A tribute on his death anniversary on November 16
I have expressed great admiration for Roshan at several places in my blog. Among the greatest and most melodious songs of Lata Mangeshkar, Roshan compositions occupy a very high place. He did not achieve big commercial success as some of his peers, but for music lovers he was among the greatest, especially as regards his songs for the two titans Rafi and Lata Mangeshkar. His compositions were unmistakably identifiable with incredibly beautiful use of the flute and sarangi.
As per Wikipedia he was born on July 14, 1917 in Gujrewala in Punjab (now in Pakistan). He had keen interest in music from early childhood. He had formal training at Morris College (Bhatkhande College of Music) under SN Ratanjankar, was hired as staff artist by All India Radio for playing dilruba, went to Bombay in 1948 and became assistant to Khursheed Anwar. He struggled until he met Kidar Sharma who gave him a break in Neki Aur Badi (1949). The film flopped, but Kidar Sharma must have been impressed by him enough to continue him for Bawre Nain next year, which became a musical landmark.
Interestingly his early films did not have Lata Mangeshkar, but from the very next year he composed songs for Lata Mangeshkar which have become immortal. In this sense Roshan – Lata association mirrors that of Madan Mohan with Lata. This was further consolidated when Amarnath Productions of Mehbooba (1954) sought to replace its music director Roshan midway with OP Nayyar who had become a roaring hit with Aar Paar. Lata Mangeshkar took cudgels on his behalf which led to her complete break with OP Nayyar, but a very enriching association with Roshan.
Lyricists Anand Baxi and Indivar had their first break with Roshan.
Roshan died at a young age of a sudden heart attack on November 16, 1967. The song Mehlon ka raja mila from Anokhi Raat, which was composed by him, was recorded posthumously. Here are my ten favourite Roshan-Lata songs as my tribute to him on his death anniversary.
1. Ae ri main to prem diwani from Naubahar (1952), lyrics Satyendra Athaiya
Ashok Kumar and Nalini Jaywant were the lead actors in the movie. The first two lines are a traditional Meera bhajan, rest of the lyrics are different by the lyricist Satyendra Athiya. If Beena madhur madhur kachhu bol was not there, Ae ri main to prem diwani would have been the definitive Bhimpalasi. I regard this as the undisputed No. 1 Roshan-Lata song.
2. Garjat barsat bheejat ayee lo from Malhar (1951), lyrics Indeevar
Shammi and Arjun were the lead actors in this film. Roshan’s first major hit film Bawre Nain a year earlier had no Lata Mangeshkar song. Malhar marks his teaming up with Lata Mangeshkar, and what a partnership they started giving some of the most melodious music of the golden era. This was also debut of Indeevar and a very productive partnership with Roshan. Roshan also used the same tune in Barsaat Ki raat as a duet between Suman Kalyanpur and Kamal Barot (used elsewhere in this blog).
3. Bahe ankhiyon se dhaar from Humlog (1951), lyrics Udhav Kumar
This Nutan, Shyama, Balraj Sahni starrer had several outstanding songs. Another famous song is Chhum chum chum baje payal mori. I find Lata Mangeshkar of the early 1950s absolutely magical, and you have the brilliant Roshan with his signature melodious style.
4. Dheere se gagari utaar re from Zindagi Aur Hum (1962), lyrics Shivkumar
This song picturised on Chand Usmani is a discovery in the internet era. I have shared this with several knowledgeable friends, and they were all mesmerized by it and surprised how this song remained hidden for so long.
5. Mujhe mil gaya bahana teri deed ka from Barsat Ki Raat (1960), lyrics Sahir Ludhiyanvi
Barsaat Ki Raat was not only a major Roshan landmark, but also a musical landmark of the golden era. It established Roshan’s reputation as the master composer for qawwalis with Na to karwan ki talash hai merging into Ye ishq ishhq hai ishq ishq. This also had several Rafi gems as well as other singers’ all of which are extremely popular. Here is my one of the top Lata favourites.
6. Kabhi to milegi kahi to milegi from Aarti (1962), lyrics Majrooh Sultanpuri
Aarti was another Roshan musical masterpiece, with several iconic songs, all of which had beautiful picturisation. Kabhi to milegi kahi to milegi is not only a Roshan gem but one of the timeless Lata Mangeshkar songs.
