apani Mohabbat-Kishore. Kishore is copying or aping KL Saigal here. The tune is very good.
https://www.youtube.com/watch?v=wj2jZnNPiQ4
Actually I wanted to stop at 25 songs, but decided to add two more songs which were mentioned by Jignesh in his comment
& finally to conclude, I will add one bonus track.
As I had mentioned earlier, OP has 17 SWRPs in non-film category, as a glimpse into it, I will post one song
28) Dekh Mohabbat Ka Dastur-Peenaz Masani from Album – Tu Hi Mera Dil Tu Hi Meri Jaan. This a “Tonga” song & it starts with big oral recital. I can’t imagine anybody but OP could have thought of having “Sher” prelude & then follow it with a Ghodagadi song & make the end result as grand as this. The introduction of the rhythm after the “Sher” is typical OP-the rhythm king, it’s the high point of the song. The overall mood the song creates is excellent. The clarinets as usual steal the show. I really love this song & the novelty of having a “Sher” prelude to a “Tonga” song. This album was published in 1990 & this song really is a proof that OP was still mentally fresh enough to create such a wonderful tune.
Audio link- https://www.youtube.com/watch?v=4oMxdADo0wY
There is a video also available of Peenaz–However in it the “Sher” prelude is missing. https://www.youtube.com/watch?v=K9FzMYAtLyE
Ravindra Kelkar,
Thanks for the final instalment (?) and the 20# missing song.
Kahe patanga was new to me.
I cannot disagree with Hans on raat bhar ka maham andher 23, 24. 25,26 I like them all Jo diya tha tumne ek din is one of my favorite Mahendra Kapoor song, enjoyed 27 too.
Penaz Masani song was a real surprise.
“Rafi & Asha competing with each other, & trying to out-sing each other ” both Lata and Asha tried to out-sing Rafi, in this interview at 33.00 onward Lata describes how she used to hide few things in rehearsal and surprise him in final take.
https://www.youtube.com/watch?v=EPRyUhPMkyg
As you have made this your final statement, I would like add one OP Rafi and Sahir bhajan ,my the most favorite bhajan, it is unique because the recital is mukhda ( ksbhatiaji one more window:))
Naya Daura an hai to aa.
https://www.youtube.com/watch?v=bl9_NBo38DQ#t=98
Thanks once again .
AK,
Thanks for the judgment in my favor my lord.
Ak ji,
I am no expert on sj. Its just that I like them more than the others 🙂
AK, Hans, Sidhharth,’ji[s] ;
Here are few more SWRP songs from SJ camp :
1. Jaise veerane mein chup ke bahar aajaye.[ 1:24:38 to 1:26:40]
……Rafi, Asha….Jaanwar……SJ
The link to this song is not available separately.
https://www.youtube.com/watch?v=oaKn_yQvpyQ
2. Rukh se jara naqab….Rafi….Mere hajoor…….SJ
https://www.youtube.com/watch?v=u0i43yqyym4
3.Main baharoan ki nathkhat rani…..Asha….Boot polish…SJ
https://www.youtube.com/watch?v=BBtKmCHaHE4
4.Julam sahe bhari janak dulari…..Rafi…..Awara……SJ
This song is rare and has low viewer ship .
https://www.youtube.com/watch?v=h2fZprtmE1A
Mumbaiker8;
Naya Daur song is my fav. but should this fall in SWRP songs….I am doubtful ……as mukhda and prelude lyrics are the same .
AK’ji;
The song … Aaj hai pyar ka faisla aye sanam…… from Leader is one amongst the rare . It has both prelude and postlude lyrical verse .
https://www.youtube.com/watch?v=YwNjURH4V5M
mumbaikar8,
Thanks for your encouragement to post these songs. The song “Aana Hai To Aa” from Naya Daur is one of the best OP songs, but I think the song is not SWRP since the recital words are the same. The Lata interview is good. The point that Lata used to keep some secret “murki” or “harkat” with her & used to sing it directly in the recording of the song is interesting. I have read/heard Asha also, using similar tactics, while singing a duet with Rafi. Actually, this is a compliment given to Rafi by both the sisters. Given the same singing space, many a times, Rafi used to out-sing both of them & probably they used to resent it. For me, this actually proves the greatness of Rafi. Hansji, will I think agree with me.
AKji,
Thanks for allowing me to post OP songs(& tolerating me). I enjoyed it. I hope my friends on the blog would have enjoyed at least some of the songs. About the remaining 46 OP songs, I will just give the list of films & number of songs. Aisa Bhi Hota Hai(1), Akalmand(1), Basant(1), Bhagam Bhag(2), Bin Ma Ke Bachche(3), Chand Si Mehbooba-unreleased film(4), Dil Aur Mohabbat(1), Do Dilon Ki Dastan(1), Ek Baar Muskura Do(2), Heera Moti(4), Humsaya(1), Jaan-E-Mehboob-unreleased film(1), Jawani Ki Raat(1), Kabhi Andhera Kabhi Ujala(2), Kahi Din Kahi Raat(1), Khoon Ka Badala Khoon(3), Mohabbat Zindagi Hai(1), Mr Quartoon MA(1), Muquaddar Ki Baat-unreleased film(4), Nishchay(1), Ragini(1), Sambandh(2), Sawan Ki Ghata(1), Shrimanji(3), Shrimati 420(2),Ustad(1).
So the total SWRPs for OP comes to 73.
Ravindra Kelkar,
You should not thank me, you shared your effort with us, the pleasure is all ours, I thoroughly enjoyed it, and I am sure most of SOY members agree with me. Bhatiaji and you have doubts about the recital of Aan hai to aa, to some extent I agree, but the prelude is recital, despite of being antara, let us wait for AK’s verdict. (He is the boss) . I love this bhajan and would not miss an opportunity to mention it.
“Rafi used to out-sing both of them & probably they used to resent it.”
Collectively Lata and Asha, is the universe of playback singing and if they tried to out-shine Rafi that speaks volume of Rafi’s talent.
Hans and me, we totally believe in it and are trying influence Lata and Asha fans.
Thanks once again and hope you will keep sharing your efforts with us in future too. ( too formal :))
Ravindra Kelkar, Mumbaikar8,
I am impressed by your knowledge and enthusiasm. It is interesting we are discussing OPN in a Naushad post. No one could be a greater antithesis of Naushad as OPN.
