Guest article by DP Rangan, with annotation by Subodh Agrawal, as a joint tribute to Roshan on his 101st birth anniversary (14 July 1917 – 16 November 1967) and to Madan Mohan on his 43rd death anniversary (25 June 1924 – 14 July 1975)
(Subodh Agrawal once said that we often think of music directors in tandem: RC Boral & Pankaj Mullick; Naushad & C Ramchandra; Shankar-Jaikishan & OP Nayyar; Khayyam & Jaidev and so on. They had either similar musical sensibilities, or they were the dominant players at some point of time, or they had something else in common. Roshan & Madan Mohan stand out in tandem in many ways: Punjab origin; their classical-based, melodious music far from the ‘Punjab School’; both acclaimed for high quality of their music, but commercial success not commensurate with their quality. One earned fame as the King of Qawwalis; the other, King of Ghazals. After the special series on the stalwarts Anil Biswas, SD Burman, Naushad, C Ramchandra, Shankar-Jaikishan and OP Nayyar, I had planned to write on Roshan-MM in tandem, when DP Rangan wrote to me that he wanted to do a post on Madan Mohan. I passed on my idea of the tandem post with focus on their classical-based songs. That brought in Subodh to a subject that belonged to him in the first place. It is befitting that this post is being written by two guest writers in tandem: One highly motivated to take up any challenge; and the other, learned in classical music with the ability to explain it in a fluent style. Thanks a lot Mr Rangan and Subodh for this excellent post as a joint tribute to the two highly respected music directors. – AK)
While woolgathering I often relapse into old memories reliving the moments when songs used to blare from transistors, a technology gift from Japan, making it possible to carry music with us on the go. I was particularly mesmerized by songs based on classical music, Hindustani and Carnatic. In the initial years after birth of talkies circa 1931, music directors used to rely on classical music for setting tunes in films and branched into other genres as ghazal, light songs, qawwali etc. in subsequent years. Many of Saigal’s film songs were microcosms of classic music, like Baalam aaye (Devdas), Babul mora (Street Singer), Hat gayi lo kaari ghata (Lagan). The contemporary situation in Kollywood was practically the same. Classical music-inspired film music pieces will hold sway over years and grow in value over ages as there will be no dearth of music lovers to lap it up.
I had wanted to do a post on film songs based on this theme. But I am aware of my crippling limitations in this regard, i.e., lack of expertise in Hindustani classic music. Merely being an avid listener will not impart such knowledge. Inspiration struck when perspiration failed. I decided to take help of Subodh Agrawal for this post and he agreed to add his comments on classical ragas to my post. I am greatly obliged to him for enhancing this post immensely.
As per the advice of blog master, I am writing a tandem post on the music composition of two great stalwarts of yesteryears – Madan Mohan Kohli (1924-1975) and Roshan Lal Nagrath (1917-1967). Birth and death may look antipodal, but in fact are two faces of the same coin of life. 14th July was a special date in the calendar. While one genius came into the world bringing joy to his household, another left for heavens leaving behind a bereaved family on the same date. Each of them is worth several posts on diverse aspects of their music composition. Combining the works of both in one post calls for extraordinary skill in brevity and I do not know whether I am successful in the venture. I will be waiting with bated breath for the verdict of the blog followers – pat in the back or brickbat.
Roshan was born on 14th July 1917 at Gujranwala, Punjab now part of Pakistan. From boyhood he had a predilection for music and lapped up K L Saigal songs. He began his music lesson under Guru Manhar Barve. He joined Marris College of Music, Lucknow to further his knowledge of music. He was hired by Khawaja Khurshid Anwar, Producer (Music), AIR, Delhi as staff artist. In 1948, he quit the job and came to Bombay to further his career as a film music director. He assisted Khurshid Anwar in music composition for the film Singaar. Thereafter it was a virtual struggle until he met Kidar Sharma, the producer. His first assignment for the film Neki Aur Badli (1949) did not hit off as the film floundered at the box office. He shared his longing for committing suicide with Kidar Sharma. The latter dissuaded Roshan from such morbid thoughts and gave a second assignment for the film Baawre Nain (1950), which was a runaway success. He knew about the calibre of Roshan more than Roshan himself. That was the start of his glorious career as a music director. His nature was reticent and, hence, he kept a low profile in the film world. He started getting assignments in the1950s but on the whole, his genius was not given its due recognition. His career took a vertical takeoff with the film Barsaat Ki Raat (1960) and stayed afloat in the air thereafter. He gave music for 54 films and his film Taj Mahal bagged Filmfare Award for music and lyrics in 1963. Many of his songs had different rhythm, one for antara and another for mukhda starting with the Rafi-Lata duet from Bawre Nain – Mohabbat ke maaron ka haal ye duniya mein hota hai. He was badshah of the qawwali genre of film songs, which began with an all-ladies affair from the film Chandni Chowk (1954) to the last one in Bahu Begum (1967). He was very sensitive to poetry in the lyrics and more than 20 lyricists wrote the film songs of his composition starting with Kidar Sharma. His strength was in fusion of folk music with classical ragas and bringing out several iconic songs with this amalgam. He had been suffering from heart problem for more than 20 years and died on 16th November 1967.
Madan Mohan Kohli was born on 25th June 1924 at Erbil, Iraqi Kurdistan, where his father Rai Bahadur Chunilal was employed as an Accountant General. From the age of two he was deeply engrossed in listening to the music from his father’s collection and could pick out any record asked for. At the age of five, his family came back to India and he was left in the care of his grandfather Hakim Yograj while his father proceeded to Bombay to start life afresh. He joined school in Lahore where his grandfather had his practice. During his stay in Lahore he got basic training in classical music from a local teacher for a short time and he never had a formal training in classical music. After establishing himself in Bombay Talkies, his father brought the family to Bombay. Raj Kapoor and Suraiya were his neighbourhood buddies. He was commissioned in the Army in 1943 as per his father’s wish. Music was his first love and he quit the army and joined All India Radio, Lucknow as programme assistant in 1946. He moved with many musical prodigies of the time when they gave performances for broadcast. He also composed music for a few programmes broadcast by the radio station. In 1948 he drifted to Bombay and started as an assistant to music directors SD Burman and Shyam Sundar for a short time. He launched his music composition independently with his maiden assignment Aankhen (1950). Thus began a career which was to last for another twenty five years (92 films in all including two posthumously released). He gave melodious and lilting music to the films. His misfortune was most of the films with his musical gems were not box office hits. He was a master of ghazals and had no equals in this field. Lata Mangeshkar called him Prince of Ghazals and he finds a place in her 2011 calender – Tere Sur Aur Mere Geet, her reminiscences of 28 music directors including Roshan. Madan Mohan’s film Woh Kaun Thi was nominated in 1964 for best music but did not win the coveted Filmfare Award. He won the National Film Award for best music direction for the film Dastak (1970). He had a tough time staying in the competitive field with several other music directors with their own associated producers/actors in the fray. He started drinking heavily and succumbed to liver cirrhosis on 14th July 1975.
I have not done full justice to the biography of both these music directors, because of the focus of the post and constraints of space. The songs posted are based on classical ragas. Unlike Roshan, who had learnt classical music in a formal manner, it is a wonder that Madan Mohan without such advantage, composed many songs based on various raags brimming with brilliance, verve and sweetness. It can be attributed to his inborn penchant for music or due to his inherited genes. I can only think of the property of a common segment between two intersecting parabolas in comparing their classical raga based songs.
Because of my limited knowledge of classical music, the ideal option of taking a raga and posting songs from both the music directors is ruled out. I am trying to post one song from each of the music directors side by side. Very few of the songs are contemporaneous. Please excuse the unsystematic manner of posting resorted to by me. I would like to thank Subodh Agrawal again for agreeing to add his comments even on such an inadequate material.
1. Mori atariya pe kaga bole by Meena Kapoor from Aankhen (1950), lyrics Bharat Vyas, music Madan Mohan
This was the start of the epoch making career of Madan Mohan. Shekhar and Nalini Jaywant were the leading lights, yet it can be classified as a B-grade film. Nalini Jaywant is flitting like a butterfly for the song. It is based on the raag Pahadi. The original live video from film is below par and I chose this one.
Subodh Agrawal adds: I covered Pahadi in my third post in ‘Classical Songs from Films’ series. I missed out on this beautiful song. Thanks a lot to Mr Rangan for introducing me to it.
2. Garjat barsat bheejat ayilo by Lata Mangeshkar from Malhar (1951), lyrics Indeevar, music Roshan
Coming on the heels of his previous box office topper, Bawre Nain, this title song from the film is sung in a sweet sedate manner by Lata Mangeshkar in the raag Gaud Malhar. All the songs from this film were hits. Indeevar was introduced as a lyricist from this film thanks to the efforts of Roshan himself. The same song was sung by Sumant Kalyanpur and Kamal Barot in another block buster film, Barsaat Ki Raat (1960). The duet proceeds at a fast pace with verve. Both versions are listed below.
