(SoY readers would recall that Ravindra Kelkar has been making valuable contributions on OP Nayyar through his guest articles and, thus, filling up a gap in SoY. He has contributed three articles so far: ‘Three distinct phases of OP Nayyar’; OP Nayyar-Geeta Dutt: A peerless combination’; and OP Nayyar’s influence on other music directors. As we inch towards the conclusion of the series, Mr Kelkar covers OP Nayyar’s duets in two parts. The first part is on his most conspicuous duets in which Rafi is the male voice, combining with his three most important female singers – Geeta Dutt, Shamshad Begum and Asha Bhosle, in chronological order.
Mr Kelkar observes OPN was among the four best music directors in composing duets. His choice of musical instruments, his rhythm and special features like either the male or the female singer entering late in the song, giving it an effect of solo, make OPN unique. The romanticism in his duets was a reflection of his fascination with women, observes Mr Kelkar. Thank you Mr Kelkar for another excellent piece. – AK)
I consider C Ramachandra, SD Burman, Shankar Jaikishan and OP Nayyar as the four best music directors (MDs) in composing duets. Of course, all other MDs have composed outstanding duets, but the sheer numbers and variety make these four MDs stand apart.
And the Songs of Yore Award for the Best Duet goes to?
As per the long-term average, female solos outnumber male solos by a big margin, with duets somewhere in between. The same is true for the year 1948. My list of 114/115 MEMORABLE SONGS in the Overview post has the following break-up:
Male solos – 26
Female solos – 53
Duets – 36 TOTAL – 115
Besides the significant number, the duets present interesting variety of combinations of singers. This category also includes all male or female duets, and songs by more than two singers (which could be all male or female or mixed). I count the chorus songs in which there is only one identifiable dominating voice as a solo of that singer.
(DP Rangan is a man with boundless energy. Even with a late debut on the Songs of Yore, at the rate he is writing he will soon overtake the regular guest writers. After the horse series, he switched to romantic themes of moon and stars. This post on Waterfalls in Bollywood can be seen as a continuation with similar romantic possibilities. Mr Rangan has, as is his wont, packed in a great deal of information. He had also added some science which I have cut out, but what is left is still impressive. The song selection is equally good. I thank Mr Rangan for another informative post. – AK)
Our planet is predominantly a body of water and will glimmer in blue hue when viewed from satellites or from our satellite moon. Water covers 71% of earth surface. Picture taken from a satellite is reproduced below:
There is no positive evidence which would describe how water was formed in planet Earth beyond doubt. Several concepts have been advanced but remain mere conjectures. It is believed that water was part of the earth as it emerged by adhesion and gradual accretion of planetary material into a rocky planet.
The young earth was quite hot initially and all the water was locked up in the atmosphere as water vapour. When it cooled sufficiently there was continuous rain for hundreds of years and the oceans were formed. Thanks to the water cycle, there was profuse rain falling on land. As it fell on mountainous area, it came down to the plains as river and as the body of water fell over rock face down, waterfalls were born. They were not uniform. The height from which water cascaded downwards and the width of the water body varies from waterfall to waterfall. I will elaborate on this further when I deal with specific waterfalls. When the river gushes through narrow valleys you can have a series of shallow rapids.
But for the availability of water, there would have been no life of any sort in any planet and Earth is also no exception to this. It is the basic source of all life and when one studies it in depth, unique properties of water will be unraveled.
In fact, water as it exists is amazing. It should have been a gas at the prevailing atmospheric pressure and temperature. Had it been so, our planet would be a barren one devoid of life of any kind. Because of its unique properties, water is the only molecular body which can exist as gas, liquid or solid. Everybody knows that two atoms of hydrogen and one of oxygen bond together to form a water molecule. The theory behind it is too complicated for a general forum like Songs of Yore.