I have no special authority to settle questions. Now that you ask me Ana hai to aa is not an SWRP. The recital part has to be very different, and the transition to the main song has to be unexpected.
Dinesh,
I envy your peace of mind which allows you to believe in these simple truths. But, I have a troublesome mind which tells me there is no absolute truth and simple truths like what you mentioned are possible only in utopian world.
One more superhit song from Naushad –
‘Nain Lad Jaye Hain’ – Gunga Jumna
https://www.youtube.com/watch?v=UKGhcTDEOcM
AK, Mumbaikar8,
Despite the verdict on ‘baazuband’, I would still register my protest. Till now, I had not heard Lata song. I had heard the thumri of classical singers, though I am not a classical buff. So, when Mumbaikar8 posted the song, I immediately remembered it. As AK said there are a number of versions on youtube. But, that thumri is not just ‘baazuband khul khul jaye’. The singers sing also ‘sanwaria ne jadoo dala’ or sanwaria ne aisa jadoo dala’ or some variations of it. Which part came first was the choice of the individual singer. So ‘sanwaria ne jadoo dala’ is the reason for ‘bazuband khul khul jaye’.
In the Lata song too the first line is a modification of this ‘sanwaria ne jadoo dala’. It says ‘kis sauten ki lagi najaria, kis bairan ki lagi haye’ which is the reason for ‘bazuband khul khul jaye’. In the SWRP, the song should stand on its legs without the recital or alaap. But, that is not the case with Lata’s song. The first line though a recital is part of the mukhda.
I would give here example of a song from Baaz, which Ravindra Kelkar has rightly not included in the SWRPs of OPN. The song is ‘jo dil ki baat hoti hai’ sung by Rafi;
https://www.youtube.com/watch?v=nM-n0_qXfik
In this song also the first line of the mukhda is a recital, but is a part of the song. I would give here both the lines:
ghata men chhup ke bhi bijli jhalak dikhla hi jati hai,
jo dil ki baat hoti hai nazar tak aa hi jati hai.
If you look at the Lata song and the Rafi song, it is clear that the second line of Rafi song can stand on its own better than the second line of Lata song. If you sing ‘bazuband khul khu jaye’ someone may ask why and some funny person may reply that her biceps have become stronger through exercise.
Hans,
I am not knowledgeable enough to consider myself authority on all these aspects, each one of us interpret it differently I have my views that I present.
Final decision, I believe, should be either by majority, but not many of us are ready to express opinions, the other option is the boss’s decision, AK is the boss of this blog so I accept his decision as final.
AK, very well done! Every selection the best! “Na Milta Gham to” has to be the pinnacle of glory. Incidentally, it starts with Yaman, but a lovely manifestation of pahadi. Have you considered “na phoolon ki duniya” from saaz aur awaaz.?it is in marwa.
Mumbaikar8,
Dont be too modest. If you are not knowledgeable on this blog then who is. If you care for the verdict of AK, you should think yourself knowledgeable because he has said so many times and recently in comment 130 above.
I have filed a review petition in AK’s court with fresh reasons and hope to be heard.
Bhatiaji,
You are our indefatigable window opener. How about the longest recitals. There are two from Rafi, one by SJ and one by Ravi.
Jo ek baar kehdo – Pooja (1954)
https://www.youtube.com/watch?v=DO_Oghcg9jA
Koi mujhse poochhe – Ye Raste Hain Pyar Ke (1963)
https://www.youtube.com/watch?v=RVnf7o8_szw
Hans, Mumbaikar8.
“Boss”: Though it sounds very flattering, in all honesty a blog host is never a boss; he moderates or facilitates. Moreover, I can’t be a boss over people senior to me in age and knowledge.
Coming back to the definition of SWRP. Hans has suggested in SWRP the song should stand on its legs without the alaap or recital part. By this definition half of the songs that have been mentioned would go out of the list, for example Chale aaj tum jahan se…O door ke musafir, Dil ko tujhse bedili hai..Ye mera deewanapan hai, Bijli gira ke aap khud…Dil tera deewana etc. Either because of conditioning or some inherent reason, these songs cannot be imagined without their recital part. So as per Hans these are not SWRP. Yet we agreed these are very much SWRP. Therefore, rather giving a precise definition I go back to Potter Stewart, I know an SWRP if I see one.
That still begs the question with regard to Lata Mangeshkar’s Bajuband. Please don’t take my ‘verdict’ as a judicial finding. I gave my opinion based on my impression on hearing it. Hans has a viewpoint and I respect that.
Chitrapatsangeet,
Thanks a lot for your application. Frankly, I am not impressed by Na phoolon ki duniya. In fact I would have completely forgotten it until you mentioned it.
Siddharth,
Nain lad jainhe – if you mean it as SWRP, I have mentioned it in my write-up on song #8.
I am not surprised that you aren’t impressed with payaliya, tastes differ. but there are a few things about the song, which makes it different. It is in Marwa,not used much in Hindi cinema. The beginning has a grahabedhan (very little) to Shivaranjani .the lyrics are by Khumar Barabankwi. For me,Naushad’s best with Lata is undoubtedly Na Milta Gham,this is of course my opinion.
Just as a point of discussion, the party song in Dil Diya a Dard Liya portrays a different Naushad-is It an Arabic tune?
Hansji,
One correction to OP-Rafi Stats.
Rafi had 59 solos & 143 Duets (The total number of songs is 202, which I mistook as duets). So if we add Mahendra Kapoor’s songs, the final tally could have been 75 solos & 161 duets, if OP had continued with Rafi.
I didn’t mention it earlier, but I was pleased to know that you are also an OP fan…..
Just a little diversion from the flood of so much contribution from so many great and intelligent listners:
Intriguing “Amar”!
In this post AK has adoringly used songs from Amar and my mind passed his dotting and centred about the story of the film and how alien ideas are thrust on the Hindu religion showed in the film. There is so much tenderness in the songs but I am unable to enjoy them.
The story of Amar intrigues me and often I feel it is inconsistent with the Indian Culture. Indian culture mainly has a deep base in the Hindu culture and in the Hindi films it is dominantly used and treated it as very safe for both the Hindu and Muslim film producers to make their films popular or safely to be accepted without raising a question mark.
In the story of Amar a highly educated and also rich young lawyer before his marriage accidentally had a pleasure night with a girl alien to his culture. Then onwards he is shown as the sufferer of guilt and in uncertain mind about his future marriage. Two girls with two cultures and one successful lawyer of high standing!