Subodh Agrawal adds: Gaud Malhar has been covered in one of my favourite posts in the classical songs series. Both songs given here by Mr Rangan are outstanding examples of the raga. Gaud Malhar is a more joyous version of Malhar, also known as Miyan ki Malhar – which has a certain gravity suggestive of thunderclouds. Gaud Malhar, on the other hand, is pure joy like rivulets formed by rainwater.
3. Main paagal mera manwa paagal by Talat Mehmood from Ashiana (1952), lyrics Rajendra Krishna, music Madan Mohan
Nargis and Raj Kapoor‘s love affair runs into rough weather and Raj Kapoor is left to moan over his broken heart. In the end, Nargis in ghost form leads Raj Kapoor to his doom. It is another run-of-the-mill film and as usual Madan Mohan has given heavenly music. Only a crooner like Talat can lift this song full of pathos into greatness. This is based on raag Kedar.
Subodh Agrawal adds: Kedar is a raga ideally suited for devotional compositions – as in ‘Darshan do ghanshyam’ song covered in my first post on best films songs based on classical ragas. Here Madan Mohan has deftly and sensitively used this raga to depict a sad, reflective and introspective mood. Other famous songs in Kedar are ‘Ham ko man ki shakti dena’ from ‘Guddi’, and ‘Bekas pe karam keejiye’ from ‘Mughal-e-Azam’. The last one has a slight touch of Kamod.
4. Ae ri main to prem diwani mera by Lata Mangeshkar from Naubahar (1952), lyrics Meera Bai/Satyendra Athaiya, music Roshan
This is one of the all-time classics composed by Roshan. The first line ‘Aeri main to prem diwani’ is borrowed from Meera Bhajan and the rest of the lyrics were composed by the lyricist as mentioned above. Nalini Jaywant glows with divine fervour in singing this song on Lord Krishna. This is based on raga Bhimpalasi. There is also another lovely song based on classical raga – Kajrari matwari madhbhari do akhiyaan sung by Raajkumari, a dance number. The film will fit in AK’s formula G-G-B category with a happy ending. This was posted as this film is also of 1952. (AK: G-G-B refers to Girl-Girl-Boy – a love triangle with a hero and two heroines.)
Subodh Agrawal adds: Bhimpalasi is a beautiful raga with easy appeal to lay listeners of classical music – much like Desh, Durga and Pahadi. I used the haunting song ‘Beena madhur madhur kuchh bol’ in my first post referred above, under the mistaken impression that the number of songs in this raga will be small. However, I have discovered many more songs in this raga and hope to do a post on Bhimpalasi along with some other afternoon ragas like Patdeep, Madhuvanti and Multani. (AK adds: The readers would be delighted that Subodh has plans of covering so many more ragas.)
The next two songs are based on the raag Bhairavi, one of Madan Mohan and Roshan each.
5. Tu pyar kare ya thukaraye by Lata Mangeshkar from Dekh Kabira Roya (1957), lyrics Rajendra Krishna, music Madan Mohan
A film with an interesting theme. Three boys looking for job in their chosen profession and three girls also looking for husbands in pursuit of arts, like actor, singer, and painter. The girls’ choice of partner is not the one pursuing the avocation they were dreaming. On realizing their mistake, they are sad and a string of three songs is sung by each one of them and this is the last one by Shubha Khote. The genius of Madan Mohan is revealed in the three ragas in which they are composed. The usual YouTube video combines all the three and after a search I landed on third one. It ends with a line of the first song based on raga Aahir Bhairav. All the songs are exemplary in quality. The song by Manna Dey – Kaun aya mere man ke dware – in Raag Rageshree is also enchanting.
6. Laaga chunri mein daag by Manna Dey from Dil Hi To Hai (1963), lyrics Sahir Ludhiyanavi, music Roshan
Roshan could not have chosen someone better than Manna Dey to render this song. This song of love and the dance scene coalesce admirably. The dance notations are sung so very well. Roshan had created another immortal tune.
Subodh Agrawal adds: Bhairavi is one of the most popular ragas with music directors; at least it used to be in the golden era. A good number of popular songs of Saigal: ‘Babul mora’, ‘A qatib-e taqdeer’, ‘Madhukar shyam hamare chor’, ‘Jab dil hi toot gaya’ are in Bhairavi. Manna Dey and Lata have given several wonderful songs in this raga, though injustice has been done to the former by giving many of his songs a lighter touch and presenting them on screen by comedians. Bhairavi is usually the last raga to be presented in a concert, and I hope to round off my series with this raga as and when the time comes. Bhairavi is capable of expressing a wide range of moods and Mr Rangan has chosen two very good examples: the first one by Madan Mohan presents a sweet romantic mood, while the second one is playful and energetic, despite the sufiana lyrics.
7. Ae ri jaane na doongi by Lata Mangeshkar from Chitralekha (1964), lyrics Sahir Ludhiyanavi, music Roshan
Pradeep Kumar, Meena Kumari and Ashok Kumar are the main artistes. It is a historical movie and did not do very well at the hustings. As usual Roshan had given songs of enduring excellence and very sweet for the ears. This song is based on the raga Kamod and depicts a dancing scene.
Subodh Agrawal adds: It is a pity that a beautiful raga like Kamod has so few songs in it. This one figured in my post on romantic ragas along with ‘Sharabi sharabi yeh sawan ka mausam’ – the only other song to my knowledge that is definitely in this raga. Even classical pieces are relatively rare. The best one I know is by Rajan and Sajan Mishra, mentioned in my article.
8. Ja re badra bairi ja by Lata Mangeshkar from Bahana (1960), lyrics Rajendra Krishna, music Madan Mohan
Leading role is that of Meena Kumari. She plays the role of a mentor and cures the calf-love of the hero for her and unites him with the lady who loves him. The film is littered with songs that can be heard again and again without tiring. This song is based on raag Yaman Kalyan. Tum chaand ke saath chale ao by Lata Mangeshkar from Ashiana (1952) is also set to the same raga.
The following two songs are based on the raga Yaman, one from each of the two music directors.
9. Zara si aahat hoti hai by Lata Mangeshkar from Haqeeqat (1964), lyrics Kaifi Azmi, music Madan Mohan
Haqeeqat showed the experience of a soldier in war based on the 1962 Indo-Chinese war on the Himalayan front. Dharmendra and Priya Rajvansh were the lead pair with others like Balraj Sahni and Jayant. The film was produced and directed by the leading director Chetan Anand. Chetan Anand started a dialogue with the Army and with their active involvement produced the film. As usual Madan Mohan rose to the occasion and gave many musical gems. This song is picturized on the heroine, a girl from Northeast. Another popular song, Ho ke majboor, was a group effort by four singers, led by Mohammad Rafi, the other singers being Bhupendra, Manna Dey and Talat Mahmood.
10. Man re tu kaahe na by Mohammad Rafi from Chitralekha (1964), lyrics Sahir Ludhiyanavi, music Roshan
A historical movie with Pradeep Kumar and Meena Kumari taking centre stage along with Ashok Kumar and Mahmood, Chitralekha is embellished with sapphire and ruby gems in the form of film songs set to music as only Roshan can. Mohammad Rafi thrills the listeners by singing in his well moulded voice and this will be one of his best in any music album.
Subodh Agrawal adds: Yaman, and its variant Yaman Kalyan, were covered in my second post. Like all great ragas it is capable of expressing a wide variety of moods. It was a favourite raga of Roshan, and one can do a post on Roshan’s songs based on Yaman alone. His son Rajesh Roshan has also used Yaman in the song ‘Papa kahte hain’, although his compositions lack the complexity and depth of the elder Roshan. Madan Mohan has not shown partiality to any particular raga. His two songs given above by Mr Rangan are truly outstanding. ‘Ja re badra bairi’ is one of the most delightful songs set in this raga. ‘Man re’ is more in line with the main mood of Yaman – a combination of Bhakti and Shant rasas.
11. Bainya na dharo balma by Lata Mangeshkar from Dastak (1970), lyrics Majrooh Sultanpuri, music Madan Mohan
Sanjeev Kumar and and Rehana Sultan are the hero-heroine pair. This song by Lata Mangeshkar is her usual best and she completes the assignment with aplomb. The song is set in the raga Charukesi, an import from Carnatic Music. Despite the passage of more than 45 years, this song is as good to hear now as it was in 1970 confirming the immortality of Madan Mohan sangeet. Another piece from the movie – Maai ri main kaase kahun by Lata Mangeshkar is in raga Marwa.
Subodh Agrawal adds: Charukesi, as mentioned above by Mr Rangan, is an import from Carnatic Music, and it has become very popular in concerts. I do not know enough about it to say anything more. ‘Baiyaan na dharo’ is among the best classical-based songs of Madan Mohan.
I wouldn’t have recongnized Marwa in ‘Mai ri main kaase kahun’. Marwa is a wonderful raga with a mood of pathos mixed with detachment. I am not aware of many film songs in this raga. When it comes to classical music, there is Amir Khan and then everyone else. Amir Khan’s Marwa is among the greatest recordings of classical music.
