A tribute to Mukesh on his death anniversary August 27, and a tribute to the music duo
In the surfeit of TV programmes associated with Centenary Celebrations of Indian Cinema last year, I closely followed the ones on film music. There was one presented by a young lady on Kalyanji-Anandji. After a quick reference to their early career in the 60s, she went in detail about their ‘music’. Her conclusion at the end of the half- an-hour programme was that KA were famous for their songs by Kishore Kumar for Amitabh Bachchan. This struck me as quite odd, as one singer I associated most prominently with the duo was Mukesh. For Mukesh too, if I make a list of his ‘quintessential’ songs, several KA songs would figure at the top. With about 100 songs they composed for him, they must be very close to SJ, if not outnumber them. This is remarkable, considering that Shankar Jaikishan, arguably the most successful composers in the history of film music, who had debuted a decade earlier, had made Mukesh a part of RK camp as the voice of Raj Kapoor. With such a handicap, it is to the credit of the genius of KA and their special bonding with Mukesh that they were able to create a special niche with his songs, no less in quality to SJ’s.
Even more remarkable story is the way KA transformed and reinvented themselves in the post-Aradhana (1969) era to be known for their Kishore Kumar songs for Amitabh Bachchan (and Rajesh Khanna and Dev Anand and Firoz Khan and every major hero). From Tumhein zindagi ke ujaale mubarak to Khaike paan Banaraswala is a transformation unparalleled in the history of film music. No wonder they were among the top three, along with RD Burman and Laxmikant-Pyarelal, in the post-Aradhana era, while SJ floundered in negotiating this change.
Kalyanji was born on June 30, 1928 to Virji Shah, a businessman from Kuchh (Gujarat), who moved to Girgaum (Mumbai) and ran a kirana shop there. His brother Anandji was born in 1933. The brothers were fond of music from childhood, and they learnt from a music teacher, who was not able to pay the bills for the provision store of their father. Kalyanji could play many instruments proficiently and set up an orchestra group called ‘Kalyanji Virji & Party’, which earned some name in the neighbourhood for its shows. Soon he became assistant to Hemant Kumar and got enormous recognition for creating the been music of Man dole tera tan dole (Nagin, 1954) on an electronic instrument clavioline (predecessor of modern synthesiser).
(Note: Shyamanuja has written an interesting article on who created the classic been music in Man dole mera tan dole, which gives some new insights.)
Kalyanji (Virji Shah) got break as independent music director with Samrat Chandragupta (1958). He did some more films solo, such as Post Box 999 (1958), Bedard Zamana Kya Jaane, Ghar Ghar Ki Baat, O Tera Kya Kahna (1959), before his brother joined to make Kalyanji-Anadji duo. Kalyanji gave some great music solo too; with the brother joining him they immediately set on gallop with Madaari and Satta Baazar (1959). They followed it up next year with enormous success of Chaalia (1960), starring Raj Kapoor, with some iconic Mukesh songs. Their Mukesh niche was evident again in Dil Bhi Tera Hum Bhi Tere the same year with the song Mujhko is raat ki tanhaai mein aawaaz na do. Every year after that you would have some landmark songs of Mukesh, composed by Kalyanji-Anandji.
Though this is the first independent post on KA, a good number of their Mukesh songs have already appeared on this blog in different posts. Their songs like Mere toote huye dil se koi to aaj ye poochhe, Jis dil mein basa tha pyar tera, Dam dam diga diga, Thumak thumak mat chalo kisi ka dil machalega, Chal mere dil lahraa ke chal, Tujhe chaand kahun ya phool kahun (duet with Lata Mangeshkar), Ankhiyon ka noor hai tu (duet with Suman Kalyanpur) have appeared in Mukesh and his romance with ‘Dil”, Mukesh’s best happy duets and Mukesh’s happy solos. But there are many real gems still left out.
KA continued to give superhit music till the end of heir career, such as in Tridev (1989). Their long-in-making film Ulfat Ki Nai Manzilein was released in 1994. After the death of Kalyanji on August 24, 2000, Anandji brought out some albums on non-film music, and remained in limelight on TV music shows.
Mukesh and Kalyanji-Anandji were made for each other in many other ways. Mukesh was known as a nice man in the industry, so were KA. Mukesh passed away on August 27, 1976 at Detroit of a massive heart attack, where he had gone for a concert. Kalyanji’s death anniversary falls three days before Mukesh’s. The two great souls in heaven must be feeling content that they have created some everlasting music. Let me present ten of Mukesh’s quintessential songs composed by Kalyanji Anandji, as a tribute to the singer on his 38th death anniversary, as well as a tribute to the composer duo.
1. Tumhein zindagi ke ujaale mubaarak from Poornima (1965), lyrics Gulzaar
Once I and Subodh were discussing on email the high impact of singers like Mukesh, Talat Mahmood and Hemant Kumar, disproportionate to the number of their songs, compared to Rafi. He made the point that these singers had their defined niche where they reigned supreme. Rafi suffered in comparison, because he did everything, and it was difficult to pinpoint his niche. When I think of that discussion, Tumhein zindagi ke ujaale mubarak comes at the top of my recall as Mukesh’s special niche where he reigned supreme. A song with amazing voice modulation and inflexion, and superb music by KA, it is one of the best examples of quintessential Mukesh. KA also created a faster Mukesh song, Gori nain tunmhaare kya kahne, and an extremely melodious Mukesh-Lata duet, Humsafar mere humsafar panh tum parwaaz hum in the film.
2. Hum chhod chale hain mehfil ko from Jee Chaahta hai (1964), lyrics Hasrat Jaipuri
Another perennial Mukesh favourite. He had created a special niche for songs of despair and dejection. This was the only Mukesh song in the film against three Rafi solos and three Rafi-Suman Kalyanpur duets, no mean songs themselves (Kya kahne masha-allah nazar teer aapki, Ae jaan-e-tamanna ae meri jaan-e-jaana, Meri zindagi tere pyar mein hum kahan kahan se guzar gaye etc.), but this is a perfect example of the ‘niche’ effect Subodh and I discussed.
3. Chaand si mehbooba ho meri kab from Himalay Ki Gode Mein (1965), lyrics Anand Bakhshi
Now this is not a sad song, but a spontaneous expression of love by Manoj Kumar for the innocent pahaadi girl, Mala Sinha. This is one of his enormously popular songs. The film was a big KA success with another Mukesh song Main to ik khwaab hun, and several other gems in the voice of Lata Mangeshkar and others.
4. Pyaase panchhi neel gagan mein geet khushi ke gaayein from Pyaase Panchhi (1961), lyrics Qamar Jalalabadi
After the first three songs which were in order of preference, now I present his songs in a chronological order. His happy songs were also soulful. So what if it is sung by Mehmood on the screen.