In the film there is continuous use of the song “Insaf Ka Mandir Hai Ye Bhagwan Ka Ghar.” In Hindu culture the temples are not the judgemental seats but meditational and worshipful spaces for the individuals. It is not even a communal place as a Mosque or Church or a synagogue are though functions like Janm-Ashatami etc are attended in groups. But these groups are individuals and not a kind of mass worship at the time of Xmas mass.
Now by tradition in Hindu religion we know that it was once a man with as many wives or concubines, even Ram and his brother promoted one man one wife situation. Indian Government passed a law in the fifties that a Hindu will not have more than one wives. Muslims were excluded from this law. So the guilt that Dilip K suffered from, would not have happened if his character would have been Muslim. I wonder if they have similar law for women as well. What about one woman and two or more husbands? Is it illegal?
(Ironically in real life later on Dilip Kumar had an affair with a Muslim society girl from Hyderabad and he was going to marry her using Muslim law but the media went against him to insist that he was a progressive Muslim and he should not do such thing. He bowed down to the pressure and secured his marriage with Saira Banu.)
So the struggle of the hero using Hindu religion does not accept two women in the same house is a far stretched idea. Of course two women may find difficult to live together as we know from the story of Krishna having two wives Saytbhama and Rukmini and he had to build houses separate for two wives.
C.Ramchandra had two wives, one lived in Bombay and the other in Poona and if he had married Lata he would have a real war at his hand and his music would have suffered.
In Indian film industries many had two or more women in their lives. Some lived easily like Chandulal Shaha who had Gohar Karnatki and other Brahmin wife at his home. His family accepted the situation. .
Some say Raj Kapoor wanted the same thing with Nargis and heand Nargis went to Morarji Desai then Chief Minister to allow him to marry Nargis but he said to RK could not break the law he would go to prison and the marriage would be null and void. This statement is based on the Book written by Bunny Ruben who was RK’s publicity officer.
Although the film had good acting from all and the sweet music I think it was a fantasy for the audience to sing about.
Shalan Lal
@Shalan Lal
Bigamy has been in the blood of Indians even before the onslaught of Islam by way of Sind within a short span of 60 years after Prophet Mohammad established it on a firm base in Arabia. Most of our Hindu kings had more than one wife. As a former British colony we Indians are better acquainted with British history. The monarchs had of course only one wife as per Christian dogma but any number of mistresses. With the free camaraderie between sexes in the tinsel world, this is a likely result like lighting a powder keg. I recollect the case of promotion of a judge in very old days. While the Committee was discussing the case, one of the members raised an objection that he had more than one wife. The Chairman quipped that as far as he knew he was an extremely competent jurist and this one minor fault should not weigh against him. As an aside he remarked that who will not love to have another wife. He was fortunate in this respect and others can only look enviously. The judge did receive his promotion and the Chairman told him in private not to flaunt his conquest openly. Lord Vishnu has two consorts – Sreedevi and Bhudevi. Lord Muruga is another example. All this has to do with fascination with cine artists and magazines thrive on them everywhere in the world. Todate I do not bother to look at any such magazine and am unable to comprehend it. May be I am a freak. This kind of news tickles us for some time and then we move on to other pressing problems which is always round the corner.
Plots of films of yester years is generally below par and the less said about it the better it is. Look another picture – Aaram. It had good music by Anil Biswas including the Mukesh gem – Ae jane jigar. The story made no meaning at all and did not convey any moral lessons as well. Amar can also be grouped with this. Still the contributor had gone to great lengths to provide some juicy material for which I congratulate him.
Chitrapatsangeet, it is interesting that you use grihabedham instead of shrutibhedham. “Payaliya” is a lovely song and the way the chorus is employed is a departure from Naushad’s usual mode.
By the by I forgot to ask opinion from a legal expert in this fraternity. Bigamy may be a crime for Hindus in India. If I understand the law to some extent, the alleged offender can only be prosecuted if any of his consorts file a case before the Court of Law. A living example of bigamy openly flaunted is that of nonagenarian ex CM of Tamilnadu. He is still lucky to rule the roost thanks to his complacent wives. I admire his ability to manage such a complicated household and wish him many more years of connubial bliss. Polyandry exists in some veiled form and it has not been tackled. I think it still prevails in Haryana where there is acute shortage of female of the species. In China with a one child situation thanks to law promulgated, the problem of girls availability is very acute and I have read some time ago that a good percentage of Chinese males are facing the possibility of remaining bachelors on account of this. There are stories of women being kidnapped from adjoining countries like Vietnam to set up house. Let us pray to our Gods that such a situation may never rise here.
Ms Shalan Lal ji,
Ref your comment no. 144…..
As far as I know,CR never had 2 wives. His first wife Ben Thakur died and then only he married Shanta who stayed in Poona. Ben had 2 miscarriages,but Shanta had a son and a daughter from CR. Both the children became Doctors and are staying in US with their mother Shanta.
-AD
Continued….
In his autobiography CR has described all this in details.
-AD
Chitrapatsangeet,
I am delighted to know there are so many fans of the Lata songs of Amar. About Dil Diya Dard Liya, which song you are talking about?
Shalan Lal,
You have expanded the lassez-faire of SoY manifold. I would resist my temptation to venture into comparative theology, bigamy in law, society and ancient scriptures, except that I have serious problems with your stating your propositions as if they are fundamental truths. Everything you have said is open to serious questioning, but this is not the proper forum for such debates. I focus on the question of Dilip Kumar’s guilt in the film.
I guess you are saying that A. Since bigamy was sanctioned by our ancient texts, and had social sanction de facto or de jure, Dilip Kumar’s guilt is illogical. He could have simply told the two ladies, this is what has happened, I am willing to marry both of you and let us live happily together. If that were so, all the love triangles collapse. In Andaaz and Sangam, even the social incompatibility was not an issue, therefore, all the conflicts would be pointless. I doubt if it is valid to make such a radical reading of these films. Existence of bigamy in society does not mean it was a norm, it was still an exception in the society. Moreover, guilt and conflict are highly personal. What happened between Dilip Kumar and Nimmi was not a night of pleasure. It was very convincingly portrayed that it was deeply traumatic for both the parties. You can quarrel with the way Mehboob Khan has resolved the conflict, but to say that whole thing is ridiculous to start with is not acceptable (unless you have said all that as शास्त्रार्थ).