12. Hum intezaar karenge by Mohammad Rafi from Bahu Begum (1967), lyrics Majrooh Sultanpuri, music Roshan
A love story with leading roles by Pradeep Kumar and Meena Kumari, and buttressed by others, such as Ashok Kumar, Lalita Pawar and Helen. A reluctant Meena Kumari is inexorably drawn towards Pradeep Kumar when she listens to his singing with Ashok Kumar as a mute spectator. Mohammad Rafi sails through as is his wont. The song is set in the raga Durga.
Here is the same song as a duet by Asha Bhosle and Mohammad Rafi. This song must have preceded the solo in the film as it is sung in a happy mood by Meena Kumari in the company of Zeb Rahman and the male solo is probably a reminder to the heroine.
Subodh Agrawal adds: When it comes to Durga, I defer to AK – whose love for this raga knows no bounds. (AK adds: I am illiterate in music, but somehow I fell deeply in love with raga Durga. You might think that a raga which uses only five shudh notes of the scale and no komal notes would be severely limited. But raga Durga by any classical musician transports you to the divine. My favourite film songs in this raga are Chanda re mori patiya le ja, Brindavan ka Krishna Kanhaiya and Pankaj Mullick’s Sundar nari preetm pyari. However, some film songs may be quite disappointing. In my opinion Kishori Amonkar’s Geet gaya pattharon ne diminished her, and probably she realized that it was a mistake to foray into singing film songs. In the broad light genre, the ultimate in my list is Pankaj Mullick’s non-film song Ye raatein ye mausam ye hansana hansana. I have written a post titled ‘A novice’s romance with Raga Durga’.)
I am presenting a joint post, probably a first in SoY history. Constraints of space forced me to leave out many more outstanding songs in this genre. I expect the experts to do the needful confining themselves to these two music directors and songs based on classical raga. At least that is my hopeful wish. I do not mean to constrain the freedom of blog followers.
{ 120 comments… read them below or add one }
A great idea and a great jugalbandi as tribute to a pair of brilliant composers! I have several potential comments (some trivia, some agreements and some dissensions 🙂 crowding my brain, and I hope I find the time to post them during what promises to be a busy week ahead of me.
Roshan studied at the Marris (not Morris) College of Music, as stated by Ranganji. In fact, he trained under Pt.S.N.Ratanjankar himself. Here is a link to a talk by Pt.K.G.Ginde on Pt.Ratanjankar. Starting at 35:36, Gindeji speaks about how not all of Ratanjankarji’s students went on to become performing musicians but that they all contributed to the propagation of classical music. In this context, he takes the names of Pahadi Sanyal and Roshan.
https://www.youtube.com/watch?v=oprj26FNA8I
AK G , what an innovative idea of a tandem post , just gr8 !!!
Rangan G , of course a pat on the back .Thnx a lot.
Subodh G , thnx for the info.about the raga in the song , just like a lovely garnishing on a tasty recipe.
I want to make corrections of 2 minor details.
In song no.10 , the name of the movie is ” Papa kehte hain ” nd the song is ” Ghar se nikalte hi ” in raga Yaman Kalyan.
In song no.12 , Zeb Rehmaan shud b there in place of Naaz.
90 % of the bollywood movies hav the theme ” Do dil , ek jaan ” , same thing occurs here in this post ,
2 gr8 music directors , 1 post
Nd so also
2 gr8 writers of SoY , 1 post.
Looking forward for more nd more posts like this .
AK G , thanx a lot.
There used to be a rendition of ‘Garajata barasata bheejata aayilo’ in Gaud Malhar by Malini Rajurkar at https://www.youtube.com/watch?v=BbPtg7KjptY but I see that YouTube has blocked it for breach of copyright.
A great post for someone like me who’s completely illiterate in classical music and raagas.
But it added important information to my knowledge about it.
I don’t know about the raagas but I like the bandish from Raagrang by Lata Mangeshkar.
Ae ri aali piya bina
https://m.youtube.com/watch?v=fRAM68Wgqn4
Subodh ji and ranganji would enlighten us about this.
Some observation on/trivia about ‘Garajata barasata’ from ‘Barsaat ki Raat’:
1. The opening music (till the jaltarang starts) used to be the signature tune for Vividh Bharati’s ‘Sangeet Sarita’ till a few years ago.
2. The camera lingers on the jaltarang at the same time that the instrument is being played in the song.
3. At the start of the song, the singers can be seen keeping time to the ‘taal’ (which is ‘teentaal’)with their hands … and they are doing this correctly, with the upward wave of the hand for the ‘khaali’ and the downward wave of the hand for the other three ‘khands’ of the ‘taal’.
Roshanji had used an age-old ‘bandish’ as the template for ‘Eri jaane na doongi’ in ‘Chitralekha’. Subodhji had provided a link to a rendition of this ‘cheez’ by Rajan & Sajan Mishra in his post on film songs based on ragas, including Kamod, that he so aptly referred to as the ‘Romantic Quartet’. The clip seems to have been yanked off YouTube, so I have had make do with this competent rendition by Nirali Kartik:
https://www.youtube.com/watch?v=Vk6bC266Zp0&list=PLLyWDg5eWdfr0X0Z-PpExg13WWzZ7z6ZM
There is another version of this bandish, the ‘mukhda’ of which is ‘Kaare jaane na doongi’. Readers can listen to it towards the tail-end (starting at 33:32) of this virtuoso renditon of Kamod by Pt.Ulhas Kashalkar at a private ‘baithak’:
https://www.youtube.com/watch?v=_Wrq9S5O4vw
Subodhji,
I share your lament about there being very few songs in such a beautiful and sprightly raga as Kamod. I would attribute the paucity of Kamod songs/renditions to its ‘vakra’ nature, which puts restrictions on its melodic possibilities, except if the composer or performer is of the calibre of a Roshan or an Ulhas Kashalkar!
Song No 2
By any scale, both songs are not same, except tune and MD.
The Lyricist is different, so also Lyrics are different. The singers are also different. One can find hundreds of same tune songs in Hindi films.
Being a big Zero in Raagdari, if I am wrong, I am open to correction.
AK ji,
since last 1 or 2 months, every time I try to post a comment, I have to fill up name and mail id. Earlier it was not so.( actually, this discourages to post comments)
Is it that this is with only me or some others too ?
What is the solution ?
1 My tribute to the Twin Tower of Rhapsody.
2 Congratulations to AK for coming up with the brilliant idea of double tandem.
3 Thanks to Mr. Rangan for taking up the challenge of presenting both the MDs and doing a great job. Keep it up looking forward to many more…….
4 Thanks to Mr. Subodh, anaris like me can have SOME IDEA of the ragas of the relating songs
5 While reading thought that Ashwin and SSW would come up with added attractions, Ashwin has already begun, thanks to him too.
In fact, Madan mohan excelled in duets also. There are several duets with Talat,Rafi and Kishore as the male singers which are never forgotten.
Ashwin,
Thanks a lot for your comments #1, 2, 4, 6, 7 and 8. We often get confused whether it was ‘Marris College’ or ‘Morris College’. I have corrected it in the post. Looking forward to your more comments.
Pramod Godbole,
Thanks a lot for your generous praise. I have corrected one info, I am leaving Papa kahte hain for Subodh.
Anup #5,
Thanks a lot for your generous appreciation. Ae ri ali piya bain Is a traditional bandish in Yaman. Ashwin has already commented on this and posted some classical pieces. Lata Mangeshkar has sung it very competently.
Arunji #9, 10,
On song #2: Even for the uninitiated like me it is clear that the songs at #2 are composed in the same raga.
I have seen on all the blogs that for posting a comment you need to fill up the two or three fields: Name, email id, website (if any). I am surprised that earlier you were able to post comments without this information. I post comments on about four blogs, on none you can post without filling up at least the Name and the Email.
Mumbaikar8,
Thanks a lot for your generous praise. I am happy you liked the post.
KB #12,
One can also say the same thing about Roshan.
Like a splendid cover drive from the blade of Sachin Tendulkar, yet another fine write up from the ever flowing pen of Rangan ji. As I am poor in the knowledge of classical/carnatic music I have no comments to post on the songs accompanying the article.
MM was a brilliant composer but awards eluded him and so also the big banners, big stars like Dev Anand, Dilip Kumar, Raj Kapoor those days.
MM could get FF award for Dastak though was nominated thrice for Filmfare awards.
As regards Roshan his compositions are full of melody with less orchestration a style that the Great SD Burman followed..
What a treat! Both the musical giants almost everyone’s favourites. What a treasure trove they have left behind! Roshan has Rajesh Roshan” Naam Roshan karnewala”. I know Sanjeev Kohli,Madan Mohan’s son revamped his father’s unused or rejected tunes he accidentally found in VEER ZARA. He is a director and senior consultant at Yash Raj Films. I am sharing some facts he has beautifully written in an article on Madan ji.
Madan ji’s favourite things…
His evening drink.
His car…A Studebaker that he would wash himself,care for and call his ‘ baby’.