5. Chaand aahein bharega phool dil thaam lenge from Phool Bane Angaare (1963), lyrics Anand Bakhshi
There are very good video links available, but their audio quality is poor. Therefore, I am giving below an audio version, which is still somewhat deficient.
6. Humne tujhko pyaar kiya hai jitna from Dulha Dulhan (1964), lyrics Indivar
This being a Raj Kapoor starrer, it had a number of Mukesh sols and his duets with Lata Mangeshkar. I find Humne tumko pyaar kiya hai jitna to be the best. It has a Lata version too, but one song is far ahead in popularity, and no prizes for guessing it is Mukesh’s.
7. Deewanon se ye mat poochho from Upkaar (1967), lyrics Qamar Jalalabadi
A landmark film for Manoj Kumar, which made him Bhaarat, the patriotic Indian, and a major producer. Among many landmark songs in different voices, this Mukesh song too occupies an important place in the minds of his fans.
8. Humne apna sab kuchh khoya pyaar tera paane ko from Saraswatichandra (1968), lyrics Indivar
The enormously popular Mukesh song from this movie was Chandan sa badan (which had a twin version by Lata too), but it has been repeated so many times that some people are put off by it. Therefore, I am presenting Humne apna sab kuchh khoya, a less known, but more typical of a Mukesh song (this film also had an outstanding Mukesh-Lata duet, Phool tumhein bheja hai kat mein).
9. Khush raho har khushi hai tumhare liye from Suhaagraat (1968), lyrics Indivar
This is the niche where Mukesh reigned supreme.
10. Koi jab tumhara hriday tod de from Poorab Aur Pashchim (1970), lyrics Indivar
Bhaarat that is India, in the West, uses the voice of Mahendra Kapoor when he has to do some major preaching to the decadent Westerners (Bhaarat ka rahnewala hun Bhaarat ke geet sunata hun). But for soulful romantic song, he comes back to Mukesh.
Acknowledgement: Pankaj Raag’s Dhunon Ki Yaatra and several internet sites.
{ 76 comments… read them below or add one }
Nice post.Based on individual’s likes and dislikes,songs selected may be different for others.My choice would have been Vishwas and Maryada songs too.
AK ji,
Many Thanks. Your choices for Top 10 are quite obvious. However, I too agree with Rakesh ji for the Vishwas number.
I think Mukesh’s association with KA was in fact more than that for SJ in terms of number of films and even songs. Will get into details later.
I am sure the comments section will come up with more additions by knowledgeable readers. Not 10, but even 20 or 30 songs will not be enough for this great combo.
Humble tributes to the composer and the great singer on their respective death anniversaries.
enjoyed the post.thanks ,AK.
yet another shade .the honking…the echo….the birds… .from the movie SAFAR (1970)….JO TUM KO HO PASAND…
http://youtu.be/s3CLZZM3BRk
Rakesh, Mahesh
Thanks for your appreciation. I too like the Vishwas and Maryada songs a lot. But, the problem is of fitting in ten. I could not remove any from my list.
KJ must be very close, if not surpassing SJ in their Mukesh songs. But more than numbers, they are equally good.
Arvind,
Thanks a lot for your appreciation and Safar song.
Welcome back to SoY. Hope, we get to hear more from you now.
AK,
Good collection of KA and Mukesh combo.
My tribute to the greats Mukesh and Kalyangi.
I think that Mukesh and KA was like Kishore and SDB, something more than professional relationship, and it was obvious in their work.
My favourite of this combination is from Holi aayi Re:meri tamanna ki taqdeer tum sanwar do.
https://www.youtube.com/watch?v=WIZRexTPjJ8&feature=player_detailpage
AK Ji,
Excellent work once again.
The hallmark of Kalyanji Anandji and Mukesh combine was simple and soulful music, which endeared Mukesh even to those,who were non serious music listeners, and they were not confined to Hindi speaking population.
Mukesh owed his position as the no.2 male singer of HFM (no.1 being Rafi without doubt) after Talat’s decline, to the preference given to him by SJ, Roshan and KA, and till his demise, remained the mainstay singer of HFM.
SJ and Roshan, need to be taken care of by SoY in the context of Mukesh, as and when you please.
Mumbaikar8,
Meri tamannaon ki taqdeer tum sanwaar do has the typical sweet melody of Kalyanji Anandji. But I get the feeling 1970 was a turning point, when Mukesh’s voice started sounding a bit thicker. Sometime later this started happening to Lata Mangeshkar too.
Thanks for your appreciation.
Sharmaji,
Thanks for your appreciation. I entirely agree with you, when one thinks of Mukesh the names that come to mind are SJ, Roshan and KA (don’t forget Naushad, a great composer with a small number of songs). In my Mukesh’s romance with ‘Dil’, you might recall Roshan figured very prominently. There are other great Roshan-Mukesh songs, some we have seen in 1951 review (Malhaar). If there are still be a good number left, they should figure some time on SoY. I plan to do SJ in a major way befitting their status, but not any time soon.
Ashok Da. Ranade’s book Hindi Film Song mentions that Mukesh sang 57 films for KA and 45 each for SJ and LP.
However , I feel the actual number of songs may be higher in case of SJ as RK films usually had more Mukesh numbers.
Mukesh with Music Directors (No of Songs):
Shankar-Jaikishan—–133
Kalyanji-Anandji—–99
Laxmikant-Pyarelal—–74
Roshan—–37
Chitragupta—–31
Snehal Bhatkar—–26
Usha Khanna—–26
Anil Biswas—–25
Naushad—–23
Salil Chowdhury—–22
R D Burman—–20
Khayyam—–19
S N Tripathi—–19
Ravi—–18
Hansraj Behl—–17
Bulo C Rani—–15
Dattaram—–15
Sonik-Omi—–15
S D Burman—–14
Madan Mohan—–9
Sardar Malik—–9
Ghulam Mohammed—–8
Jaidev—–8
Iqbal Qureshi—–7
Sapan-Jagmohan—–7
Shaukat Dehlvi Nashad—–7
N Dutta—–6
Khemchand Prakash—–5
O P Nayyar—–5
Ravindra Jain—–5
Hemant Kumar—–4
Husnlal-Bhagatram—–4
C Ramchandra—–3
Rajesh Roshan—–3
Kalyanji Veerji Shah—–2
*Only selected music directors listed
*Non-Film/Non-Hindi songs not considered
It had to happen one day AK. I confess I am unable to relate to these songs. Mukesh is my favourite singer, but by the time KjAj happened on the scene, his voice had lost its original appeal. I am afraid half of this list will make it to my ‘least favourite Mukesh songs!’ Chhalia was probably the last film in which this combination gave some songs to my liking. A couple of others that I recall are ‘Chandan sa badan’ and the duet ‘Humsafar mere humsafar.’