B. That Hindu temples are not the seats of judgment (or confessional), therefore, Insaaf ka mandir hai is anomalous. Why can’t we accept that a deeply troubled person may go to a temple for solace? We all say colloquially Uparwala sab dekh raha hai, or there is a higher court above the highest court in the land where we all have to answer for our deeds. This is not a Hindu or non-Hindu thing.
Amar was one of the finest efforts of naushad saab. I was referring to “kya rang-e-mehfil hai” from dil diya dard liya.
AK,
Just a question- Ït says Insaaf Ka Mandir hai yeh Bhagvan ka ghar hai. “Mandir” may be a broad term used to signify any place of worship. Shakeel doesnt say Butkhana. It could apply to any religion.
Wikipedia definition of Bhagavan->
Bhagavan is related to the root Bhaj (भज्, “to revere, adore”), and implies someone “glorious, illustrious, revered, venerable, divine, holy
The song is about humanity and his conscience (है खोट तेरे मन मे जो भगवान से है दूर) and that nothing is hidden from Him.
ये सोच ले हर बात की दाता को खबर है
Also, Shakeel has the same idea in “Parda nahin jab koi khuda se, bandon se parda karna kya”.
Imagine if this song were to picturized on a mosque instead of a temple Would it have made the lyrics completely nonsensical?
AK,
I am not too sure how much you like this one, but “Diya na bujhegi” from SoI counts amongst the very best of lata – naushad combo for me . You have inspired me to write on naushad, but what? You have exhausted it all…
Karthik, (Chitrapatsngeet),
You must go ahead on Naushad, I would love to read it. I have hardly exhausted him.
Yes I am very fond of Diya na bujhe.
Your question about ‘Mandir’ probably is in the context of my conversation with Shalan Lal. You have put me in a spot. The lead characters happen to be play Hindus, which was taken as matter of course. Muslim characters belonged to ‘Muslim’ films. In Amar Akbar Anthony, the characters’ religious identities and emblems is an important part of the drama. If I may put it crudely, Sidney Poitier was black, but Denziel Washington and Will Smith are not – they are just the characters they play in which their colour is not a factor. Therefore, to answer your point, Insaaf ka mandir hai would sound very odd if it was picturised at a mosque. My point still is that Amar’s inner conflict is not Hindu or contra-Hindu, but that of an individual torn by a traumatic incident.
Hans ‘ji @ 137 ;
Your two songs are really toppers of the longest recitals and i am sure one has to work hard finding more like these .
I have worked on Ravi for SWRP songs and hope others will also join us in contributing to the list [ Arvinder sharma ji…? ]
1.Kis ke liye roka hai………..Ek saal…..Rafi
https://www.youtube.com/watch?v=3HQvhNNy3I4
2.Waqt se din aur raat……..Waqt………Rafi
https://www.youtube.com/watch?v=AYmu59rorXo
3.Kal chaman tha aaj ek……Khandan…….Rafi
https://www.youtube.com/watch?v=R0C7jGvZr1E
4. Aye mere dil e nadan …..Tower house……Lata
https://www.youtube.com/watch?v=mzA-FmqeysI
5.Sou bar janam leinge……Ustadoan ke ustad…….Rafi
https://www.youtube.com/watch?v=CTprvBjARLY
6.Sab kuch luta ke ………Ek Saal…….Talat
https://www.youtube.com/watch?v=NmsTJld1Uuk
7.Chale bhi aawo chale …..Ek Saal……Lata
https://www.youtube.com/watch?v=t2noW_SKK_E
8.Wafa jin se ki bewafa ho gaye….Pyar ka sagar……Mukesh
https://www.youtube.com/watch?v=XSFTRRUDd94
9. Tu ho ke bada ban jaana……Khandan…….Rafi
https://www.youtube.com/watch?v=i85jMVXHn6I
This song also qualifies for long recital .
Ravindra Kelkar,
I want to clarify some points. Shakeel being a better poet was just one of the reasons and that did not mean that the poets used by OPN were inferior. In fact, Shakeel was a specialist in writing ‘alaaps’. His choice of words was unique and caught immediate attention. I would post a list of such songs later. I am from Haryana which was part of Panjab till 1966. OPN used many Haryanvi folk tunes so he is very popular in these areas. I know he was well conversant with Urdu and there is no surprise in that because in pre-independence Panjab Urdu and English were taught in schools and colleges. Whatever he said about the importance of lyrics, the fact is that many of his songs had very ordinary lyrics which survived or became popular on the basis of melody and rhythm. That was not the case in respect of Naushad-Shakeel combo.
I have a different view about the big and small banners. We tend to forget that all big banners were one day born and they became big after they got success. I call this reverse memory syndrome. Guru Dutt films became big banner with the help of OPN. Similarly, BR Films was little known before Naya Daur. Both these greats pocketed profits and fame arising out of the successes, but refused to share it with OPN by keeping him in future films at enhanced rates. It was always easy to defame OPN because the biased media was ready to lap up any story against him without verifying the truth.
Regarding S. Mukherjea, the story of any fight is absolutely false. If you see the list of films produced by Filmistan in the 50s, you will find S. Mukherjea changed a number of MDs. Was it because all quarrelled with him. However, when S. Mukherjea launched his son – under his new banner Filmalaya – with Love in Simla and the film failed he came back to OPN for Ek Musafir Ek Hasina and paid his enhanced fees. Not only that he persuaded his friend Nasir Hussain (who directed Tumsa Nahin Dekha) to take OPN for Phir Wohi Dil Laya Hoon.
Regarding use of Rafi by OPN for more solos, you have said the same thing which Dinesh said. I would again say I dont believe in such simple truths. Music Director was a very important part of the film production team and in many cases MD was signed earlier than the hero and heroine of the film or even before the name of the film was finalised. MD was involved in most cases with selection of song situations and important MDs were consulted for every aspect of the song. If you carefully look at careers of various MDs you will find special trends for every MD. CR and OPN composed more duets while Naushad and MM composed less duets. CR and OPN flooding their careers with Lata and Asha songs was no coincidence.
Look at Naushad’s Mere Mehboob and Palki. These films have a significant role for Johny Walker. Yet no song situations were created for him because Naushad had long since stopped composing for comic situations.