His Grundig and Akai spool recorders,a rarity and luxury those days.
His dogs, Sugar and Romeo… whose deaths devastated him so much he refused to allow the family to have pets later.
His evenings at home cooking for his dear ones from the industry… Lata ji, Chetan Anand,Priya Rajvanshi,Kaifi Azmi..
His big heartbreak…
Losing the Filmfare award to DOSTHI in 1964 was a big blow as he considered WOH KAUN THI as one of his personal best scores. But the loss again in 1966 to SURAJ ( he had MERA SAAYA) broke him down so much that when DASTAK ,1970,won him the Best Music National Award,he refused to go to Delhi to accept it. Sanjeev Kumar,who won the Best Actor award for the same movie was able to cajole him to relent!
An excellent set of variants – of presenting two music directors; by two writers in tandem; on songs from based on same Raag- is executed so well here.
Kudos to S/Shri Ranganji, Subodhji and of course, AKji,
MM and Roshan do call for several more posts.
Beautiful write-up on the musicians. They gave some excellent gems in HFM. I am classically challenged so I wouldn’t know about the ragas but Subodh Agrawal’s reference to Raga Marwa brought a memory back when I had heard a commentator on radio talk about this raga and saying it was a difficult raga to render and that few composers have attempted it in HFM, and saying this, he played this beautiful composition from the film Truckdriver, composed by Sonik-Omi and sung by who else but Lata:
https://youtu.be/-mlauDqtScA
DP Rangan JI,
Hearty congratulations for the excellent post and some lovely songs. Also, many thanks to Subodhji for additional information.
Ashwin, Subodh
Both of you would know whether this song is in Marwa or not.
https://www.youtube.com/watch?v=i3x7wgA1TeQ
I am not exactly sure because at times it sounds like Bibhas and at other times like Marwa.
One of my favourite LP songs the orchestration in the interludes is really in keeping with the scene, no mean effort needed to pull it of. Look at the first interlude with the bass guitar alternating with the santoor and then the strings in their long drawn out keening followed by the sarod.
In the second interlude the strings play the same melody as in the first but they come before and then it is followed by the rabab (I do not think it is the sarod) and then a light play on the strings before Lata comes in. The strings emphasize Lata’s voice and when her voice takes “geet sunaaye” that harkat across the notes and her move upwards when she sings ” prem pujaran” is gorgeous.
(Posted before) Different threads of #4 above in the film including a flute version at 13:45 ( I read somewhere that it may be due to Roshan, but cannot find the reference) https://m.youtube.com/watch?feature=youtu.be&v=iKMucBXstlQ
I have a query regarding the tandems
With whom should we consider SD Burman for a tandem?
Muli ji,
Salil Chowdhury, perhaps.
Rahul, Dr Shetty,
Some tandems are obvious. I din’t mean that every music director has to necessarily have his tandem. I wouldn’t stretch too much.
I am flabbergasted at the reception of the post. I just built a skeleton. Subhodji added flesh and blood. He deserves full kudos. My computer is down. Will respond in detail tomorrow.
I am flabbergasted at the reception of the post. I just built a skeleton. Subhodji added flesh and blood. He deserves full kudos. My computer is down. Will respond in detail tomorrow.
Heartiest compliments to AK, Rangan and Subodh sirs.
Marvellous post – evergreen songs from two MDs who belonged to the top-most category.
Though, during ninteen-fifties, Madan Mohan hardly got any silver jubilee hits; he was never out of work. He got four or five assignments every year. Quality of his compositions never went down.
Tyagiji,
Thanks a lot for your appreciation.
AK has written a great piece of introduction. Thanks for allotting more marks to me than what I deserve. Once again I emphasise Subhodji has rendered the post meaningful. Thanks for also answering on many comments which I ought to have done and covering my laggardness. Looking after two siblings here in Calgary has drained me of my energy and my internet session suffered.
Ashwinji – AK has answered your queries. Thanks for the note of appreciation for the post. Your comment @ 8 would be better answered by Subodji.
Pramodji – Thanks for appreciation.
Anupji – Very good of you to appreciate the post. Your other queries has been answered by AK
Arunkumarji – Thanks for your observation. The lyrics are different. I did not notice it earlier. Both the songs are rendered in one raag only.
Mumbaikar8 – Thank you very much for your views.
KB – Blog master has answered your query.
Vasudevanji – Thanks for your over generous appreciation of the post. I agree with you that Madan Mohan ought to have got a filmfare award. Dr. Shetty @19 has given some views on this aspect.
Dr. Shetty – Thanks for appreciation.
Ashokji – Thanks for appreciating the post. I agree with you that more can be written on both of them.
Jawaharji – Thanks for appreciation. Your query on Raag Marwa I would request Subodji to respond.
Kelkarji – As a guest writer yourself, I very much value your appreciation of the post and also lauding Subodji’s part in the post.
SSW – I think Subodji will answer your query.
Gaddeswarupji – This is a signature song in the film.
Tyagiji – Thanks for the appreciation. Madan Mohan was unlucky in that he gave immortaal music to B grade films and hence did not rise to prominence.
I have been away from my computer for a couple of days, but I kept following the comments on my phone. Writing responses on the phone was, however, not easy.
The initiative for the post came from AK. When Mr Rangan sent me the draft I realized he had done a thorough and complete job and left very little for me to do except provide the ‘garnish’ as ably commented by Mr Godbole in comment #3.
The comments from learned members of SoY community have, as always, enriched the post. Thanks to all of them, with special mention of Ashwin Bhandarkar. Thanks a lot, Ashwin, for reminding me of ‘Sangeet Sarita’ – that program initiated me into the nuances of classical music and provided the inspiration for my series of articles of classical songs from films.
SSW @ 23: ‘Bandhan toote na’ is a lovely song, but I don’t think it is Marwa. The composer has deftly used komal swaras unconventionally at various places in the song to create a poignant mood. In doing so the song gives glimpses of several ragas including Bibhas and Marwa. The raga I hear most often, however, is Puriya Dhanashri.
To my knowledge the only film song clearly in Marwa is ‘Payaliya bawari baje’ from ‘Saaz aur awaaz (1966)’. Even this song strays often into Sohni. Creating the mood of Marwa requires staying long on komal re to the detriment of all other notes – with dha making an occasional appearance. It is perhaps difficult to do that in a short composition. Even in regular classical compositions Marwa loses much of its appeal in faster tempo. Amir Khan’s vilambit ‘Piya more anat des’ is a marvel. ‘Guru bin gyan’ that follows on the same disc is nowhere close.
Sorry, I forgot to attach the link to ‘Payaliya bawari baje’. Here it is:
https://youtu.be/JOtrGK1JlA0
With zero knowledge of classical music,I am sharing borrowed information.
Asha Bhonsle’s Saathi re bhool na jaana mera pyar… from KOTWAL SAAB,1977, lyrics and music.. Ravindra Jain..is mentioned on multiple sites as a typical Marwa based song.
Experts please clarify.
Bhimsen Joshi’s Bangara more…Marwa?
Sanjh bhayi ghar aaja… Lata Mangeshkar,K Mahavir, Abhilash… from the 1993 albumn NON FILM TREASURES..( may have been recorded much earlier, Lata sounds very young)…Marwa?
Interestingly,Saanjh dale gagan thale hum kitne… UTSAV is also listed as Vibhas of Marwa that on another site.
Dr Shetty, ‘saathi re bhool na jaana mera pyar’, ‘Saanjh bhayi ghar aaja’, and ‘Sanjh dhale gagan tale’ are all strongly suggestive of Marwa, but they all have discordant movements and notes. I think film composers find Marwa in its pure form a little difficult to handle.
I couldn’t find a link to ‘Bangara more’ of Bhimsen Joshi. Please post the link if you have it.
AK, there is some problem with handling of cookies. Earlier I filled my name and email once, and after that it would come up automatically. It is not happening now.
Subodh,
It could be due to a different device or the updating of the WordPress. One has to simply put in the particulars.
Rangan ji and Subodh ji:
What a collaboration! This is a milestone in SoY’s history. And more of such posts would obviously be welcome. By the way, my pairing of MDs would be somewhat different. For instance, I would club together Naushad-Ghulam Mohammed, CR-MM-Chitragupta (the dominance of Lata in their oeuvre), SJ-KA-LP, SDB-RDB-Kanu Roy, Jaidev-Raghunath Seth-Vijay Raghav Rao, Salil Chaudhary-Sajjad, SN Tripathy-Basant Desai, OPN-Ravi-N Dutta (the list starts getting tenuous at this stage).
D P Rangan , A K , Subhod ‘[ji’s];
A very balance act of two great and most respected MD’s of our times. The MDs that carried forward the best of lyrics in their classic and popular music and songs ……for classic and easy listeners . Both some time catering for western and eastern audience alike.
What more was common was that one could easily identify their songs thru the instruments they used in their orchestra. Progression of a single instrument ….where it comes in , where it goes out , when it stands apart and where they support each other…..sort of different instruments working in tandem to create a pleasing sound …..was a mode of principle they worked upon . Just listen to Rafi’s song from Barsaat Ki Raat….and feel the sound of silence created by Roshan .