I am reverting back to ‘waterfalls’. All the continents have mountainous areas. America has the Rockies and Andes. In India it is Himalayas and Western Ghats. Some of the most spectacular waterfalls are to be seen in South America. Some prominent waterfalls are listed below:
North America Niagara Waterfalls
South America Angel Falls, Iguazu Falls
Africa Victoria Falls
Asia A few falls in China, Vietnam
India Nohkalikai Falls, Jog Falls
Victoria Waterfalls
Zambesi river thunders down the mountain ledge as a waterfall and it is located in the border between Zambia and Zimbabwe. It plunges from a height of 108 metres (355 feet). David Livingstone, Scottish missionary and explorer was the first whiteman to see the falls from an island named after him on 16th November 1855 and named it in honour of Queen Victoria. Its native Tonga name is
Mosi-oa-Tunya—”The Smoke That Thunders” and continues in common usage as well. In UNESCO Heritage List both the names are used. You tube link for viewing this waterfall:
Now I will give particulars about the highest waterfalls in the world.
Angel Falls
Angel Falls (Spanish: Salto Ángel; Pemon language: Kerepakupai Meru meaning “waterfall of the deepest place”, or Parakupá Vená, meaning (“the fall from the highest point”) is located in Bolivar State, Venezuela. It is the highest waterfalls in the world with a plunge of 979 metres (3212 ft.) over the edge of the Auyantepui mountain in the Canaima National Park (Spanish: Parque Nacional Canaima), a UNESCO World Heritage site in the Gran Sabana region of Bolívar State.
The outside world was not aware of this natural wonder till 1933. Jimmie Angel, an American aviator, while searching for precious ore bed flew over this waterfall on 16th November 1933 and was bowled over at the amazing vista that unfolded. Returning on 9 October 1937, Angel tried to land his Flamingo monoplaneEl Río Caroní atop Auyan-tepui. It was a perfect landing, but the wheels sank in the morass atop the plateau. He, his wife and a companion had to travel for 11 days on foot climbing down the table mountain from the other slope in the back before reaching civilization. News went around the world and the waterfall was named after him and recognized by government of Venezuela. There was an interesting sequel to this. Angel’s plane remained on top of the tepui for 33 years before being lifted out by helicopter. It was restored at the Aviation Museum in Maracay and now sits outdoors on the front of the airport at Ciudad Bolívar. Visual presentation is the best means of conveying the full measure of beauty and a snap and a you tube link are given below for this waterfall.
Nohkalikai Falls
Tallest water falls in India with a drop of 340 metres (1115 feet). It is located near Cherrapunji in Meghalaya. The pool formed at the foot of the waterfalls is green in colour.
Interesting material is available for all the major falls. If anyone wants to pursue further, he can trawl the internet and reap rich dividends.
Cinema producers had included a few outdoor scenes in most of the pictures. Heroes wandering amongst hilly terrain, heroines floating like an angel against the waterfall in the background accompanied by a chorus, duets of love in the hilly meadows were a representative sample of the scenes shot.
I had completed the post but was unable to get more than two songs on this theme. I was in a position similar to a sugar factory erected in cooperative sector and finding itself starved of sugarcane in its area and had to procure it across the state border from neighbouring state. I appealed to Arvinder Sharmaji to help me and promptly he sent me a list of nearly 30 songs and I am now spoiled for choice. I thank him profusely for enabling me to overcome a no-win situation. I will now post a few songs on this theme. My effort has been to ensure they are outdoor scenes with waterfall included.
1. Hawa mein udta jaye by Lata Mangeshkar from Barsaat (1949), lyrics Ramesh Shastri, music Shankar Jaikishan
The song is in perfect harmony with the surroundings and sounds like a flowing river over hilly beds. Shankar Jaikishan burst forth on the picture and with the wonderful music composed started their climb to the summit. Lata Mangeshkar, already known, also added to the lustre.
2. Aayi bahar jiya dole by Lata Mangeshkar and Chorus from Arzoo (1950), lyrics Prem Dawan, music Anil Biswas
The song is set in perfect idyllic rural surroundings. Kamini Kaushal dances around and her coterie accompanies her in the song, while a pleased Dilip Kumar looks on munching on his sugarcane. Anil Biswas has given a good tune.