Regarding your stats about OPN, I had seen the flaw because I am also statistic oriented and keep stats for important MDs which I like. But I did not mention it because I knew there must be some calculating error. By the way, as per stats with me Rafi sang 55 solos and 138 duets for OPN. The difference may be because I have not included unreleased films, which I take as separate category, and may be you have included some version of some song which I have not included.
Mumbaikar8 has correctly stated my stand on Rafi’s singing. I am a great fan of Rafi and he was beyond the reach any other singer male or female. I liked your frank and detailed comments. I also am very frank with comments and some persons get angry with me. I think we are of the same type. I would also repeat Mumbaikar8’s request to you to continue enlightening us with your research and opinion.
AK,
I hope you will allow Mumbaikar8 and me to do some flattery to maintain balance, because we are the ones who constantly harass you with our rebellious comments.
Regarding the Baazuband song wanted to say the mukhda should stand on its legs, but typed song instead. I have no problem with your stand.
Shalan Lal,
Your comments in para 6 of your comment suggest that Dilip suffered guilt being Hindu, because a law was passed for Hindus and it would not have happened if he had been muslim.
I may tell you here that Hindu Marriage Act was passed by Indian Parliament in May 1955 . Amar came in 1954 and there was no question of any Hindu law at that time. You are mistaken if you think that common Hindus cared for multiple marriage. In fact, the major controversy in respect of the Act was regarding inclusion of the provision of Divorce in the Act. Conservatives thought it meant introduction of western values in India and it will promote breaking of families.
Similarly your claim about Raj Kapoor Nargis cannot be true. If Bunny Ruben wrote that which you say, then he could not be called a reasonable writer. If the HMA was passed in 1955, when did RK and Nargis went to CM. Since the Bills were being discussed much before they were actually passed, the duo could have got married earlier if theirs was any serious intent.
“Intriguing Amar”
Arunkumar Deshmukha Comments numbers 148 and 149
During his visit to the UK I met C.Ramchandra in one of his private concernts of his own songs in some private house I met him and we became friends. He had plenty of time in the afternoon and he would come and sit in my theatre art classes and watch how the English learn and do theatrical art. My workshops were run in one of the colleges in London. Then sometimes I took him to afternoon plays like Evita, Elvis Presley and other musical plays. He like all those musicals and made notes in his book.
He told me when I would visit Bombay then I should visit his place. Following year I went to Bombay. I grew up in Bombay near Metro theatre. But half way my growing up with my parents I came and ever since I lived in London.
I went to his house near Shivaji Park. He asked me to stay in his house for a couple of days. He introduced me to his wife number 1 Ben Thakur.I stayed there and enjoyed her vegetarian cooking. C.Ramchandra liked his food very hot. At his house C.Ramchandra was a very busy man he had many visitors and artists coming in rehearsing for his show called “Bhule Na Bane” which played a selection of songs from his various films. One evening I went to see his show at the Shanmukanand Hall.
Following day I gave company to his wife Ben to a Ganesh Temple near Prabhavati area.
After a week or so C.Ramcahndra and I travelled by Deccan Queen train and went to Poona to his Bungalow on the Deccan Gymkhana. It was a very beautiful house a front garden and rear garden tall Ashok trees and a porch at the front door. Inside it was like theatre stage landing to go upstairs rooms etc. His wife Shanta was there to receive us with her two young children. I had good time in Poona as well.
The above description should clarify that he had two wives and you need to go to the roots of source of your statement at 148 and check. The book mentioned by has information about the marriages with both the ladies. There is no information as you have rushed to write in your comments 148 and 149.
PD Rangan comments number 145 and 147
I thank you for your erudite comments. SOY should enjoy such authentic and interesting writings.
AK, Comment number 151 and other comments as well
There is a lot I can say about your easy understanding of the themse and strife and striggle in the plots of the films like Amar, Andaz, Sangam etc. But that would take a lot of space and the stream or rather waterfall of this post is about the SWRP songs and related information.
Some other time and when opportunity rises I shall use it.
For the time being I shut up as you desired.
Shalan Lal
Ms Shalan Lal ji,
Thanks for clarifying things.
Since you have met his both the wives,while they both were alive,there is no doubt about his bigamy.
What I wrote is strictly based on what he has written in his Autobiography. As you said, I dont find anywhere a mention of his 2 wives at a time. On the contrary, the information about his marriage to Shanta comes in the chapter ,only after Ben’s death.
Obviously,for reasons known to only him, he seems to have mixed up the matters-probably intentionally,in the book.
What I wrote was NOT from my imagination.
Anyway, there is no point in discussing these matters anymore,since your story clarifies everything.
Thanks,once again.
-AD
Shalan Lal
I appreciate your crystal clear clarifications. Hereafter I think all will weigh your postings very carefully. Many thanks for your views about my postings. I am rubbing my eyes in disbelief. That someone had the patience to go through my prattlings and pass on a mark of appreciation. I love your changing my name from DP to PD. I like the substitution very much PD, i.e. public disgrace, that is me. Do not retreat from here in high dudgeon but continue to participate.
Akji
since last 3 days i am listening “Shabaab” songs at the time of dawn. It’s a great pleasure !! I never felt such stupendous effect of this film’s music at any other time of day or night. “Jo mai jaanti bisrat hai saiyan”, “Marna teri gali men”, “Man ki been matwari baaje”, “Jogan ban jaaungi”, “Aaye na baalam”, “Mar gaye hum”,”Mehlon me rehnewale hame” All are terrific at early morning. Is there any specific relation of the raags of these songs with early morning session ?!
Jignesh,
You forgot to mention one of the best, which is a great SWRP too, Sangeet hai shakti Ishwar ki har sur mein basey hain Ram/Raagi jo sunaave raag madhur rogi ko miley aaram……O chandan ka palana resham ki dori. You must listen to the full version with the recital. A heavenly song by Hemant Kumar/Lata Mangeshkar. Many agree with me that Shabaab was Naushad’s best score. Coming back to your question, I hope the experts will answer your query about Ragas. But according to my limited understanding, the reason is not they are all morning Ragas. Some of them are evening and night ragas. In morning tranquility you are totally focussed on the music. Listen to these songs late night in quiet, you would have the same feeling.
Arunkumar Deshmukh
This is wha tI write at the end of my comment at 160.
The book mentioned by has information about the marriages with both the ladies. There is no information as you have rushed to write in your comments 148 and 149.
After word “information there shoud be “death of Ben Thakur” as the book was written when she was very much alive.