Mayus to hoon wade se tere…..
https://www.youtube.com/watch?v=MDR3s62YF08
Madan Mohan used hamonium as a filler in between interludes beside two main instruments in a fast duet in Dekh Kabira Roya……
Hum bulate hi rahe
https://www.youtube.com/watch?v=A08rgZaOfxk
…..to be contd.
……in continuation.
Best of lyrics…..yes in many of known and unknown films , by known or little known lyricists . A song from Zindgi aur Hum ….Lyrics by…Veer Mohd.Puri .
https://www.youtube.com/watch?v=BPkaaTBPCOs
tu humko dekh aur hamaari nazar se dekh,
meethee adaa se, pyaar se, pyaari nazar se dekh
tu humko dekh
rangat gulon se, chaand se ujalii sii chandni,
bulbul se taraane liye, koyal se raaginii
rangat gulon se, chaand se ujalii sii chandni,
sab husn-e-dil fareb kiye moorti banii
tu humko dekh . tu humko dekh.
hum woh nahin ke ho na asar jinki chaah mein,
ye yaad rakh ke tu hai hamaari nigaah mein
hum woh nahin ke ho na asar jinki chaah mein,
lekin hai ek shart mohabbat ki raah mein
tu humko dekh . tu humko dekh.
phuulon se khelanaa hai bahaaron se aake mil,
mil ne kii baat hai ye zaraa, muskuraa ke mil
phuulon se khelanaa hai bahaaron se aake mil,
aye hosh-daar hosh ka pardaa uthaake mil
tu humko dekh
tu humko dekh aur hamaari nazar se dekh,
meethee adaa se,pyaar se, pyaari nazar se dekh
tu humko dekh
Dr. Shetty to note the song that perfectly fill his garden .
Another melody with flute infusion famous with Roshan’s songs. Again beautiful lyrics by little known lyricist Shiv Kumar Saroj from same movie ….
Matwali muraliya aa baaji …..
https://www.youtube.com/watch?v=kYycN9O4s2Q
…..in continuation from #45…..
I will request Subodh ji to give a brief on raags of the above songs for our knowledge .
Thank you Subodh for the clarification. I’m glad my ears did not betray me entirely. I was aware about “Payaliya bawari baje” the point you indicate where it lapses into Sohini I used to think it was a foray briefly into Shivranjani. I like this rendition by Rashid Khan
https://www.youtube.com/watch?v=5WqXilPVvPA
Incidentally this sadder Yaman of Madan Mohan’s is one of my favourites especially the prelude with the bells and the the slow build up of the strings.
https://www.youtube.com/watch?v=ZDp1hEV_mqM
On Yaman and Roshan “Mehfil mein meri” has already mentioned the bandish in Raag rang “ae ri aali piya bina”.
I rather like this one by Asha in Dil hi to hai
https://www.youtube.com/watch?v=0JFqU7mPK7U
A one off for Roshan this composition is raga Kalavathi is wonderful.
https://www.youtube.com/watch?v=nOq53Glastw.
Roshan had some lovely flute passages in his songs.
As I mentioned before that komal nishad used in a pentatonic sequence always reminds me of the rains.
Mr Bhatia, thanks for linking these beautiful songs. I am not familiar with these. The songs of ‘Zindagi Aur Hum’ are really wonderful.
As for ragas, ‘Hum batate hi rahe’ is probably based on a folk or western tune. ‘Mayus to hoon’ suggests Pilu in places. ‘Tu hum ko dekh’ appears to have a base of Yaman with a garnish of Chhayanat. I wonder if it can be called Natkalyan. I am totally lost on ‘Matwali muraliya baje’.
SSW, thanks for the link to Rashid Khan’s Marwa. It is one of the better Marwas I have heard, after Amir Khan’s all time classic. You would notice that in the initial aalap, say for the first 5-6 minutes, he spends half his time on komal re, and the remaining half on all others, with dha taking a major share. That’s what Marwa needs to establish its mood, and it is not possible in a short piece.
AKji, No 41 and 42
This is exactly what I had asked you. Earlier, the moment I opened SOY, my name and mail id used to be in the place, but now every time I have to fill up.
-AD
Subodh ji @50;
Roshan did a wonderful job in uplifting little known lyricist in Zindagi aur Hum . So to say ….it matter little whether the song is by sahir or others …..the composition remained top class…… perhaps the gems of Zinadgi aur Hum got lost or rather over shadowed by popular one like Barsaat Ki Raat . The other reason could be that the generation of 60s were enjoying popular numbers more than the classic ones due to rapid urbanisation taking place during that time .
Madan Mohan gave good western melodies during 50s . One can easily compare the orchestra interludes of …..Hai unki wo nigahen…..from Aakhri Daao [1953] to interludes of ….aangreeza….of Bhaag Milkha Bhaag [2016]. The other song I like the most is ….Zamin pe humhein aasman pe …..from Adalat [1958].
https://www.youtube.com/watch?v=I66cqXXrNbM
https://www.youtube.com/watch?v=9zHbMQWRJTg
Rangan ji, Subodh ji;
While the very famous triple songs of Dekh Kabira Roya by Madan Mohan are well known , a few must be knowing of Roshan’s Triple one from Mamta[1966] . The songs that are infused into one …….indicating the life as it come ….and as it goes . Every piece of words and stanzas are worth weighing in gold . One of the best classic song from Roshan.
Hum gawanwaa na jaibo , Sakal gagan ban , Vikal mora manwaa……Lata ji
https://www.youtube.com/watch?v=vhcoJHFG05Q
The three Raagas please .
Rangan ji ;
Like two repeats of song #2 …..Garjat barsat sawan ayo re…..Roshan did the same earlier too with two songs , one tune from 1958 movie…Aji Baas Shukriya ….and ….Zindgi Aur Hum of 1962 .
Saari sari raat teri yaad sataye……..
https://www.youtube.com/watch?v=VI9f_FFzkE4
Cheen Liya beiymaan mera dil……
https://www.youtube.com/watch?v=fbvdr38wPDM
One can write separate posts on MM and Roshan. But Rangan ji, you have grouped them together but conveyed all about their music. Subodh ji’s comments have come as icing on the cake. Kudos to you both.
I am waiting for Subodh ji’s posts on new and more ragas.
Both MM and Roshan had their own unique styles with predominantly clssical based tunes using indian instruments.
I am always facinated by the percussion beats in the song “Chayee barkha bahar” (Chirag)
By the way Subodh ji, what raga is this?
Arunji @ 10 and 52 Mr. Subodh @41, AK @ 42,
I think, some change in browser settings has made the difference. ( In filling of id and email)
Try adding your id and email in browser setting’s autofill.
Disclaimer, I am as savvy in computer as in classical music, it worked, on trial and error basis for me, hopefully would work for you too.
Subodh G ,
in song no.10 U hav mentioned
” His son Rajesh Roshan has used Yaman in song
‘ Papa kehte hain “.
But I think it should be like this
” His son Rajesh Roshan has used Yaman ( Kalyan ) in film ‘ Papa kehte hain ‘ in the song ‘ Ghar se nikaltehi , kuch door chaltehi , raste mein hai us ka ghar “.
Giri @56. I think it is raga Megh. But the sitar piece does not follow the raga, at least to me. It has some lovely musical interludes too.
@59 On second thoughts sections of it seem to be in Malhar too. The rapid sequence of notes are required to simulate the raindrops are so similar in all the Malhar related ragas.
Pramod Godbole @ 58: You are absolutely right.
Giri @56, and SSW @ 59 and 60: The sthayee of the song does sound a lot like Megh. The instrumentals and stanzas go off it completely. I don’t really hear Malhar – in the sense of Miyan ki Malhar. I think MM has mixed ragas freely.
Thanks, SSW and Subodh.
D P Rangan ji ;
We still are in the same time zone and hope you are enjoying the pleasent weather in the sweet company of your family as I am.
The present topic is so interesting as I am keeping myself tossing between Roshan and Madan Mohan’s great composition and enjoying the retro times. Madan Mohan’s randomly chosen melodies / classics that are fav, of mine are shared herewith …..
The all time great melancholy / sad song of all time…
Main yeh sooch kar…..Rafi….Haqeeqat
https://www.youtube.com/watch?v=RHredCij6JU
Do ghaadi wo jo paas aa bahethe……Rafi , Lata…..Gateway of India
https://www.youtube.com/watch?v=H8qENpk2GuE
Tum bin jeeven kaisa jeeven……Manna Dey…..Bawarchhi
……and now the greatest duet melancholy of all time….
Humsafar saath apna chhod chhale….Rafi, Asha….Aakhri Dao
https://www.youtube.com/watch?v=FCt2PeLwKTU
…..in continuation ,
missed posting …tum bin jeeven…song !
https://www.youtube.com/watch?v=6LU4TA9KcA4
Raag Yaman and both Madan Mohan and Roshan excelled !