3. Tere dwar khada hai ek jogi by Hemant Kumar from Nagin (1954), lyrics Rajendra Krishna, music Hemant Kumar
Vyjayanthimala and Pradeep Kumar are the principal actors. They belong to different tribes of snake charmers who are in conflict and their love affair lands them in trouble. Ravi was assistant to Hemant Kumar and created the snake tune through use of been, a path-breaker. Pradeep disguised as a hermit pleads with Vyjayanthimala immersed in the river. It was a great music by Hemant Kumar for Filmistan who had broken from C Ramchandra. (We have discussed earlier on this blog the controversy as to who created the been tune in ‘Man dole mera tan dole’. The popular impression was that it was played by Kalyanji on the clayvioline. Goa-born pianist Lucila Pacheco’s name is also taken in this regard. Here is a nice article on this controversy – AK)
4. Suhana safar aur ye mausam hasin by Mukesh from Madhumati (1958), lyrics Shailendra, music Salil Chowdhury
This is a Bimal Roy production and the basic story was lifted from Mahal of Aayega aanewala fame. This is a great outdoor song full of bubbling joy and coming from Mukesh it is all the more to be appreciated. Salil Chowdhury had given superb music for the film. (The assertion that the basic story was based on ‘Mahal’ may be open to question. – AK)
5. Pyar bhari ye adayein by Manna Dey & Lata Mangeshkar from Qaidi No. 911 (1959), lyrics Hasrat Jaipuri, music Dattaram Wadkar
A B grade film with Mahmood and Nanda in the lead role, the scene of the song is entirely outdoors with prominent waterfall in the background. This is a well known duet and good to hear at any time.
6. Ho maine pyar kiya by Lata Mangeshkar from Jis Desh Mein Ganga Behti Hai (1961), lyrics Hasrat Jaipuri, music Shankar Jaikishan
Raj Kapoor is the producer of this film about dacoits being reformed into law abiding citizens. The usual love triangle of two men, one girl is played with the hero emerging a winner. Padmini is enjoying her bath in the river just down the waterfalls.
7. Badalo barse nayan by Lata Mangeshkar from Sampoorna Ramayan (1961), lyricsBharat Vyas, music Vasant Desai
As expected, Mahipal and Anita Guha are the main actors in this film based on the epic Ramayan. Combination of Bharat Vyas and Vasant Desai has created great songs and this one sung by Seeta Devi in mental pain can be added to that genre.
8. Sau bar janam lenge by Mohammad Rafi from Ustadon Ke Ustad (1963), lyrics Asad Bhopali, music Ravi
An all time great song rendered superbly by Mohammad Rafi and composition by Ravi is par excellence. Pradeep Kumar is in search of his love Shakila and meets her at the end. There is a nice qawwali song – Milte hi nazar tumse hum ho gaye diwane sung by the triad Mohammad Rafi, Manna Dey and Asha Bhonsle.
9. Mere pehli arzoo ka by Mohammad Rafi and Asha Bhonsle from Pyar Ka Bandan (1963), lyrics Qamar Jalalabadi, music Ravi
The scene is certainly outdoors and the couple going through the motion look like Helen and Dhumal. This is a standard Ravi tune and can be easily recognized as such.
10. Aaj koi pyar se dil ke baatein kah gaya by Asha Bhosle from Sawan Ki Ghata (1966) lyrics S H Bihari, music O P Nayyar
Mumtaz wallows in turbulent waters while crooning this song. Asha Bhosle had excelled and O P Nayyar has composed his trademark tune, but very good to hear.
To the best of my ability I have posted songs where waterfall figures prominently. I request the blog followers to improve upon my selection.
And the Songs of Yore Award for the Best Female Playback Singer goes to?