My friend from Manchester has now sent me his copy of the sid book as a presnet to me. So I now keep thebook and shall be able to refer to it whnever I needed.
My information at the time said that Ramchandra married his second wife in “Goa” where it was legal for the Hindus to marry more than one wife at the time as Goea was not part of Indian Union then. So then the word “Bigamy” in his reference is not suitable. Probalby Mr DP Rangan may know legal point about it.
Shalan Lal
D P Rangan
I am very very sorry that I turned your name side ways. I do not think that PD should be seen as “Public Disgrace.” It should be taken as “Public Darer” rather.
At the time of writing I was reading a book by very famous author PD James’s “Death of an Expert Witness (1977)”. So that name might have influenced and played a trick on my mind.
My apology.
Shalan Lal
Shalan Lal
I do not mind the reversion of the initials of my name as it gave me an opportunity to laugh at myself which I think is an essential attribute of personality to keep one down to earth. Your apology is gladly accepted. I thank you for honouring my suggestion not to take temporary sanyas from this site. Such confusions are farily common in day to day life. Let me quote from my lawyer I engaged to prise my apartment from a rapacious and unscrupulous tenant. He narrated this with a twinkling of his eyes.
A Bengali client of his invited him to his house to attend a bhajan. He complied with the request and was shocked to be offered a meagre repast which he considered not commensurate for two hours of torture he sustained faking a devotion he did not have in his heart. When he enquired whether the square meal he had dreamed about was next in the agenda, the Bengali gentleman was perplexed and blandly replied that was the end of the proceedings. Bengalis have a peculiar way of expression. To the lawyer the word ‘bhajan’ uttered by the inviter sounded as ‘bhojan’ .
Hans Comment Number 159
Your point about the passing of the law against bigamy for the Hindus in 1955 is very interesting. However the law had years of discussion and in the various conferences of the Congress party pre-Independence as well as in social forum, was raised many times. So as soon as India became Republic and had proper Parliament it came before it for passing of it and it took time a few years to be passed.
The law against was a part of India’s progressive and modernising movement that started in the 18th 19th centuries and people like Raja Ram Mohan Roy, Dayanand Sarswati had started the movement. Forward looking movement was the part of the Hindu community in the various states of India. Prominent among them were Bengal and former Bombay Province that included Sindh, Gujarat,Maharashtra and a part of Karnatak.
As the Hindus were changing their social and cultural attitudes, educated Muslims also felt that their community should join this movement. Hence the “Progressive Muslims Movement” came into the society. This group was initially very small but then it grew bigger. Most of the Muslim writers, artists, and film makers were part of this movement. Both Dilip Kumar and Mehboob actively engaged in this movement. Post Iran revolution this progressive movement became very small. Jawed Akhtar and his brothers and family are still holding this small fort.
So the time factor of the passing the law is not important.
With reference to the Bunny Ruben statement you yourself should find his book and read it. I cannot defend or rule out his statement. He was extremely close with RK
I could say a lot but AK does not want this discussion to go on as he believes that this post and SOY is not the right places to discuss the issues.
So I shut up now. And I want all the good readers to take note of it and raise no further discussion in the above area.
Shalan Lal
DP Rangan Comment 167
Thanks for the interesting confusion often within the subcontinetal linguistic areas.
Bengalis love their language and so do other people as well. There are many jokes about Saradarji and many of them according to Khushvant Singh started by the Sikhs themselves.
Modern political corecteness may feel that we should not indulge in the jokes about the communities.
I try to avoid them as much as possible but your joke is reality and I heard it many times here in England even told by the Bengalis themsleves.
As Ak inone of his comments said somewhere quoting,” Tere Kantose Bhi Pyyar tere Phoolnse Bhi Pyaar” perhaps from the song from Nastik music by C.Ramchandra.
So the world goes on spinning itself.
Thanks againfor your kind comment.
Shalan
Thanks AK for inspiring me to research Naushad’s music – I believe I have a nice topic at hand. I will write about it soon
Karthik,
Looking forward to it.
Akji ©164
well, i didnt forget that fantastic lullaby to mention but i think it is not a suitable one to listen with rubbing the eyes in early morning 🙂
as a music lover i can listen any song at any time of the 24 hrs with equal zest.. But i feel that the impact of a song on our eardrums varies a bit at different hours. I dont think i would start Jagjit singh’s “kaun aaya raste aaina khane ho gaye” at 6.00 a.m. But like it at evening or midnight.
“ye parbato ke daayre ye shaam ka dhuaan” I would like this one very much at p.m. session.
I like OPN’s intoxicating songs of 60’s at midnight piece with headphones, not at 7.00 a.m.
the songs of Shabab like Jo main jaanti, Jogan ban jaaungi, Man ki been, Aaye na baalam have mesmerized me at the fresh hours of dawn. So, there may be some relation of raags, and may be the used instruments making a definite mood with particular hours.
Bhatiaji,
You have rightly picked up Ravi, who is our common favourite MD. He was a specialist in this field and he continued to compose SWRP songs in the 60s when composing such songs went out of fashion. In fact I rate him second only to Naushad in this category. In the number of songs he was perhaps number one. You correctly said that it is difficult to find long recital songs, but not in the case of Ravi. One I posted and there are two more from him. One is from Ye Raste Hain Pyar Ke itself. Rooh khatam ho gayi by Asha. This is great song.
https://www.youtube.com/watch?v=0X9-OY6S__s
Another one is ‘ab jaagna aur jagana hai’ from Badi Didi (1969) by Asha
https://www.youtube.com/watch?v=B6V6uQ3zE38
There is a short recital song ‘sun le pukar’ from Phool Aur Patthar by Asha https://www.youtube.com/watch?v=WGahQSm09c8
Ravi also composed recital of shayari first by Rafi, then by Lata turn by turn in Mehndi. This shows the difference between recital prowess by both of them.
https://www.youtube.com/watch?v=NvajYpQg6gY
Ravi also composed a whole recital song for Lata in the same film which shows her class. ‘Pyar ki duniya lutegi’
https://www.youtube.com/watch?v=r57mj8zTjDI
These are pure recitals so are not SWRP. But they show Ravi’s great ability in composing such songs. He has three more SWRPs in Mehndi. One of them is unique, in the sense that it has two versions, one by Hemant and one by Hemant/Lata and both has different recitals. This song ‘bedard zamana tera dushman hai to kya hai’ was used by Vaishnavji in his series of multiple version songs.