Jia le gayo ji mora sanwariya……Lata ……Anpadh
https://www.youtube.com/watch?v=Ty8Js132VZo
Chhupa lo yun dil mein pyar mera….Lata, Hemant….Mamta
https://www.youtube.com/watch?v=wstxx7H_9fs&list=PLUSNOgMQ8JXwPjq1xPsWE3zGccNu9jI7Z&index=7
Subodh ji @50;
I am still lost ….hearing again and again ….Matwali muraliya aa baji…
This generally happens when suddenly we find the lost charm that is related to your bygone happy hearing days . Yes ; happy hearing days of Radiogram ! Such songs of 60s were really mesmerizing . One more such beautiful Yaman based song from Chitralekha [1964]
Sansar se bhhage phirte ho……Lata….Wonderful and Meaningful lyrics by Sahir……Roshan
https://www.youtube.com/watch?v=7bDwOaa61bQ
Aeri mainto prem diwani is I think Lataji’s one of the best song ever. All the songs in Naubahar were very good. My other all time favorite is Dekhoji mera Jiya churaye liye jai from Naubahar. I do not know what rag is that. Also light hearted song Unke bulavepe dole mera dil and Talat’s Kisi surat lagi dilki.
One trivia. Lataji refused to sing for Aankhen for Madan Mohan because he did not have formal training in music and Mina Kapoor sang them. However songs from the movie were big hit and she liked them so she agreed to sing for him and rest is the history for the duo.
Gulabji,
Thanks to you, I got to listen to ‘Dekhoji mera jiya churaaye liye jaaye’ after a long, long time. What a melodious song! As far as I can tell, it is in Raga Tilak Kamod.
Check out the segment of the ‘taan’ between 1:04 and 1:08 in Lata’s rendition of ‘Eri aali piya bina’ from ‘Raag Rang’
https://www.youtube.com/watch?v=C4z2LXBAxQI
and the segment of the ‘taan’ taken by Asha between 5:31 and 5:35 in ‘Nigaahen milaane ko jee chaahta hai’ from ‘Dil hi to hai’
https://www.youtube.com/watch?v=4Ig6N3t0LK8
They are identical !
Charcha on Charukeshi:
1. The scale is the same as that of Nat Bhairav except that Charukeshi has a komal nishaad.
2. I attended a morning concert by Pt.Vijay Koparkar last Sunday, a day after this post had been published, and guess which raga he began his concert with? Charukeshi! He later stated that there are 2 main ways in which the raga is interpreted:
(a) akin to Bhairav with GMRS (albeit with the shuddha Re) and GMdP, in which case it is sung in the morning
(b) akin to Darbari with dnPS, dnRS, etc. (Ustad Amir Khan’s approach) , in which case it is sung in the night
Rajan Parrikar has also stated more or less the same in his blog though he is silent on the time of performance of the raga.
3. Here’s a commercial recording of Malini Rajurkar’s rendition of Charukeshi brought out by the Alurkar Music House:
https://www.youtube.com/watch?v=LPK6PYfDm4s
4. ‘He suraano chandra vha’ , a natyageet composed, and sung here by, Pt.Jitendra Abhisheki, is in Charukeshi:
https://www.youtube.com/watch?v=MAlVf979iNI
Coincidentally, Vijay Koparkar learnt from Abhishekibuwa (as well as from Pt.Vasantrao Deshpande).
5. While the ‘foundation’ of ‘Baiyyan na dharo’ rests on Charukeshi, the tune makes some lovely forays into Chhaya Nat (for e.g, in ‘hasengi re chudiyaan chanse’) and into Shuddha Sarang (for e.g in ‘raah mohe nihaar’)
While it hardly matters in the larger scheme of things, I thought I would register a small quibble on the classification of the Yaman/Yaman Kalyan songs above. ‘Jaa ri badara bairi jaa’ is in Yaman and not in Yaman Kalyan, while the following 2 songs (‘Zara si aahat’ and ‘Man re’) are in Yaman Kalyan.
Another point worth mentioning wrt ‘Zaraa si aahat’ is how beautifully Kedar has been woven into both the antaras!
Nice catch Ashwin, that taan is very familiar to me because I have the record of Dil hi to hai” but Raag Rang is less familiar territory.
Many years ago I had heard Sanjeevani Bhelande sing “Nigahen milaneko ji ,,,” on TV in some competition.
While searching I found this video with her singing it at a live show. Her voice seems to crack slightly at the taan..
https://www.youtube.com/watch?v=BvLJwCDC79Q
I like the orchestration , the mandolin the dholak and clarinet, I wonder where the flute is when the clarinet is playing, I can hear it in the background.
Since ‘E ri aali piya bin’ has been mentioned so many times, let me share this modern version that I find very good, from DIY Raga Labs:
https://youtu.be/JKZhsbFh7vs
‘Dekhoji mera jiya churaye liye jaye’ is Tilak Kamod as rightly observed by Ashwin Bhandarkar.
SSW @ 23, Subodhji @ 37
On ‘Bandhan toote na’: Had never listened to this song before. I suspect that LP have deliberately tried to experiment with weaving together the scales of Kalyan, Poorvi and Marwa thaats in this song, and the result is intriguing but nice on the ears! I can hear the following ragas in the song:
1. Puriyadhanashree
2. A variant of Yaman/Kalyan
3. Poorvi (for e.g. in the segment ‘lag jaaye meri preet’)
4. Puriya Kalyan (rather than Marwa because the pancham is very prominent and in proximity to the shuddha dhaivat, whenever the latter is used)
Dr.Shetty @39,
Yes, ‘Bangari mori muraka gayi’ by Pt.Bhimsen Joshi is in Marwa.
Subodhji @41,
Here are links to Bhimsenji’s rendition of this cheez:
https://www.youtube.com/watch?v=_Ioj0Kywun0
https://www.youtube.com/watch?v=2TWbXXRAo34
To me, the most moving rendition of a drut cheez in Marwa is this one by Vidushi Gangubai Hangal. It is so poignant and touches, nay pierces, the heart straightaway.
https://gaana.com/song/sun-sun-batiyan-marwa-dr-gangubai-gandhari-hangal
The page also has links to recordings that she had made in the late 30s, prior to her tutelage with Pt. Sawai Gandharva and prior to the surgery that changed her voice forever. Her name on these 78 rpm records was given as Gandhari Hangal or Gandhari Hublikar. These recordings were released as cassettes on the occasion of her 75th birthday celebrations in 1987-88.
It must also be pointed out, and with no disrespect meant to their talent and genius, that the MDs of the Golden Age did ‘lift’ tunes from the West. For instance, Roshan borrowed the opening portion of ‘Return to Paradise’ by Ron Goodwin for ‘Rahen na rahen hum’ in ‘Mamta’.
Return to Paradise:
https://www.youtube.com/watch?v=sbu9VySmtH0
Rahen na rahe hum:
https://www.youtube.com/watch?v=33bc3ReYKh0
Canasyaji – Thanks for appreciating the novelty introduced, post by more than one guest writer. You will agree it was inevitable considering the subject on which it was written. Pairing of music directors on similarities is a subjective issue and each can have his own permutations and combinations.
Bhatiaji – Thanks for your views and the shower of songs which I always expect from you. I am sure you will post more on such songs till it is exhausted.
Giriji – Much appreciate your concordent views on this post. Hope you are satisfied with answers given by SSW.
Gulabji – Nau Bahar is indeed one of the best performances of Roshan. I searched for second part of the Bheemplasi song in Shakespere Sarani in Calcutta and on the footwalks of Bombay. I got it from a pavement seller in Connaught Place in 1965 and paid him Rs. 10 for recording on a casette.
Ashwinji – Thanks for the writeup on Charukesi. I can give a description as per Carnatic Music system. It is classified as a melakarta ragam meaning all seven swaras in arohanam and avarohanam. I also thank you for the detailed dissection of the songs I posted and making corrections and describing traces of other ragas. Subodji can give a better comment than me.
Great presentation Subodh
Ashwin thanks for the detailed breakdown, Subodh too had earlier earmarked Puriya Dhanashree as being touched more often. Uncommon ragas are for me, difficult to catch because I usually try to get the tonic Sa in the absence of a chord framework. Mome ki Gudiya had some interesting songs, and even Anand Bakshi sang a duet in it.
Interesting mention of Poorvi though. Not used that often either in HFM,
Ashwin @ 78
Roshan was smitten by this beautiful tune early in his career, it didn’t do as well, he repeated it again in Mamta with expected results.
Chandni Chowk Tera dil kahan hai
https://youtu.be/LjnG5-XnQTw
I forgot to mention that I really enjoyed the post. What a tribute to two great composers who did not get as much recognition as they deserved because that was the great era of commercial musicals dominated by S-J, Naushad, C. Ramchand, S.D. Burman, O.P. Nayyar. Salil Chawdhari, Hemant Kumar, Khayaam, Jaydev were also relegated to second tier.