All this does not take away from the historic value of this post. I do hope, however, that you have no plans of doing a post on Mukesh-LP combo!
MuVyz,
A Mukesh site gives much larger number of KA songs. Hope your sources are authentic.
Subodh,
I don’t believe you. I understood your reasons for being fed up with Ansoo bhari hain wo jeevan ki raahein (because you liked the song obsessively for some time). But, Tumhein zindagi ke ujaale mubaaarak, Chand si mehbooba? I hope you are not retaliating for my views on Geeta Dutt.
I have no plans to do LP-Mukesh. But I might do it to settle scores with you. 🙂
AK Ji,
Information provided above is very accurate and co-relates to above mentioned comment that Ashok Ranade’s book lists 57 movies for Mukesh and KA. We have 60 movies for 99 songs and it contains unreleased movies which are not listed in many references hence resulting in a difference of 2-3 movies.
Regards.
Akji,
A delightful package on KA-Mukesh songs. I have earlier expressed my liking for Mukesh’s songs especially his pre 70 songs. Your post covers some of the songs rendered by Mukesh during this period. There was a period when I used to listen to only Mukesh songs. The songs Hum chhod chale hain mehfil ko, Chaand si mehbooba ho meri kab, Chaand aahein bharega phool dil thaam lenge , Deewanon se ye mat poochho were few my favourites among the songs presented here. Thanks for the post and songs.
Sharmaji you are right. Mukesh songs were simple and soulful and even to the non Hindi speaking listeners were enamoured by his songs. I am one among them.
I believe Mukesh sang for 57 Hindi films for Kalyanji-Anandji and for 45 Hindi films each for SJ and LP. Besides these 57 films he also sang for 2 more films, Bedard Zamana kya jane (1959) and Ghar Ghar ki Baat (1959), for Kalyanji Virji Shah. He also sang for the Gujarati Film, Akhanda Saubhagyavati (1964) under KA baton.
Mukesh sang more number of songs for SJ than KA, as rightly mentioned by Mahesh Ji and MuVyz ji.
As far as I know, Mukesh sang 88 HF songs (54 solos, 28 MF duets, 4 MM duets and others 2) for KA (57 HF). To this if you add the 2 HF songs (1 solo, 1 MF duet), he had rendered under the baton of Kalyanji Virji Shah the total number adds upto 90. Beside he had rendered 3 songs (1 solo, 2 duets) for the Gujarati film, Akhanda Saubhagyavati (1964). Besides there are 2 more NF songs that Mukesh had sung for KA. Thus I am aware of 95 songs in all. MuVyz ji says it is 99. Is it 99 Hindi film songs? Not a very significant difference. Well, I might have missed a few. Anyway, I will have to search for those songs and update my figures.
N Venkataraman Ji,
its 99 songs in 60 movies. These includes only hindi movies, no NFS or non-hindi. These also doesnt include 2 solo movies of Kalyanji. There would be a small difference of few songs cause sometimes some songs have a sad version etc which doesnt get included in many lists. Also not sure if u have information for all unreleased movies, such as Bahadur Mera Naam, Nirlaj, Sweetheart, etc. If u provide with ur email id, will send u the list I have.
Regards.
MuVyz Ji,
Thanks for the prompt reply.
If I exclude the two solo movies of Kalyanji, the figure comes to 88 songs in 57 films, a difference of 11 songs and 3 movies. Can the difference be only on account of non inclusion of sad/happy versions? If I remember right, my list includes the four unreleased films, Nirlaj, Bahadur jiska naam, Sweet Heart and Chor mandali. I do not have the list in hand. I will get back to you after I reach home. BTW my figures are based on Harish Raghuwanshi Ji’s book on Mukesh.
Akji,
I was listening to the songs presented by you again and the songs presented in the comments section. Tumhein zindagi ke ujaale mubaarak and Pyaase panchhi neel gagan mein grows on you after a while. I am listening to the song Humne apna sab kuchh khoya after a long time. Only after I started listening, I remembered this song. Songs #6, #9 and #10 are typical Mukesh songs loved by his fans.
Meri tamannao ki taqdeer tum sawar do, Pyasi hai zindagi or muje pyar do…. Another delightful number, Thanks Mumbaikar8 Ji.
Mujhko is raat ki tanhaai mein aawaaz na do and Jo Tumko Ho Pasand, mentioned by you and others, are also to my liking.
Thanks for the interesting information on Man dole tera tan dole. I was not aware of it. If you listen to the songs from Madari (1959), you will find KA had reused similar Been tune (Nagin 1954) for the songs of this film. Did KA reuse his own creation or was the original tune created Lucilla Pacheco and modified by Ravi will remain a million dollar question.
Your passion for the subject comes through in the post, AK, but other than Hum chhod chale hain mehfil ko none of the other songs would make my list of favourite Mukesh numbers. In fact, Koi jab tumhara hriday tod de always wants to make me shoot myself. (Of course, that has less to do with Mukesh or KA, and more to do with ‘Bharat’ and the lyrics.)
The one Mukesh-KA song that I absolutely love is Mere toote hue dil se from Chhalia.
https://www.youtube.com/watch?v=u_RevIlDtMk
In fact, I also like Meri jaan kuch bhi keejiye and Dum dum diga diga from the same film.
And this one, though it is another one of those whiny-Hindi-film-hero songs, is rather nice.
https://www.youtube.com/watch?v=h_OGfkAUDxk
Apropos # 18 above. Meri Jaan Kuchh… is a duet with Lata.Probably we are discussing only solos here.
AK….A great list of songs. KA and Mukesh combination produced many songs that are popular and evergreen even today. An interesting anecdote – Kalyanji-Anandji used to request lyricists to add more words that stressed the ‘M’ and ‘N’ sounds in the lyrics to make the best use of the resonance in Mukesh’s voice. Kalyanji-Anandji were known for creating ‘simple melodies’ that accentuated the lyrics and the emotions in the songs. This is the reason why the clear diction and emotions in Mukesh’s voice proved to be perfect complement to KA. Another interesting anecdote is about the song Koi jab tumhara hriday from Purab aur Paschim. Anandji went on record to say that they recorded this song multiple times, because they used only a few instruments and were not sure whether the recording will be clear with a few instruments. The final released version of course is crystal clear and memorable because of the ‘few instruments’. Some people may not like Manoj Kumar and his mannerisms, but that cannot take away anything from the song. You can also review my post on KA and Mukesh at https://rsbaab.wordpress.com/2013/06/22/kalyanji-anandjis-gems-with-mukesh/.
I also concur with your view that KA are not only about Kishore Kumar, Amitabh Bachchan and their hits. In fact, KA produced superb melodies in late 50s and 60s. You can also read about the significance of their music and their unique contribution to the Hindi film industry at http://rsbaab.wordpress.com. The post is called KA, the immortal duo. I called them immortal not because of their songs but because of this unique contribution to the film industry.