7. Rahte the kabhi jinke dil mein hum jaan se bhi pyaron ki tarah from Mamta (1966), lyrics Majrooh Sultanpuri
With Mamta you run out of superlatives. All its songs are all time great classics. I had a tough time choosing between this song and Rahe na rahe hum. I opted for Rahte the kabhi jinke dil mein as it has beautiful poetry depicting the pathos of a courtesan, sung so beautifully by Lata, and enacted with great empathy by Suchitra Sen.
8. Duniya kare sawal to from Bahu Begum (1967), lyrics Sahir Ludhiyanvi
When Shankar Jaikishan had started sliding and Naushad too was past his best, Roshan created this masterpiece in the Muslim social, for which Roshan seemed to have a special expertise.
9. Raat ki mehfil sooni sooni from Norjehan (1967), lyrics Shakeel Badayuni
Roshan magic in a movie in Muslim milieu continued with several great songs including Suman Kalyanpur’s Sharabi sharabi ye sawan ka mausam.
10. Saari sari raaton teri yaad sataye from Aji Bas Shukriya (1958), lyrics Farooq Qaiser
This song is beautifully picturised on the vivacious Geeta Bali who is singing before an audience (Suresh was the hero in the film). This film also had an excellent mujra Nazarein mila ke kah de kya hai teri marzi picturised on Minoo mumtaz.
{ 87 comments… read them below or add one }
Roshan!!! hmmmm…
Great composer!
Love his qawwalis, for which he was as it is very famous. But all the same like his other songs as well.
His songs for Banwre Nain, for example! No Lata Mangeshkar in that film, but the songs… sublime
http://www.youtube.com/watch?v=3cAhn5vetZo
Lata-Roshan combo, which I adore other than the songs, which you have already mentioned, but miss the sarcasm in her rendition, which is surely there in the lyrics
http://www.youtube.com/watch?v=pueoTXV6FLY
Thanks for this post with its beautiful songs and introduction to Bahe ankhiyon se dhaar from Humlog
I meant the mocking tone rather than sarcasm, which I miss in Lata’s rendition of sansar se bhage phirte ho from Chitralekha.
@harvey
I thought the sarcasm was in Sahir Ludhiyanvi’s lyrics. Roshan – Lata Mangeshkar and Roshan -Rafi I always associated with deeply soulful, romantic melodies – at least those ones which leave everlasting impact.
AK ji,
Lata always respected Roshan,more than any other composer.She also loved his songs.
In 1954,when K.Amarnath’s Mehbooba was being made,the composer was Roshan and Lata had recorded 3 solos and 1 duet with Talat for this film,when suddenly Roshan was removed from the film and O.P.Nayyar was appointed the Music Director.
Lata was furious,for she respected Roshan(and also because the film went to OPN) and she declared that she will not do the remaining songs for Mehbooba.To this OPNayyar retorted,’ but I have never asked her to sing these songs !’
Lata approached Naushad,and Anil vishwas and this issue was taken up in the ‘Cine Music Directors’ Assn’.Consequently,no singer was ready to sing for OPN and a ban was announced on OPN’s recordings for snatching a film from fellow musician.
In this difficult situation,only Shamshad Begum stood by OPNayyar and she recorded the remaining songs in Mehbooba(solos and duets with Rafi).
Roshan was very obliged to Lata forever for her efforts in this case.Her relations with Roshan and his family were very warm.
-AD
Wonder what happened to the songs, which were recorded by Roshan for Mehbooba.
Harvey ji
The 4 songs of Lata remained in the Film and even thir records are available.
The Lata songs of Roshan in Mehbooba-1954 are as follows-
1) mukhtar si hai meri kahani… Lata solo
2) Aji humko hai tumse pyar….Lata with Talat
3) Aa ki ab aata nahi dilko karaar…..Lata solo and
4) Jo dil ke Maalik hai…Lata solo.
Mehbooba credits showed both names,Roshan and OPNayyar as Music Directors.