By the way one forgotten gem of Roshan is Humlog. The movie was a hit and songs were super hit. Music company could not keep enough records of bahe ankhiyonse dhar jiya mera bekarar. Also Chhun chhun baje Payal, chalija chalija chalija, Gaye chalaja, dilki pareshaniya, Apni najarse unki najar tak and western tune Bogi bogi bogi yo yo yo yo.
Mumbaikar8 and Ashwin,
The prelude of the Mamta(1966) song is inspired by the tune Senargi’u (Return to Paradise) from Ron Goodwin’s album which was released in 1963.
Apparently Kersi Lord said in an interview that all 7 songs in that album were appropriated by HFM directors. I don’t think they were Ron Goodwin originals either. Some of the originals were composed by the Rahbani brothers from Lebanon.
The actual melody of the mukhda in Chandni Chowk and in Mamta and in Naujawan and in Saagar is said to have been inspired by this number (which is much older) by Charles Boyer.
https://www.youtube.com/watch?v=aISRytmhTjQ
Regarding “Rahe na rahe num” and its source, chances are that the original tune was composed by Mohammed Ygerbuchen for the original French film Pepe le Moko which was remade as Algiers in English with the French actor Charles Boyer. The original French film is supposed to be very good. Ygerbuchen collaborated on Algiers too.
Thanks, SSW. ‘Desert Hero’, is another of Ron Goodwin’s songs that was made use of in HFM, this time by Kalyaniji-Anandji in ‘Chhalia’. The original song featured in Ron Goodwin’s ‘Music for an Arabian night’, released in 1959. ‘Chhalia’ was released in 1960.
BTW, the scale is that of Raga Nat Bhairav.
‘Desert Hero’:
https://www.youtube.com/watch?v=CJ9I32zUBbc
‘Baaje paayal chhun chhun’:
https://www.youtube.com/watch?v=wD6AUzUGE1c
Correction @86 – The scale is that of Raga Ahir Bhairav.
D P Rangan ji ;
There was a time when some MDs were going OPN,s way …..perhaps following OP,s success or fanfare . Roshan and MM did that too …..and ofcourse both of them being punjabi kept folk tunes in mind also.
Some such songs here and have to dig for more.
Sharab ka sahara le ke ……Rafi…..Commercial Pilot Officer[1963]……Roshan …[ used drums and dholaks ]
https://www.youtube.com/watch?v=EDs1Ag0lS_Q
Kaan mein jhumka chaal mein thumka…..Rafi, Suman ….Ditto as above [ Roshan going OPN,style entirely]
https://www.youtube.com/watch?v=qHmsMYaQk1U
O meri hirni jaisee chaal o mere ghunghar wale baal……Asha, Rafi….Jailor [1958]…..MM using folk tunes and OPN,s style orchestra
https://www.youtube.com/watch?v=_u5KIWp8rC0
Pyar ki nishaniyan sunaye yeh kahaaniyan…..Asha…ditto as above….
https://www.youtube.com/watch?v=ecGiI-u6DdA
The above songs do bring the nostalgic days of radio times . Practically all the households of the colony or streets playing songs at full volume during lunch time music . At night …..Forces request and ….a date with you …..were my favourite.
Thank you Ashwin, you are right the original mono LP release of Music for an Arabian Night was released in 1959 and Return to Paradise is a composition of the Rahbani Brothers. The actual melody that starts around 0:59 sounds a bit like “Main aaashiq hoon baharon ka” by Shankar Jaikishan,
That’s amazing! This flood of musical info in the comments makes me feel good at being partly responsible for making this happen.
S. S. W ;
The melodies of Arabian nights are great and the orchastra is par excellence. The cassettes and cd’s are priced possessions. Three or four hindi songs are based on these musical marvels like ……baaje payal chhum chhum ho ke bekarar _kalyanji Anandji …..maine bulaya aur tum aaye..shankar jaikishan. A great pleasure to listen such arabic tunes and enjoying their bollywood counter melodies as well.
I partly recall an old Hindi film song based on the tune of Miserlou. The words were somewhat like ‘Raaste…..mera pyaar’. It was in female voice. Can anyone place it?
Link to Miserlou:
https://youtu.be/-y3h9p_c5-M
Subodh ji ,
Laxmikant Pyarelal copied Miserlou tune in Lootera song……Raat se kaho ruke jara …..sung by Lata ji . Here is the link….
https://www.youtube.com/watch?v=pgYT_HMAyjM
Mr.Bhatia @91, I’m not so sure that the Rahbani brothers melodies were strictly Arabic. They were popular composers and were influenced by a variety of styles.
Dick Dale’s interpretation of Misrlou is quite different from the original which would be closer to this, though this is probably closer to the Greek version than the Arabic
https://www.youtube.com/watch?v=F6mfdTIrYnQ
I remember Vishal Bharadwaj used a portion of it in this song.
https://www.youtube.com/watch?v=BQcrwIHxcMA.
I have an album of Roma music and they seem to have adapted the tune too. These are Roma from Hungary
https://www.youtube.com/watch?v=bA37uhK7IXQ&list=PL_Ebw2sIa1IqEeYDyr85RRS6OpPPX7CBS
SSW;
Well you have hit the target though I may differ on Hungarian version .
I am giving a link of the Cassette and CD that I have in my safety box….Music for the Arabian Nights…..by Ron Goodwin …..wherein one will find five or six hindi famous songs lifted or rather used by top music directors like Shankar Jaikishan , Roshan, Kalyanji Anandji , S D Burman etc. Just one link covers all these Arabian based songs .
https://www.youtube.com/watch?v=0f-FyU056vY&list=PLySH4OoKOrWukVWkwICo-uFnQ35hh9seK&index=2
Continue to listen 2,4,5,6,8 from the playlist .
Thank you Mr Bhatia for ‘Raat se kaho….’. The tune of this song was used as the signature tune of Antakshari anchored by Annu Kapoor and Durga Jasraj.
Thanks SSW for information on Miserlou. I first noticed it as the title music for Quentin Tarantino’s ‘Pulp Fiction’.
The Madan Mohan – Roshan music posting started with showering our praise on their great creations but the track changed and a new supplementary topic emerged in the form of lifting of tunes by Music Directors and then the Arabic music style and it goes. It is happening to many of the posting. Can it not be stopped as the very purpose of the posting initiated by the author gets lost. This is my frank opinion.
As regards lifting of tunes by MD – it is a common thing. Most of the MDs have done it and doing it. They do not lift fully as it is but gets some idea and they build on it. So why we should discuss at length at all. Again this is my view.
Let us not tear the main fabric of an article which its author has put up after deep study and homework.
Mr. Vasudevan @97. Most people who are interested in music are also interested in musical forms. So it is perfectly okay to stray away from the topic to see the origins of popular song . If you don’t like it relax and accept it.
SOY is light information. It is not a doctoral dissertation which requires deep study. People will digress musically.
Tell me what you think of this tune. One of Madan Mohan’s superb compositions .
https://www.youtube.com/watch?v=4f9rcpCmbkI
Thank you Mr SSW – I do not know your full name.
MM is one of my all time favourite composer. My point in my posting was that we are drifting away from the main issue. I will avoid venting my own views.
The song is a real pathos from the Haqeeqat. It has the combination of fine composition, well rendered, beautifully written and orchestration limited but fitting one. What else a great song should have or one feel wants to.
Mr Vasudevan,
“I will avoid venting my own views” – it has the tone of being offended. As the blogger I step in if something like this happens. Did anything happen? Adding further to what SSW has said, SoY has evolved into a forum where wide-ranging discussions take place. There is a self-selection in that active participants are all highly educated and experienced. This has become the strength of the blog. Think of the other extreme – it would make the blog trivial with list of songs. Open-ended discussions have made all of us more aware. I would request you to participate freely.
Vasudevan ji;
If something or someone drift into a situation , they get into the situation which is not planned or controlled . Sea waves and sand makes beautiful sounds while drifting before they settle down . Music and waves of sound too have no bounds when they travel except in vacuum . They make beautiful music as they roam and enjoy the nature as well. ……….Here I am reminded by David Lean , an ace movie maker of all time . See his passion how he made use of nature as backdrop of his movies and the music that fits perfectly into narration.
Riverscapes in ….Bridge on the river Kawai
Sandscapes in …..Lawrence of Arabia
Snowscapes in ….Dr. Zhivago
Seascapes in…….Ryan’s Daughter
Landscapes in …..Passage to India
The music of the drifting sands were beautifully composed in Lawrence of Arabia ….some of the notes of which were adopted by Naushad Sahib as Title Theme of one of the TV production serial produced by Sanjay Khan.
SoY , earlier carried beautiful articles on Version Songs . They are were the results of the widening scope vis a vis knowledge of the readers .
Here is one example of the song composed by Madan Mohan that got drifted to in a Telugu version as well as repeated in one more hindi film of the mid 50s. Here are the Links…….