N Venkataraman ji:
This is about the comment on the been sound in Man dole tera tan dole. All the articles I have read clearly credited Kalyanji with playing the been tune on clayvioline (an electronic instrument used for the first time in India) in 1954. In fact, Gregory Booth in his book, Behind the Curtain, Making music in Mumbai refers to Kalyanji, clayvioline and the been tune several times. This book was based on oral interviews with musicians. There are others as well who have said that Kalyanji played the been tune on the Clayvioline for Nagin.
There is one item where surprisingly, Music director Ravi mentions Lucila Pacheco in some context when the interviewer asked him about the Nagin been tune. Lucila was a pianist. I am not sure why her name cropped up in Ravi’s interview.
KA also used the the been sound to great effect in Madari in the duet Dil todne wale jadugar.
Akji..Great post. Great combination. Unforgettable melodies. No. 1 song in ur list is really appropriate at that place. The pair have produced sometimes the same flavor of golden era in even late 1970’s too like…’Chahe aaj mujhe na pasand karo, chahe dwar hriday ke band karo, aakhir me tumhe mera hi hona hoga…’
Shukriya
Venkataramanji,
Thanks a lot for your appreciation. As for total number of KA-Mukesh songs, the general pattern is quite clear, SJ did more than them, but their importance lies in that they were no less in quality.
On the been (clavioline)-Kalyanji-Ravi-Lucila Pacheco, we have now a fellow blogger Ravi (RSBAAB)’s comments above. I am coming to the conclusion that for every popular story there is a counter story.
Anu,
When a Mukesh fan like Subodh can become an apostate, I can’t argue with you. But, frankly, before I started blogging I could not believe that there would be anyone who would not be mesmerised by Tumhein zindagi ke ujaale mubaarak. I entirely agree with you on that ‘Bharat’ guy. But the songs I mentioned were really good.
I find Waqt karta jo wafa is everyone’s favourite. Somehow, I could not relate to this song.
Thanks a lot for your very positive comment (comparatively!).
Ravi,
Thanks a lot for your appreciation. I read both your articles. Interesting anecdotes on ‘M’ and ‘N’. I find some common songs in our list, but it seems you too are not a great fan of Tumhein zindagi ke ujaale mubaarak.
Your second post on KA was more on their post-70s work. Therefore, we find a lot of Kishore Kumar the TV anchor was talking about. If I leave Mukesh, my KA list still be mostly pre-70s songs.
Jignesh,
Thanks a lot for your appreciation. You are a true Mukesh fan.
Why couldn’t Lucilla Pacheco have come up with the basic melody from which the final modification was made? The harmonium , the clavioline and the piano are all keyboard based instruments. There is no difference in the keying required with the exception that on the piano you provide bass chords with the left hand (you could do this on a clavioline too but the early clavioline did not span eight octaves, it had only three so it did not stretch much into the bass spectrum). And it seems there are two instruments providing the sound during the song , the harmonium begins the song alone, the tone is very thin till a backing istrument comes along . The end portion played is on the clavioline alone, there is a slight tonal difference it seems electrical.
SSW,
Since Ravi and Kalyanji were both assistants to Hemant Kumar, and Ravi gave the new story, the confusion has arisen. If we harmonise the two stories, Ravi composed the tune on the harmonium based on the basic melody of Lucilla Pacheco, which was played by Kalyanji on the clavioline in the film. Kalyanji still gets a large art of the credit.
You’re not answering my question AK. I wanted to know why Lucilla Pacheco could not compose this particular piece because she was a pianist. I get that Kalyanji played the clavioline in this song. To me the story is oft quoted because this was probably the first time a clavioline had been used in Hindi film music to imitate a snake charmer’s instrument rather than the music’s instrinsic value, and possibly the fact that Kalyanji became a well known MD later.
SSW,
Exactly. There is no reason why she could not. Unless there is a musical reason in the nature of the instruments, which you can explain. But on whether she did it, we now have rebuttal too, which is more in the nature of absence of evidence rather than evidence of absence. That is why I made the point of counter story to every popular story.
You might recall the very heated rebuttal to the popular story regarding Aaradhana that SDB fell ill after recording two Rafi duets, when RDB took over and recorded the remaining songs in the voice of his buddy KK, which changed the course of film music.
Thanks AK for going through my list of Mukesh gems for KA. Yes, we have a lot of songs in common. I do like Tumhein zindagi ke ujale. I could not include it because I restricted myself to 12 songs. There are other Mukesh songs that I like as well but I did not include in my list of 12 songs (like Waqt karta jo wafaa with crystal clear singing or Chandi si mehbooba ho with its lovely orchestration)
AK , I missed the rebuttal , is there someone saying she did not generate the core phrase for the music? I see in Spotify (a music service that I listen to) that the credit for “Man Dole mera Tan Dole – Been music version” is explicitly given to Ravi/Kalyanji/Lata Mangeshkar as performers (not composers).
Incidentally Booth mentions in his book that musicians agree that the first electric instrument used in HFM was a Univox that was played by Lucilla Pacheco. I found that a little odd as Univox electric pianos were more common in the 1960s and 70s, I had no idea that they were around before 1954.
No more on this though it did make me curious enough to wonder whether our snake charmers now play the been music from Nagin as it seeped into general consciousness or was it their tune in the first place that was adapted?
SSW,
Ravi’s comment #21 seems to rebut Lucilla’s role in Man dole mera tan dole.
Interesting point you have raised about snake charmers, it could very well have been their tune which was adapted.
AK, SSW,
Any idea why Hemant opted for clavioline ,in lieu of the real bean or pungi whatever it is called?
AK
Comment #21 only says the Kalyanji played the tune on the clavioline. . It does not rebut Lucilla’s role nor does it confirm it. I don’t recall anybody mentioning that it was composed by Kalyanji.
mumbaikar8
The clavioline belonged to Kalyanji. He bought it himself according to Booth , he could finance it I suppose because his dad was a successful business man and if you could get a better more textured sound from a combination of a harmonium which is a keyed reed instrument and a clavioline which generates sound through electricity then I suppose Hemanta-da would have preferred to go with it. Authenticity in instrumentation is hardly important in films.
The actual been has a much thinner sound despite the drone provided by the drone flute.