The readers may recall from my Overview post, and the detailed review of the best songs of 1949, that one significant difference between the two consecutive years was in Lata Mangeshkar coming as a tsunami wave in 1949, leaving her competitors awestruck, whereas in 1948, i.e. just a year before, she was behind Shamshad Begum in terms of ‘Memorable Songs’. Suraiya, not far behind, can be regarded as the third leg of the Triad Power that dominated the female playback singing in the year. Surinder Kaur and Lalita Deulkar had a short-lived career in Hindi films, but their best was in 1948. Uma Devi and Amirbai Karnataki also had noticeable presence in the year. Given this overall picture of the female playback songs, I have decided to do away with separate posts for Lata Mangeshkar and ‘Others’. In the remaining three years of my planned review, i.e. 1947, 1946 and 1945, there would be no dilemma – Lata Mangeshkar sang (and acted) some songs, but she would be virtually invisible.
A tribute to Kishore Kumar (4 August 1929 to 13 October 1987) on his 30th death anniversary
A later version of an operating system is considered superior to its earlier version. That is, ‘Windows 1o’ is superior to ‘Windows 8’, which is superior to ‘Windows 7’, and so on. However, that is not true for music. A singer or a music director’s career follows an inverted U-curve. After progressively rising to the peak, there is a plateau and, thereafter, there is decline. Kishore Kumar must be the only exception to this law. After 20 years of singing career starting from his debut in 1948, post-Aradhana (1969) his career zoomed to a higher trajectory, reaching another peak when he became the pole star of male playback singing. I have metaphorically said Kishore Kumar became the new Rafi in my post titled Mohammad Rafi versus Kishore Kumar, which specifically addressed how an era changed after Aaradhana. Kishore Kumar 2.0 (i.e. post-1969) sang about four times more songs than his previous two decades’ career, i.e. Kishore Kumar 1.0.
Wishing a very Happy Birthday to Lata Mangeshkar (b. 28 September 1929) on her 88th birth anniversary and a tribute to Hemant Kumar (16 June 1920 – 26 September 1989) on his 28th death anniversary
Hemant Kumar was endowed with one of the most sonorous voices in light music. His film songs are universally popular. His non-film Hindi songs are equally sweet. In Rabindrasangeet, he is regarded as a titan. He has composed music for a large number of Hindi and Bengali films. The sweetness of his voice has also dripped into the music he composed. The melody-incarnate Lata Mangeshkar became his natural choice for the female songs. One Hemant Kumar-Lata Mangeshkar combination I have already covered – his duets with her, and they are indeed out of this world. Just recall some of them: Aa neele gagan taley pyar hum karein, Chandan ka palna resham ki dori, Ye raat ye chaandni phir kahan, Badli mein chhupe chaand ne phir mujhse kaha hai, Ek baar zara phir kah do, Jaag dard-e-ishq jaag and Nain so nain naahi milaao. One more Hemant Kumar-Lata Mangeshkar combination has long been my great favourite – that is her solo songs composed by him.
And the Songs of Yore award for the best male solo goes to?
Some general observations are in order. The year 1948 did not have a great diversity of male playback singers, unlike the female singers. KL Saigal had passed away a year earlier; Talat Mahmood would appear a couple of years later; Hemant Kumar and Manna Dey who had been around for some time, did not yet have their big breaks. Among the great playback singers of the Golden Era, Mukesh was the only one who had a significant presence with great songs in at least four films; Rafi was playing a catch-up game. From the Vintage Era, GM Durrani had some nice songs. The actor-singer Surendra was virtually on his last lap, though with some outstanding songs. His singing career would decline sharply, and he would graduate to ‘character’ roles in the later years.
Wishing S Mohinder (b. 8 September 1925?) a very happy 92nd birth anniversary (and wishing Asha Bhosle a very happy 84th birth anniversary)
Guzra hua zamana aata nahi dubara, hafiz khuda tumhara. This one song is enough to make S Mohinder immortal. But he also composed many more memorable and extremely sweet as well as fast-paced peppy numbers. He is among the music directors who had a wide range in the style of music as well as choice of singers. It is the vagary of the showbiz that a talented composer like him was not counted among the top rung. But some of his songs dominated the airwaves in the programmes on old film music, Guzra hua zamana being an eternal favourite. He was in my list for the series on “Forgotten Composers Unforgettable Melodies”. I would have written on him at leisure. But, despite this year being quite tight in scheduling, I had to do it now in deference to the sincere request made more than once by our passionate reader, KS Bhatia.