Some of the other great SWRP songs of Ravi I list below, without giving links.
1. maike se aaja biwi – devar bhabhi – 1958- rafi
2. bhala karne wale – ghar sansar – 1958 – rafi
3. chal mere ghode tik-3 – chirag kahan roshni kahan – lata
4. mili khak men muhabbat – chaudhvin ka chand – rafi
5. bhagwan ik kasoor ki – gehra daag – rafi
6.raat chup hai chandni – ustadon ke ustad – asha
7. kya yunhi rooth ke jane ko – door ki awaaz – rafi
8. badi der bhayi nandlala – khandan – rafi (this song has a sanskrit recital before the song by Telugu great Ghantasala. Another example of Sanskrit recital is Jahan Daal Daal Par which was composed by Hans Raj Behl)
9. ajab teri karigari re – dus lakh – rafi, asha
10. garibon ki suno – dus lakh – rafi, asha
11. aulad walo phoolo phalo – ek phool do mali – rafi, asha
12. sajan tori preet raat bhar ki – sagai – asha
13. nari jeevan jhoole ki tarah – aurat – lata
14.ae jane chaman – anmol moti – m. kapoor
15.mere dost tujhe tera meet – dhadkan – rafi
16. aaj mere yaar ki shadi hai – aadmi sadak ka – rafi
17. beete hue lamhon ki kasak – nikaah – m. kapoor
These are all famous songs. There are a number of other high quality SWRP songs.
A moving documentary of the legend
The Melody Continues
https://www.youtube.com/watch?v=Nf5sMNfyu_A
AK,
Bhatiaji and Hans have added number of Ravi SWRP I will add his mentor Hemanta Kumar’s from Laten Geeta Dutt Hemant Kumar beautiful rare duet
Maine tujhe pukar tub hi mujhe pukar.
https://www.youtube.com/watch?v=23pO7r8vOvQ
the recitals !? and the songs!? :
https://www.youtube.com/watch?v=mLGCAGHNTJU
(…jaane kya tune kahi…/pyaasa/1959/geeta dutt/sahir/sdb…)
-phir na keeje meri gustakh nigahi ka gila… https://www.youtube.com/watch?v=rau5gPhmYwE
(phir subah hogi/1958/mukesh+AB/sahir/khayyam)
-main jab bhi akeli hoti hoon/beete din yaad dilate ho…
https://www.youtube.com/watch?v=mxLpV4Bk_mU
(dharmaputra/1961/AB/sahir/n dutta)
comment #156
corrigendum:
in the 4th line for 1959 ,pl., read 1957.
comment # 177
in the 1st line,pl.,read 176 for 156.
( aur nahin bas aur nahin…!!!!….)
Hans’ji ;
Hats off to you for the various SWRP and full recital songs [ 25 + ] which has made Ravi’s list a good match with the one’s with other MDs . Ravi had this passion of introducing recitals before the main song to create the desired impact . I am bowled over by Mehndi ‘s songs . The full recital ….Pyar ki duniya lutegi …….is simply superb and is a class of its own stream . It has repeatetive quality that one would like to listen again and again . Thanks for the uploads and the listing of the songs .
Mumbaikar8 ;
The Geeta dutt , Hemant duet is very soft rendering and beautiful melody . I wish to invite your kind attention to another beautiful full recital duet by Asha and Rafi from Kaajal , which you had introduced to us [ and Arvinder sharmaji ] in some other spot . It goes like…..Mehfil maein teri……
https://www.youtube.com/watch?v=5B_mKIJyRW0
I think this song fully fits the Hans ji ‘s bill for full recital song .
AK , arvind , Hansji [s] ;
Here are songs which have recital before each stanza of the song . Hans ji this could be a song with ” multi windows ” and could be termed same as such .
1. Aye jaan e jigar dil mein saamane aa ja ……….Mukesh……Aaram…….Anil Biswas .
https://www.youtube.com/watch?v=cLlrUZN46DY
2. Yun to aapas mein ……..Rafi, Lataji……Andaz…..Naushad
https://www.youtube.com/watch?v=PYnRgDwTqcM
Bhatiaji,
Thanks for the appreciation. You are right about the Lata recital song which is one of her greatest songs, but is hardly remembered by her fans. This shows another aspect of her singing. Singing in very slow tune is perhaps the most difficult. Rafi has been associated with a number of such songs and he is a specialist of slow songs. In fact he could sing the slowest as well as fastest tunes with ease. Every MD looked to him for such songs. There is a quartet song in Haqueekat ‘hoke majboor mujhe’ which everybody knows. It is also known that it was also picturised on Bhupendra in the film. But very few may have noticed that in that song Rafi playbacked for Bhupendra in the starting part of the song. The song starts with a slow recital of the mukhda which is picturised on Bhupendra. But Madan Mohan knew that only the master would be able to give it a special effect which one needed for the start of the song. Similarly, in Saranga the song ‘saranga teri yaad men’ was sung by Mukesh. But, when it came to sing the four lines in recital form Rafi was remembered. Saranga also has a great Lata-Rafi SWRP ‘piya kaise miloon tumse’ in which both Lata and Rafi sing alaap before the actual song.
Regarding Ravi’s SWRP you are right he had a penchant for such songs and there are number of such songs. A few of his songs are not even available. I have only mentioned the most famous hits. There are a lot of others. Hemant sang two in Prabhu ki Maya ‘gange tumhin uddhar karo’ and ‘moh ka parda kala’. Of these the first one is a long recital song. Here are the links
https://www.youtube.com/watch?v=0nFYdWoQGRE
https://www.youtube.com/watch?v=ksszNSpFn-U
Regarding your other post about songs with recital in every para, there are a number of such songs in the 40s and 50s. AK talked about Suraiya specialization in such songs in his write-up on Suraiya-Naushad.
Mumbaikar8,
Ravi’s Guru’s best SWRPs are perhaps ‘hum laye hain toofan se’ and ‘tere dwar khad ek jogi’ (this starts with kashi dekhi mathura dekhi). But, here is the true case of Chela surpassing his Guru.
Arvind,
I had forgotten that ‘jane kya toone kahi’ has a recital before the song. Thanks for reminding. But, their does not appear to be any recital in the other two songs you mentioned.