Here is a recording with two beens. You will see how musical our modern snakes have become because of films (or possibly fans of Aamir Khan). 🙂
http://hansonrecords.bandcamp.com/album/sounds-of-the-indian-snake-charmer
I’ve always considered K-A to be rather mediocre music directors and I’m afraid this list of Mukesh songs confirms that view. I have to disagree that K-A and Mukesh were made for each other – Mukesh deserved much better than them! Indeed, no K-A song would make my list of favorite Mukesh songs, and of the 10 mentioned here, the only one I find tolerable is the Dulha Dulhan one. IMHO, while the great MDs like Salil, Roshan, and Anil Biswas brought out the deep pathos in Mukesh’s voice, K-A made him sound morose and whiny. 🙁
Shalini,
Personal taste. Eye-opener for me. May I venture that you may not be terribly fond of Mukesh? Because, in all Mukesh compilations and Mukesh-related programmes, I find these songs prominently.
Shalini:
About your comment #36. Each of us will have our own views and opinions, so I respect your views and opinion about Kalyanji-Anandji. However, it is possible that you may have missed some of their best songs which most people generally appreciate. I have written 6 different posts about Kalyanji-Anandji at http:/rsbaab.wordpress.com. These posts cover different dimensions of their music – magical duets, iconic chorus songs, Lata melodies and so on. A few bloggers who read these posts said that their initial perception of ‘KA being not so great’ changed when they went through these posts. In the post on KA, the immortal duo, I have also highlighted their lasting legacy which goes way beyond their songs. If you are inclined, these posts may offer more insight into their music and contributions.
Of course, my views and opinions may not be the same as others, so I appreciate and will always respect others and their opinions even if they are different from mine.
AK: Please consider these comments of mine as support for this post of yours and not anything else!!!!
MuVyz Ji,
Sorry I could not get back to you earlier. I have revisited my list in the meanwhile and made necessary corrections therein. There is still a difference of 6 songs. Here is my e-mail id venkatssa18@gamil.com. I would be glad if you send me your list. Thank you once again.
The correct e-mail id is venkatssa18@gmail.com
Ravi Ji,
I went through both the posts of yours on Kalyanji- Anandji. Found it quite informative and interesting. Thanks.
I could not respond to your comment (#21) earlier. Yes, you are absolutely right. Kalyan Ji has been credited with playing the ‘Been’ tune on clavioline.
I have Gregory Booth’s book and it refers to clavioline and the “Been” tune several times (pages 246, 247, 248 289 etc.).But nowhere in this book or in other sources, (your comments included), mentions that the “Been” tune was composed/created by Kalyanji.
I believe, your objection is to Lucila’s name being mentioned as the original composer. Lucila was also an adept Saxophone player. There is no need for me to add anything more on this, after SSW Ji’s relevant explanation about this instrument and its comparison with other keyboard based instruments. In conclusion I would like to say this much that it could have been composed by any one of them or all three together. We will never know for sure. All the three of them were good and capable musicians.
I am happy that this discussion brought forth Lucila Pacheco’s name to our knowledge. Otherwise she would have remained unknown.
Thanks Shyamnuja Ji and AK Ji. Thanks to you too.
Let this topic rest for now and let the music of “Been”/Clavioline awaken us!
Jaag re Jaag Musafir, Jaag re Jaag re
Lakhon Chole, tu ne badle, are Lakhon Chole tu ne badle
tab ye jeevan paya hai, phir bhi tu ne jaana na…
Jaag re jaag musafir, film Rangila Ratan (1976), lyrics Gulshan Baawra
https://www.youtube.com/watch?v=gNiHMbbQFzQ
If KA were as mediocre as many seem to believe, they would just not have survived in the late 50 early 60 period.
KA have recorded songs with almost all major playback singers of of the time, and quite a few songs would rank up in the ALL TIME TOPs of the singers.
Since bulk of their work falls in late 60s, by when the standard had come down in any case, their creativity would not have been as much challenged as was the case in 50s. I tend to make this statement on the basis of popularity of their Kishore Kumar songs of the later period.
In any case what we have here is just 10 out of 95 or 99., and most the songs belong to more on the side of ‘popularity’ rather than ‘merit’ as is the case with normal selection handicap adopted on SoY.
So more data is called for before the jury comes to any further conclusion……….
AK’ji, Shalini’ji , Talking of pathos I think one has to listen to ” Jo pyar tune mujh ko diya tha ” from….Dulah Dulahan and ” Hamne tujh ko pyar kiya hai jitna ” from the same film . Of course the other best is “Humne apna sub kuchh chhoda pyar tera pane ko “. These songs cannot be considered any less than the one given by SJ, LP ,RD or even Naushad sahib.
A very good article and also good selection of songs. All the listed songs are my favourites. Many of the other great songs have been mentioned by other friends. One song I would like to mention is ‘aapne yun hi dillagi ki thi’ picturised on Shashi Kapoor in Mehndi Lagi Mere Hath. https://www.youtube.com/watch?v=YAYAiZhzfV8
I agree that KA have a special place when we talk of Mukesh. Their was certainly a special bonding between them which resulted in so many gems being produced. Indeewar was also another angle. When he wrote songs for Mukesh and KA, almost all became gems. KA were the MD pair who were always on the look out for variety and they made brave moves at times. For example they produced three solos on Shammi in Bluff Master with three different singers, and all were superhit. ‘Govinda ala re’ was given to Rafi and it is still used in all dahi-handi processions. The love song ‘socha tha pyar hum na karenge’https://www.youtube.com/watch?v=Q1MU6foXMvw was given to Mukesh and soulful ‘ae dil ab kahin leja’ was given to Hemant. And it goes to the credit of Shammi that none of the songs looks awkword on him. And this they did when Shammi was having such a nice time with Rafi.
They went against the stream when in 1972, they got Mahendra Kapoor to sing all songs for Rajesh Khanna in Maalik. In that film they used Kishore also for one song on Deven Verma. And they did this when others were using KK or Rafi or Mukesh for Khanna. And some people say that Khanna insisted on KK for his playback.
There has been a mention of their quality vis-a-vis SJ. I think they created great songs with Mukesh, but SJ were special. KA might have come close to numbers of SJ but in overall quality they are far behind. Perhaps they also looked up to SJ in that matter. In fact, they produced a parody of the song ‘mera joota hai japani’ and also its music in the film ‘Johar in Kashmir’. The song ‘mera naam hai umarjani’ was picturised on a Pakistani character in that film.
https://www.youtube.com/watch?v=z10Yr3L2r7g
Another song came to my mind when I remembered the song in Johar film. That was ‘dheere re chalo mori banki hiraniya’. A very sweet song in Johar Mehmood in Goa. https://www.youtube.com/watch?v=9BourldT7VU
SSW,
Is the same instrument used in this song?
http://www.youtube.com/watch?v=bg22yG9dV-I&feature=player_detailpage
AKji,
Thanks for another wonderful post. I am commenting after a long time but have been following and enjoying all posts on SoY.
I am a great Mukesh fan. Although I agree that Rafi is the ultimate singer, but for me Mukesh has a greater impact (say in terms of penetration to heart). Also,for me when Mukesh is discussed I think of SJ. I am also a great SJ fan, so I may be biased but I still feel SJ-Mukesh were special as also Mukesh-Lata duets under SJ.