-Arunkumar Deshmukh
@Arunkumar Deshmukh
Thanks for the detailed inormation on Mehbooba songs. I had briefly mentioned about the episode in my write-up. YouTube has some songs of the film. Here is one:
Aa ki ab aata nahi dil ko qaraar by Talat and Lata Mangeshkar from Mehbooba
Two of my favourite Roshan-Lata Mangeshkar gems are:
1. Mohabbat eek shola hai bacha daman zamane (AAGOSH)
2. Ye kaisi adaayen hai unki adaayen (RAAG RANG)
What a wonderful post! Roshan has been among the most consistent composers. I don’t think it is possible to find a movie by him that does not have at least one classic song.
For some reason that I can’t explain, Roshan forms part of a trio of musicians in my mind with something that connects all three of them – Roshan, Madan Mohan and Jaidev. None of the three ever became as popular as SJ, SDB or Naushad, but all three had their definite niche as composers of very high quality.
Roshan deserves on more post by you, this time with singers other than Lata. You have already mentioned one of my all time favourites: Sharabi Sharabi Yeh Sawan Ka Mausam. Look forward to more as you have a genius for unearthing hidden gems.
Subodh sir, is right…some of his better songs have been sung by other singers. I could locate the following from the Internet.
In the 60’s, Roshan gave hits like,Barsaat Ki Raat, which featured hits like ‘Na To Karavan Ki Talaash Hai..’ and ‘Yeh Hai Ishq Ishq..’, Aarti (‘Ab Kya Misaal Doon..’), Devar (‘Baharon Ne Mera Chaman Lootkar..’), Bheegi Raat (‘Kahin To Milegi..’, ‘Dil Jo Na Kehsaka..’), Chitralekha (‘Sansaar Se Bhaagte Phirte Ho..’, ‘Man Re Tu Kahe Na..’), Taj Mahal (‘Jo Wada Kiya Who Nibhana Padega.’, ‘Paon Choo Lene Do..’), Bahu Begum (‘Hum Intezaar Karenge..’ and ‘Pad Gaye Jhoole..’), Dooj Ka Chand (‘Mehfil Se Uth Jaanewalon..’), Nai Umar Ki Nai Fasal (‘Carvan Guzar Gaya..’ and ‘Dekhti Hi Raho Aaj Tum..’ ), Dil Hi To Hai (‘Nigahen Milane Ko Ji Chahata Hai..’ and ‘Laaga Chunri Me Daag..’ ) and finally his swan song from Anokhi Raat (‘Oh Re Taal Mile..’ and ‘Mere Beri Ke Ber..’).
Roshan, Madan Mohan and Jaidev.
Subodh sir, did these three great music directors have either Punjabi roots, or lived in the undivided Punjab? There is distinct element of Punjabi folk music in some of their songs.
KBS, you are spot on. Roshan Lal Nagrath and Madan Mohan Kohli need no further elaboration. Jaidev Verma was born in Nairobi and brought up in Ludhiana. Source: Wikipedia.
@Subodh Agrawal
I could not agree with you more. Roshan was one of the greatest regardless of lack of huge commercial success. In fact when I think of Rafi or Lata Mangeshkar songs, Roshan comes to my mind more often and more strongly than Shankar Jaikishan. Since there is so much of Roshan around surely there should be more posts.
No dispute about Roshan+Lata combination.
But Rosahn + Rafi was as strong combination.
Mukesh, Mannadey, Asha also have some their best with Roshan.
All these are separate topics for this illustrious blog.
So would be the topic of Roshan with his not oft-used singers like Mahendra Kapoor, Suman Kalyanpur, Talat.
@Ashok Vaishnav
You have said just what I feel about Roshan. Roshan-Rafi I rank among the best three or four along with Naushad, SD Burman and OP Nayyar. You are also right about other singers for whom he composed everlasting songs. I would also add Hemant Kumar in this list – Chhupa lo yun dil mein pyar mera.
@Harvey and the reply comment by AK on lack of the sarcasm of the lyrics in the rendition of the song.
In my own mumble opinion, very few singers had that knack of reflecting the mood of the song.
In fact, in those days, such songs would be so good to listen that seeing them in the movie turned out to be great disappointment. e.g. Suhani Raat Dhal Chuki – Rafi – Baradari.
[My own strictly personal point of view, no intention to reflect on the creative merit by any stretch!]