(OP Nayyar was a craze for some years from the mid-50s. Every music director was imitating his style, composing OP-type songs from time to time. If you thought it was simply a bandwagon effect, our OP Nayyar-expert Ravindra Kelkar unravels several factors that were at play. Some did it voluntarily, some under producers’ pressure, and some also with the not so noble intention of cutting OP out – flood the market with OP-clones to drive out the original. According to Mr Kelkar’s fascinating thesis, even redoubtable names like Naushad, C Ramchandra and SD Burman were not untouched by the OP-influence. After his inaugural article on ‘The three distinct phases of OP Nayyar’s career’ and the second article on OP Nayyar-Geeta Dutt songs, Mr Kelkar comes up with another Ace on OP. Just close your eyes and enjoy these ‘OP’ compositions by several other MDs, with profuse thanks to Mr Kelkar. – AK)
OP’s musical career took off from Aar Paar (1954). A succession of musical hits followed, in the next two years, like, Baap Re Baap (1955), Mr & Mrs 55 (1955), Musafirkhana (1955), Chhoomantar (1956), CID (1956), Hum Sab Chor Hain (1956), and many others. Some of them were big hits, however, most of the movies managed to recover the money invested by the producer, largely due to the lilting music by OP. His music had freshness, liveliness, was infectious, easy to identify with, easy to hum and it was distinctly different from others. He had created his own style. It was easy to guess the identity of the composer as soon as you listened to the intro music of the OP song. Even the title music of the films had an OP stamp. It would be typically breezy and include a clarinet/flute/violins combo piece as well as a sarangi piece. In fact, OP would try to compose the title music in such a way that he would time the clarinet piece or sarangi piece when the title would show “Music Composed by O.P. Nayyar” on the screen. All this created a certain mystique around the name of O.P. Nayyar. Also, OP was easy to work with as long as you paid his price and didn’t interfere with his work, by giving him full freedom in composition, selection of song writers and singers. He didn’t really care about the star cast, story, name of the banner etc.
(I have often mentioned that duets, though far less in number than solo songs, present a fascinating variety of music. One variety is on account of the lesser known female singers getting a chance to sing with major playback singers like Rafi and Mukesh, and we are richer for that because we get some absolutely fabulous songs minus the Mangeshkar sisters. The other and, perhaps more interesting, variety is on account of the experimentation the music directors do in composition. On this blog there has been detailed discussion on a number of occasions about the duets in which one singer just hums, or has only a few words or just a couple of lines to sing. I developed a Duet Balance Index for analysing this kind of asymmetry in my post titled ‘Some thoughts on mathematical-taxonomic analysis of Hindi films and songs’. That dealt with what may be called ‘airtime asymmetry’. Another interesting asymmetry is ‘tune asymmetry’.
In this guest article, Subodh Agrawal takes a look at such asymmetric duets. I am sure readers will welcome his taking a break from classical songs. Thank you Subodh for another interesting and ‘different’ article. – AK) –
I am taking a break from classical songs in films to write on this topic, which arose from a discussion on AK’s post on duets of Talat and Asha. Duets are common in Hindi film music. I don’t have the encyclopaedic knowledge of Mr Vaishnav, Mr Bhatia or Mr Venkataraman to do a detailed analysis, but my hunch is that male-female duets would account for about one third of all songs.
I consider C Ramachandra, SD Burman, Shankar Jaikishan and OP Nayyar as the four best music directors (MDs) in composing duets. Of course, all other MDs have composed outstanding duets, but the sheer numbers and variety make these four MDs stand apart.