I am delighted to know that you will do a series on SJ, will eagerly wait for that.
On KA, I feel they have done a commendable job and have given us some great songs as listed in this post.
Regards
Siddharth
Hans,
Thanks a lot for your appreciation. Dheere re chalo is also my great favourite. That parody song of Mera Kota hai Japani is very good. Heard it for the first time. Every parody implies a respect to the original creation.
Sidharth,
Welcome back. Thanks a lot for your appreciation.
Mumbaikar, it sounds the same to me and no doubt the success of Nagin would have made it much sought after. There is also a harmonium here. The clavioline could alter its tone by changing the stop settings , and it is no different than playing the harmonium. See this demo
https://www.youtube.com/watch?v=OMApOzzX1Qg
SSW,
Thanks for the clarification and the demonstration, for once I could distinguish the Harmonium in there.
In their career, from 1958 to 1965, Kalyanji-Anandji were recognized for hits with Kapoor brothers (Dulha Dulhan, Chalia, Bluffmaster) apart from hits from other movies. From 1965 to 1975, KA had several quality movies where a number of songs in the movie were of good quality – Suhaag Raat, Saraswati Chandra, Himalay Ki goud main, Vishwas, Jab Jab phool khile, Yaadgar, Upkar, Safar, Geet, Purab aur Paschim, Kora Kagaz are examples. Opinion on whether their music in these movies was ‘very high quality’ may vary, but you cannot dismiss their music in these films as average. Also, they transitioned very well from social, family themes to crime themes from Johny Mera Naam onwards. Along with R D Burman and Laxmikant-Pyarelal, they dominated the 70s. Their music in crime movies may not be ‘quality music’, but it was definitely hugely popular (Zanjeer, Haath Ki safai, Apradh, Dharmatma,Don, MKS, Qurbani and several others).
They should be given credit for scoring music in the 60s and early 70s that was marked by good quality (or at least quality songs that cannot be dismissed as mediocre) and for making the transition to the 70s and 80s easily and riding the new wave without fading away like other stalwarts from the 1950s and 60s. On top of all this, when you have many special numbers with singers like Mukesh, I cannot understand how anyone can consider them mediocre. To me they are definitely underrated.
Ravi,
We can understand if someone says she does not like KA songs. But passing a judgment that they were mediocre requires a technical explanation. I won’t like to call them ‘underrated’, because it has a tinge of sympathy. In the post-70s era, they were among the top three. In the crowded field of the 60s, they created a niche for themselves, especially with Mukesh songs.
Thank you @N Venkataraman Ji for review and feedback. Now we have a very up2date list for Mukesh songs 4 K-A :
1—-1959—-Madari—-Dil Lootnewale Jaadugar
2—-1959—-Madari—-Main Hoon Mast Madari
3—-1959—-Madari—-Main Hoon Mast Madari v2
4—-1960—-Chhalia—-Chhalia Mera Naam
5—-1960—-Chhalia—-Dum Dum Digaa Digaa
6—-1960—-Chhalia—-Mere Toote Hue Dil Se
7—-1960—-Chhalia—-Meri Jaan Kuchh Bhi Kijiye
8—-1960—-Dil Bhi Tera Hum Bhi Tere—-Haan Gunah Kiya Hai
9—-1960—-Dil Bhi Tera Hum Bhi Tere—-Mujhko Is Raat Ki Tanhai Me Awaz Na Do
10—-1960—-Dil Bhi Tera Hum Bhi Tere—-Yeh Vaada Kare Jahan Bhi Rahe
11—-1961—-Pyase Panchhi—-Bada Khushnaseeb Hai Jise Tu Naseeb Hai
12—-1961—-Pyase Panchhi—-Pyaase Panchhi Neel Gagan Mein
13—-1961—-Pyase Panchhi—-Pyase Panchhi Sab Hil Mil Kar
14—-1961—-Pyase Panchhi—-Teri Nigaahon Ne Humein Maar Daala
15—-1962—-Mehndi Lagi Mere Haath—-Aap Se Door Chale Aaye
16—-1962—-Mehndi Lagi Mere Haath—-Aapne Yunhi Dillagi Ki Thi
17—-1962—-Mehndi Lagi Mere Haath—-Teri Wo Chaal Hai Ke Tauba
18—-1963—-Bluff Master—-Socha Tha Pyar Hum Na Karenge
19—-1963—-Kahin Pyaar Na Ho Jaaye—-Thumak Thumak Mat Chalo Kisika Dil Tadpega
20—-1963—-Phool Bane Angarey—-Chaand Aahen Bharega
21—-1963—-Sunehri Nagin—-Tujhe Chaand Kahu Ya Phool Kahu
22—-1964—-Birju Ustad—-Tu Laakhon Mein Hai Ek Sanam
23—-1964—-Dulha Dulhan—-Bane To Ban Jaaye Zamaana Dushman
24—-1964—-Dulha Dulhan—-Hamne Tujhko Pyaar Kiya Hai Jitna
25—-1964—-Dulha Dulhan—-Jo Pyaar Tune Mujhe Ko Diya Tha
26—-1964—-Dulha Dulhan—-Jumme Ki Raat Ho Ya Din Jumme Raat Ka
27—-1964—-Dulha Dulhan—-Mujhe Kehte Hai Kallu Kawaal
28—-1964—-Dulha Dulhan—-Tum Sitam Aur Karo Tuta Nahin Dil
29—-1964—-Ishaara—-Chal Mere Dil Lehra Ke Chal
30—-1964—-Ji Chahta Hai—-Hum Chhod Chale Hain Mehfil Ko
31—-1965—-Himalay Ki Godmein—-Chaand Si Mehbooba Ho Meri Kab
32—-1965—-Himalay Ki Godmein—-Main To Ek Khwab Hoon
33—-1965—-Johar Mehmood in Goa—-Ankhiyon Ka Noor Hai Tu
34—-1965—-Johar Mehmood in Goa—-Dheere Re Chalo Mori Banki Hiraniya
35—-1965—-Johar Mehmood in Goa—-Na Koi Raha Hai
36—-1965—-Purnima—-Gori Nain Tumhare Kya Kahe