Bhatiaji, Mumbaikar8,
Some more SWRP gems from Ravi
1. Bacha le ae maula ae ram (satire on bribery from Sahir) – Aadmi aur Insan – Rafi
https://www.youtube.com/watch?v=K8EKcvMdvmw
2. Hum bhi kash kanware hote – Wanted (1961) – Rafi
https://www.youtube.com/watch?v=H7YJAlPFLl0
3. Ae mere dost ae mere humdum – Meherban – Rafi
https://www.youtube.com/watch?v=pDWv70UBmxc
4. Tumne ankhon se pi ho to – Nartaki – Asha
https://www.youtube.com/watch?v=q2VBc8DfC8M
5. Dil ki kahani rang layi hai – Chaudhvin ka Chand – Asha
https://www.youtube.com/watch?v=G1n4sHpk83s
Stretching the subject under threadbare analysis – SWRP like rubber, I present another song by the master singer Mohammad Rafi. Starts the song with a mukda and during the run of the song, slow recitations are also embedded. It is from film Jalte Deep (1950). Music Director –
Sardul Khwatra and Lyrist M A Taj. (no live video). With my limited understanding, better to term it as misunderstanding, the song seems to describe the confusion of a village rustic about his experience at the sight of mechanical transports in the town.
Museebat Itni
https://youtu.be/1USBhtlBV3w
Thanks a lot to Hans, Bhatiaji and all the readers for adding so many SWRP songs of different composers, many of which are unknown, and surprised us. The crux is selecting the best of each.
Hans,
You are attributing Tere dwar khada ek jogi and Hum laayein hain toofan se to Ravi. I am somewhat confused unless I am misreading you.
AK,
I wrote ‘Ravi’s Guru’s best SWRPs are ……’. This should mean Hemant Kumar and not Ravi.
AK ji ;
My long time fav. recital by Mohd Rafi appears before the song ….Nasseb dar pe tere [ Deedar ]…..from 45:20 to 46:00 of the link pasted below . The gap between the recital and song carries conversation between Nargis and Ashok kumar .
The recital goes like …… Pyar bana bachpan ka sapna , Preetam bane kahani , jwala banke tan man phooke , bas ek yaad suhaani ……..Rafi…..Deedar………Naushad.
https://www.youtube.com/watch?v=UoLyjiFmTKU
The link to this recital is not available separately.
…….in continuation.
For full recital and song , paste herewith is the full link
https://www.youtube.com/watch?v=UoLyjiFmTKU
Bhatiaji,
here is the link for the recital, the dialogues and the song ‘naseeb dar pe tere’. But, this may not be considered SWRP, as the continuity is broken.
https://www.youtube.com/watch?v=1lzRpl1h2C8
Continuing the post I post a very lovely duet – Lata Mangeshkar and Talat Mahmood under SWRP category. It is Lata Mangeshkar starting the show.
Film : Sangdil M.D. Sajjad Hussain (another MD who deserves a post here)
https://youtu.be/hmE7UMdFNkU?list=RDF-q-_6tbcR0
Hans’ji ,
Thanks for posting the full song of deedar . I knew It will fall short of SWRP requirements . It was only remembrence of the recital that I wished to share .
D P Rangan ji;
Thanks . You have posted one of my fav. song from Sangdil . Yes ,Sajjad hussain’s post is long due.
Hans,
I saw that again. I had obviously misread it as I suspected.
A fresh addition to the SWRP category –
Rafi and Lata duet from Rani Roopmathi- M D S N Tripathi
It is based on a classic raga I do not know. Very brief beginning by Rafi. Had to wait for quite some time to listen. Coming back to India after a long absence, I encountered the usual phenomenon of an electron revolving round an invisible nucleus and allowing for song unfolding at its sweet time. Have to live with it now for some time.
Janan janan bhaje payaliyaam
https://youtu.be/nBm40YebuO8?list=PL0N5Xw9ii8-_hCKJCfnGNEmb4jq0cHJbw
Brindabani Sarang
The Lata solo Aaja Aja Bhanwar Sooni Dagar from Rani Roopmati too is a SWRP
And it is also in Brindaavani Saarang! And what a coincidence … in that only yesterday, I had received this rendition of the Marathi ‘Hari mhanaa’ by Bharat Balvalli on a WhatsApp group – I was listening to it for the first time – and I could not help thinking that the tune of the asthaayi resembled the tune of the asthaayi of ‘Aaja, aaja bhanwar’. Here are the links to both songs:
Hari mhanaa: https://www.youtube.com/watch?v=yBnWDM5GKhI
Aaja, aaja bhanwar: https://www.youtube.com/watch?v=s2hHo_hjYrI
BTW, in both Brindaavani Saarang songs from the movie, Nirupa Roy’s expressions, facial movements, and arm movements are very natural – you can hardly tell that she is lip-syncing. As for Bharat Bhushan, the less said about his acting skills, the better.
AK’ji ;
Two SWRP songs from N Dutta ;
1. Daman mein daag lagaa bahthe……Rafi ….Dhool ka phool .
https://www.youtube.com/watch?v=sVXifKDFatU
2. Main tumehein se poochtee hun…..Rafi, lata….Black cat
https://www.youtube.com/watch?v=sLJsynok8ko
There is one more song from Dhool ka phool which has recital in the middle of the song . The song is by Asha and Mohindra kapoor .
Jhukti ghata gaati hawa……
https://www.youtube.com/watch?v=UlgA9t6pfwg
I think the main concept which brought up this post from AK has got derailed or to put it more suavely shunted off to a siding where it looks to remain in limbo. The blog is becoming SWRP biased and this can be added as a new theme. Bringing out more SWRP songs is an overkill and is blase or jaded. It is like our number system from 0 to infinity. One can constantly stumble on it. It is not discernable readily unless one hears any new You Tube song discovered. I have come across more than 20 such songs but decided against adding to the clutter. I do appreciate the idea of crossing the 200 mark of comments and keeping the blog in a wakeful state. I do not mean any offence to anybody or stump the enthusiasm of fellow commentators.
DP Rangan,
Most new ideas have come from such forays into unrelated areas. We must thank all the readers who have taken us to new frontiers in SWRP.
Great voice which has enriched our lives for many decades. She is indeed someone “very special” & very dear to us. LONG LIVE THE QUEEN!
LATA MANGESHKER. Great voice which has enriched our lives for many decades. She is indeed someone “very special” & very dear to us. LONG LIVE THE QUEEN!