Mera chhota sa dekho ye sansar hai…….Bhai Bhai [1958]….MM
https://www.youtube.com/watch?v=rjDQy-7rey4
Man soona tere bin ……Lata, Usha….Jai Singh [1959]…Ramesh Naiydu
https://www.youtube.com/watch?v=VRr4eaOI7Hc&feature=youtu.be
Manasyna……Ravu, Komala….T.V Raju {MD]
https://www.youtube.com/watch?v=9jgZkx6xTbI
AK, Rangan ji;
Roshan,s songs carrying the stamps of OPN again…..
Khanke to khanke kyun khanke…..Rafi, Asha…Vallah kya baat hai
https://www.youtube.com/watch?v=W8wi9Lwd77o
Naino mein kyun aan basse….Lata, Mukesh….Warrant
https://www.youtube.com/watch?v=daUC8DZn-T8
Rangan ji, AK ji ;
Well there has been a number of Mukesh songs which were very popular and were holding top of the chart positions also ; but I feel there were many of Mukesh’s gems of songs which could not rose to those heights . May be they were too sad or slow but exploring them now brings out the Qualitative features to the forefront . Listen to those now and enjoy the soft melancholy melodies .
Hamen aye dil kahin le chal……Chandni Chownk [1954]
https://www.youtube.com/watch?v=Y1ReYy1wz60
Ek jhoothi tassali wo deke chhale…..Sheesham [1952]
Jhil mil taare karen ishhare soja…..Mukesh, Suraiya….Mashooka [1952]
https://www.youtube.com/watch?v=jNNOSq6gC5E&t=74s
Tere pyar ko is tarehen se nibhana….Maine jeena seekh liya [1959]
https://www.youtube.com/watch?v=sDJHDcGOcyA
Ho o dil na ligana……Mashooqa [1953]
https://www.youtube.com/watch?v=6JtDcs3UnfI
We all must acknowledge the beautiful wordings of each of these songs written by various lyricists . Hats off to them .
…..oops ! missed posting one link…..
Ek jhoothi tasaali ke liye…….
https://www.youtube.com/watch?v=pRXGKKYbZB0&t=34s
…..to be contd.
KS Bhatiaji,
You write beautiful poetry (#101)! If you have not published your poetry earlier, I am happy that SoY is providing a forum for recollections of your emotions in tranquility. That endorses the point we were making to Mr Vasudevan. The apparent drift finally finds its resting place at music, just like the classical singers coming back to सम again and again.
I should thank you for giving the version songs of Mera chhota sa dekho ye sansar hai. Man soona tere bin is a great discovery. Now we have to only settle whether Madan Mohan was inspired by the Telugu song, or other way round.
Is hating at 101, Jayasimha was made in 1955 and Bhai Bhai in 1956 and it seems unlikely that T.V.Raju borrowed the tune from Madan Mohan. Bhai Bhai itself was adopted from a 1954 Tamil film ‘ratha pasam’ and it is possible that there may be a similar tune there or in some other earlier film.
@58 – I have seen tamil original amd no such tune can be detected. One has to hunt for earlier Madan Mohan film songs to identify the original. Music directors themselves adopt their earlier tunes with minor modifications in later versions. In 60s, many films in south portrayed badly plagiarised versions of popular Hindi movie songs.
D P Rangan ji ;
I entirely agree with you .
During mid 40s thru mid 60s there were quite a number of south indian and mumbai films which were made either simultaneously together or dubbed in multi languages having same stories ….sort of based on same themes . These films carried songs which could easily be identified as they were true to each other tunes or almost same . So which tune come first is still a question . It was surprising that such songs carried different MDs.
AK ji @ 105 ;
Thanks for your appreciation . I have learned many splendid things thru S o Y . I go where music takes me….adding imaginations move me further. I live my present along with beautiful past….or nostalgia ! This makes me enjoy my past along with present .
Right now I am looking for Mukesh “sMadan Mohan songs which are different and less heard.
A K Ji , Rangan ji ;
In continuation from #109 , a cross section of MM songs which carries different flavour than of his style known to every one . A pitch against Roshan’s little known songs @ 103 and 104 .
Preet laga ke maine…….Ankhen [1950]
https://www.youtube.com/watch?v=lk4Bys1tx5I
Chal chal chal mere dil….Mukesh, Johny Whiskey…Akeli mat jaiyo [1963]
https://www.youtube.com/watch?v=mSXtBI0YRYE
Humse nain milaana B A pass kar ke….Mukesh, Shamshad…Ankhen [1950]
https://www.youtube.com/watch?v=ac2At2mfsDQ
This second song came in a few threads before and at 101 above, According to an expert on Telugu films “Some of the hit numbers drew inspiration from Hindi songs. The duet ‘Ee naati ee haayi…’ rendered by Ghantasala and P. Leela was taken from Ghulam Mohammed’s composition, ‘Jindagi dene vale sun…’ (‘Dil- E- Naadan’) and Rao Balasaraswati, A.P. Komala’s rendition, ‘Manasaina cheli pilupu…’ adapted from Shyamsundar’s composition, ‘chori chori aagse dilme…’ ( ‘Dholak’) are examples.” from https://www.thehindu.com/features/friday-review/blast-from-the-past-jayasimha/article6317743.ece
Gaddeswarupji,
I heard the songs again. Mansaina cheli pilupu uses the interlude music of Chori chori aag si dil mein lagakar chal diye. But the tune of the song is quite different which has been copied by Madan Mahan in Mera chhota sa dekho ye sansar hai and by Ramesh Naidu in Man soona tere bin haaye re, the links of the two Hindi songs have been given by KS Bhatiaji @101.
Mansena cheli pilupu from Jaisimha (Telugu film)
Similarly, the link between Eenati ee hayi and Zindagi denewale sun is quite tenuous, though interludes music seems to be similar.
Eenati ee hayi
AKJi at 112, Thanks for the clarification. Perhaps, i’inspired’ as the reviewer says is the right word. This is another topic one can take up. Some of the inspired and adopted songs seem quite transformed,
It appear dear Bhatia sir is back from his holidays spent in USA. I came across his brother in Vasant Kunj, New Delhi.
A mention had been made of Mohd Rafi’s “kaan mein jhumka” a song from film Saawan Bhadon(1969). The MDs are Sonik Omi and not Roshan as mentioned. It doesn’t look like an inspiration from OP Nayyar’s music.
Regards.
Tyagiji,
Please listen to the link given by KS Bhatiaji @88. This is a different song though the initial words are the same. It is a Rafi-Suman Kalyanpur duet from the film Commercial Pilot Officer (1963).
Thanks, AK ji
I am here once again because I was reading on something and landed on this blog and this particular post and have now read the whole article and all the comments.
Enjoyed the post and the comments by Subodhji as well as each and every song shared. A wonderful series this has been…very innovative and informative, bringing out the comparison between the two friends and composers.
Just wanted to share here….
kaan mein jhumka chaal mein thumka k.s. bhatia @ 88 as shared by you, I think this is the song you are talking about…
https://www.youtube.com/watch?v=Zg6wg-gkNDo
then this is composed by Sonik Omi and not Roshan….
AK ji
This post was unique and very innovative. I sometimes revisit this, the song herein are really evergreen. The readers added more colour by linking up many more songs and compositions, some of them from foreign lands.
Our brother, late Bhatia saheb, brought in some interesting songs. The songs from film Commercial Pilot Officer brought in varied flavours of Roshan’s music. The song “Rimjhim rimjhim kajri badri” in this film was very catchy. Asha Bhosle in top form, livening up the lyrics written in the dialect of Eastern UP. These were the early years of Anand Bakshi’s career; a couple of years later he got his opening through movies like ‘Jab jab phool khile’ and ‘Devar’.
I beg an information from AK ji:
Is the above-mentioned song ‘Rimjhim rimjhim ‘ is set in Kajri format of folk music?
Regards .
Tyagiji,
Thanks a lot. for your appreciation. The best is I give links of the songs to give you a feel. Here is the Roshan-composed song you have mentioned.
Rimjhim rimjhim kajri badari barsan laagi re from Commercial Pilot (1963), music Roshan
https://www.youtube.com/watch?v=XTVQ2bZyCHs
Dr Soma Ghosh is the leading exponent of purest Banarasi folk, kajri etc. She was the foster daughter of Ustad Bismillah Khan, that explains her felicity with Poorvi. She is now trying to revive interest in old-style mujra singing by the tawaifs, with similar gaudy dresses and jewellery, and gestures. Here is her kajri in pure Banaras-style.
https://www.youtube.com/watch?v=kFNrxqXa5ck
No mention of kajri is complete without mentioning Girija Devi, the doyen of Banaras gharana. Her folk would veer towards semi-classical than pure folk.
Barsan laagi badariya rumjhum ke kajri by Girija Devi and Ravi Kichlu
https://www.youtube.com/watch?v=hSlthw4PRms
All three give different feel. I would not call the film song kajri. If you want pure folk, Dr Soma Ghosh is one of the best. If you prefer light classical, Girija Devi and Pt. Channulal Mishra are the singers to listen.
AK ji,
Thanks for the illustrative songs. Will soon listen to them.