37—-1965—-Purnima—-Hamsafar Mere Hamsafar Pankh Tum Parwaaz Ham
38—-1965—-Purnima—-Tumhe Zindagi Ke Ujaale Mubaarak
39—-1965—-Saheli—-Jis Dil Mein Basa Tha Pyaar Tera
40—-1966—-Johar in Kashmir—-Mera Naam Hai Umar Jaani Khaaoon Roti Ingalistaani
41—-1967—-Dil Ne Pukara—-Waqt Karta Jo Wafa Aap Hamare Hote
42—-1967—-Raaz—-Dil Sambhale Sambhalta Nahin
43—-1967—-Upkar—-Deewano Se Yeh Mat Puchho
44—-1968—-Juari—-Hamsafar Ab Yeh Safar Kat Jaayega
45—-1968—-Juari—-Main Hoon Badnaam Juaari
46—-1968—-Parivar—-Hua Dil Dilliwali Ka
47—-1968—-Saraswatichandra—-Chandan Sa Badan (Male)
48—-1968—-Saraswatichandra—-Humne Apna Sab Kuchh Khoya Pyaar Tera Paane Ko
49—-1968—-Saraswatichandra—-Phool Tumhein Bheja Hai
50—-1968—-Suhaag Raat—-Khush Raho Har Khushi Hai Tumhare Liye
51—-1969—-Bandhan—-Bina Badra Ke Bijuriya
52—-1969—-Tamanna—-Aji Ho Taash Ke Baavan Patte Panje Chhakke Satte
53—-1969—-Vishwas—-Chandi Ki Deewar
54—-1969—-Vishwas—-Dhol Baja Dhol Baja Jaaniya
55—-1969—-Vishwas—-Le Chal Mere Jeevan
56—-1969—-Vishwas—-Muskurake Humko Loota Aapne
57—-1970—-Aansoo Aur Muskan—-Moti Jaisa Rang Ang Mein
58—-1970—-Holi Aaee Re—-Meri Tamannaon Ki Taqdeer
59—-1970—-Holi Aaee Re—-Tere Haseen Badan Mein Jo Dil Bhi Haseen Hota
60—-1970—-Mere Humsafar—-Kisi Raah Mein Kisi Mod Par
61—-1970—-Priya—-Hum Se Kya Hai v1
62—-1970—-Priya—-Hum Se Kya Hai v2
63—-1970—-Purab Aur Pachhim—-Koi Jab Tumhara Hriday Tod De
64—-1970—-Safar—-Jo Tumko Ho Pasand
65—-1971—-Johar Mehmood in Hong Kong—-He Aayo Aayo Navratri Tyohar
66—-1971—-Johar Mehmood in Hong Kong—-Jalti Hai Duniya Jalti Rahe
67—-1971—-Maryada—-Jubaan Pe Dard Bhari Daastaan
68—-1971—-Paras—-Tere Hothon Ke Do Phool Pyaare Pyaare
69—-1971—-Upaasna—-Darpan Ko Dekha Tune Jab Jab Kiya Shringaar
70—-1972—-Ek Hasina Do Diwane—-Do Kadam Tum Bhi Chalo
71—-1972—-Ek Hasina Do Diwane—-Do Kadam Tum Na Chale
72—-1973—-Kahani Kismat Ki—-Kahani Kismat Ki
73—-1973—-Samjhauta—-Badi Door Se Aaye Hain (Duet)
74—-1974—-Albeli—-Baar Baar Mera Yaar Mujhe Poochh Raha
75—-1974—-Anjaan Raahen—-Mujhe Nahi Puchhani Tumse Beeti Baatein
76—-1974—-Chattan Singh—-Mera Chimta Bole Chhanak Chhanak Chhan Chhanak
77—-1974—-Paap Aur Punya—-Tere Mere Pyaar Ki Bandh Gayi Jab Yeh Dor
78—-1974—-Raja Kaka—-Kya Bura Kiya Hai Huzur Maine
79—-1975—-Anokha—-Apna Desh Videsh Ke Aage Haath Na Failaaye
80—-1975—-Dharmatma—-Kya Khoob Lagti Ho
81—-1975—-Dharmatma—-Tumne Kisi Se Kabhi Pyar Kiya Hai
82—-1975—-Faraar—-Zindagi Kya Hai Yaadon Ki Baraat Sapno Ki Baraat
83—-1976—-Adalat—-Behna O Behna Teri Doli Main Sajaaonga
84—-1976—-Adalat—-Hum Ka Aisa Waisa Na Samjho
85—-1976—-Kabeela—-Tu Kehta Hai Mujhko Chadhhi Hai
86—-1976—-Rangila Ratan—-Laakhon Chole Tune Badle Phir Bhi Tune Jaana Na
87—-1977—-Darinda—-Chaahe Aaj Mujhe Na Pasand Karo
88—-1977—-Farishta Ya Qatil—-Kuchh Aise Bandhan Hote Hain
89—-1977—-Farishta Ya Qatil—-Satya Aahinsa Aur Shaanti Se
90—-1977—-Khel Khilari Ka—-Is Qismat Ke Kaise Rang Niraale Dil Se Dil
91—-1977—-Khel Khilari Ka—-Pyaar Ka Bandhan Khoon Ka Rishta Chhoote Se Na
92—-1977—-Khel Khilari Ka—-Yeh Na Jaane Lekin Inki Rang Rang To Yeh Jaane
93—-1977—-Naami Chor—-Sukh Aur Dukh Is Duniya Mein Taqdeer Ne Baante Hain
94—-197*—-Bahadur Jiska Naam—-Main To Nahi Jaaungi Tum Kitna Bhi Kah Lo Baba
95—-197*—-Nirlajj—-Meri Aarzu Hai Tumhe Itna Chaahun
96—-197*—-Sweetheart—-Koi Koi Aadmi Deewana Hota Hai
97—-197*—-Captain Karan—-Rakhna Ye Yaad Sawan Ke Baad Hoti Hai
98—-1983—-Chor Mandli—-Jaane Mann Jaane Jaan
MuVyz, Venkataramanji,
Thanks a lot for your efforts in giving a definitive KA-Mukesh list.
Thank you MuVyz for uploading the updated list.
Very good analysis! Congratulations!
Manoj Mishra,
Thanks a lot for your appreciation.
Reference MuVyz comment 53.
The film Raja Kaka was released in 1973 and details are available at entry no. 360 of HFGK. The song ‘kya bura kiya hai’ is the same which was sung by Mukesh in Dil Bhi Tera Hum Bhi Tere and was picturised on Balraj Sahni. In Raja Kaka this was picturised on Rupesh Kumar and only first antara was used. From the film’s details in HFGK it appears this song was not released for this film as a record.
Also is it proper to include the songs of unreleased films along with those released. In my opinion they should be mentioned as a separate category.
AK,
What a coincidence yesterday, I heard this song from Pakistani movie Baazi, the singer, I thought, sounded like Mukesh in 50’s.
Thanks to our friend Gogle I found out that the singer was Habib Wali Mohammed . Googling today to know more about him, guess what I realised, he just passed away..
My tribute to the great singer.
Here is the song .
http://www.youtube.com/watch?v=0n6PD_sy0rA&feature=player_detailpage
I came to know about Habib Wali Mohammed after I became familiar with SoY. Thanks to AK Ji.
Another good Singer of the Golden Era takes leave. My tributes to the great singer.
Thank you Mumbaikar8 ji.
AK Ji,
Long time back, in my childhood I had listened to the songs, ‘Lagata nahi hai dil mera ujade dayaar me’ and ‘Na kisi ki aankh ka noor hoon’, penned by Bahadur Shah Zafar, and sung by Habib Wali Mohammed. They were broadcasted very frequently on AIR. I always had the impression that they were sung by Mukesh.
So imagine my embarrassment when I asked for for the songs to be taped mentioning Mukesh as the singer, at a place, where some very knowledgeable people, especially those who have a terrific knowledge of HFM as well as Pakistani music, frequented daily.
It was then, around ten years ago that I came to know of this great singer.
‘Aaj jaane ki zid na karo’ by Habib Wali Mohammed surpasses the same ghazal rendered by Farida Khanum. A must listen ghazal.
Mumbaikar8, Venkataramji, Sharmaji
Very sad to hear of Habib Wali Mohammad’s passing away. He could never be anything but absolutely melodious. I also like his Aaj jaane ki zid na karo. May his soul rest in peace.
R.I.P. Habib Wali Mohammad.
dear all,
IMHO, the best version of ‘na kisiki aankh ka noor’ is the rafi one composed by NST.
Nice to see all pro and con views on the KA-Mukesh combo. However, the SJ nos. of Mukesh were superior and this is not to degrade KA, but it is a function of times, since fifties were superior to sixties and sixties far superior to seventies and KA happened to be more in sixties and seventies !! The greatness of an MD or Singer is the ability to adapt to changing times and in this regard, I can only recall Rafi, Asha and SDB to suit to any changing trends !!
Chellamani,
Welcome to SoY and thanks for your comments. I agree with you on Na kisi ki aankh ka noor hun. But, I would not be so categorical between SJ/KA’s Mukesh. You made nice point about adapting to the times. KA has to be added to the list, his adapting to Kishore Kumar for Amitabh Bachchan is remarkable.
W.r.t. the comments of @Shalini I would say that to comment on th work of genius like Kalyanji Anandji one needs to know their work.
A mediocre music director doesnot survive for 40 years through various phases and shades of music. No Meocre MD is awarded with National Awart, which is given by the Govt. of India for extra-ordinary work(remember that KA were the first MD to receve this award)Similarly a mediocre MD does not deserve Padmashee. Apart from this., KA got many other honours. Even various occasions some influential MDs got film fare for an average music, it was KA’s class that actually deserved the award.Kalyanji Anadji was the only MD who not only survived but produced highly melodous music in the ear of SJ,SDB.Naushad,OPn etc and also later on in 1970’s and 1980’s only due to their excellant music.KA were also the only MDs who provided platform to upcoming music directors LP who assisted them for more than 5 years. KA also groomed talents like Manhar,Udit narayan,Kumar SHanu, Alka Yagnik,Sunidhi Chauhan,Sheya Ghosal nad many others.Kalyanji Anandji had used almost all the singers starting from Talat Mehmood, Geeta Dutt,Shamshad Begum, Mukesh,rafi,Lata,Asha<Manna Dey,Mahindra kapoor to Kumar Shanu and their songs for Mukesh are second to none.Lata got national award for song composed by KA in Kora Kagaj, Ye mera Dil frm DON is among top 10 of Asha Bhonsle. No indendence day and republic day is complete with the songs of Patriot songs of Upkar and Purav Aur paschim composed by KA. Yari hai Imaan and Kashme vade Pyar Wafa the two songs composed by KA for Manna dey are among his top 10 songs. Such a great variety and songs of Mukaddar Ka Sikandar and Don are perhaps the best songs in action movies of Big B.The songs of KA inpired even present generation of music directors of Bollywood. The songs of DON of SRK and its background music has been adopted by Shankar Ahsan Loy from original DON of KA.Many other songs of KA were copied by present day MDs. Only a person who is a fan of Bappi Lahiri or Himesh Reshamiya can say KA as a mediocre MDs.
This is very correct to say that Mukesh and KA had very good combination. Mukesh having pathos in his voice similarity to K L Saigal and then flat voice songs of 1950’s suited him though he was discarded when open up and out voice songs are concerned Mukesh was side-lined. But when Mukesh paired with Rafi or any other male voice he prevailed, doesn’t he? LP used him in Milan 1967 for all songs and Mukesh Proved what he is if given challenge! Khayyam used Mukesh beautifully unto his last in Kabhi Kabhi 1976 and even Mehedi Hassan like man got jealous of him and questioned Khayyam what is special in Mukesh? Well Kalyanji Anandji is said to have some apprehension with Moh Rafi and hence they turned to Mukesh and Mahendra Kapoor, may be true or not, still Chand AAhen Bharega and Chand si Mehebooba ho tum are examples of Mukesh and KA chemistry!
The Clavioline keyboard was on the UK market before the Univox. Clavioline originated in France. In about 1951/1952 the Univox took off in a big way due to its competitive price and a wide range marketing strategy. But, Kalayanji made the snake charmers been=Fungi sound by using “the Clavioline” (an electronic organ with just 22 keys). The organ was introduced in 1947 and sold until about 1960. But after the maestro showed how to make Fungi sound from clavioline, the Beatles wanted to use Clavioline to make the bagpipe sound on their songs like “Baby, you’re a rich man”, “Magical mystery tour” and “Yellow submarine.” How sweet for K&A team :)
Dee Thakore,
Thanks a lot for the additional information.
Regarding #68, can the statement be corroborated . I am not sure that the Beatles were influenced by Kalyanji or the Nagin tune. The Selmer Clavioline (Selmer was the English company that licensed the Clavioline from its French inventor Constant Martin) manuals had “Suggested instrumental tone colours” that provided instructions on which switches to press to mimic the sounds of trumpets , saxophones, bagpipes , oboes etc. So people already knew about this and the Clavioline had already been used to imitiate a lot of instruments and also provide modernistic sounds. Legend has it that John Lennon rolled an orange up and down the keyboard to get the crazy sound he did in “Baby you’re a rich man”. Joe Meeks hit “Telstar” with the Tornados was actually one song that was quite famous in the 1960s for using the Clavioline and the Beatles would have been quite familiar with it.
Why nobody mentions “Waqt karta Jo wafa AAP hamare hote?
The post is very nice! Mukesh is the singer who won the hearts of millions of people. His songs takes away the heart of people. Thank you for the post!
S Chandran,
Welcome to SoY and thanks a lot for the appreciation.
Because those traditional instruments do not give the flexibility of playing so many notes
Kishor Kumar became final choice of both – SDB and KA , post 70s.
Madhupati Sharma,
Welcome to SOY. Largely, yes.
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