Vaishnav ji,
I am sorry,but “Suhani raat dhal chuki” is from film DULARI-1949 and NOT Baradari.
-AD
My apologies for factual error.
However, I would like, nonetheless, to stand on my contention.
@Ashok Vaishnav
You are making an interesting point. But I would put it in a different way. Picturisation of several classic songs are way off the lyrics or the quality of singing. In this category fall most of Manna Dey’s songs based on classical ragas. Even the sombre Bhairavi Laga chunari mein daag has been picturised as a comedy scene. Incidentally it happens to be a Roshan composition. No fault of his though, he has done a great job, so has Manna Dey. Same goes for Hato kahe ko jhooti banaao batiyaan or Phool gendwa na maro.
@ AK,
I agree.
But some situations in the movie certainly do not deserve the kind of songs they get. Well, that is more for the music director and the director to take the call. We , the listeners are certainly the beneficiary.
My lament is for these situations where each element of the song has done great justice for the situation, and then the way it is filmed and its attendant elements appears to be great let down.
@Kani Shah
Somehow I missed your comments. The two songs you have mentioned were new to me. They are indeed beautiful and deserve to be noticed. They grow on you gradually. Here are the songs:
Ye kaisi adayen hain unki adayen from Raag Rang
Mohabbat ek shola hai bacha daman zamane from Agosh
I my earlier comment I had mentioned the Trinity of Roshan, Madan Mohan and Jaidev. Let me make it a foursome by adding Khayyam.
Yes, KBS, Khayyam also has roots in Punjab.
My favourite Roshan song is the one from Rang Rang ( 1952 ) ” Dile Beqara soja” by Lata and Talat. So very beautiful . I cannot stop gushing about it.
Roshan was unmistakably one of the greatest composers of the Hindi film industry. He never got his due, though. His masterpieces – nighahen milaneko, na toh car van ki talash,
chhupalon yun dil mein, niklethe Kahan janekeliye, dil jona kehsaka, laga chunari, baharone mera and pav chhune do etc will continue to delight listeners forever.
What is most impressive is the diversity he showed, creating masterpieces with all the great singers of the Golden Era – Rafi, Mukesh, Hemant Kumar, Manna Dey, Lata Mangeshkar, Asha Bhosle, Suman Kalyanpur…. If you think about it, the only othe composer who showed such talent was SD Burman, other greats like Naushad, SJ and OP Nayyar were very good with some selected singers, but nothing worthwhile with the rest.
My favourite Roshan Lata combination includes following Gems:
1) Tum Hum KO Dekh-Film Zindgi Aur Hum(1961)
2)Aa ke Ab Aata Nahi Dilko Qaraar-Film Mehbooba (1954)
3)Akhiyon ko Asnan Karakar mai darshan ko aayee-film Rangeen Raaten(1956)
4)Chha Gaye Badal-film Chhaya(1959)
5)Chin Leeya Re Beimaan Mera Dil-Film Zindgi Aur Hum(1961)
6)Dil Bhi Tera Hum bhi Tere-Film Taaksal (1956)
7)Kisi Ke Aankh Ke Aasoon-Film Agosh (1953)
8) Pade Barkha Puhar-Film Dooj KA Chand
7)Samake Dilmen-Film Anhoni(1952)
You have listed some great gems, it is sad I had to take only ten. Let me include some of the songs from your list which could figure in a longer list.
Kisi ki ankh ke ansoo from Aagosh
Tu humko dekh au hamari nazar se dekh from Zindagi Aur Hum
Chheen liya re beimaan mera dil from Zindagi Aur Hum
This song has uncanny similarity to Sari sari raton teri yaad sataye.
Pade barkha phuhaar from Dooj Ka Chand
Sama ke dil mein hamare is a Talat-Lata duet. I do not know which Chhaa gaye badal you mean. The one that everyone knows is Rafi-Asha Bhosle duet from Chitralekha.
Thanks for the upload of above precious gems of roshan !! Thinking of Roshan-Lata Combination, who can forget the beautiful duet Tumse Lagan Lagi from Film Madhu(1959)?
Also the lata’s lilting lori Tim Tim Karte Taare in film Chirag Kahan Roshni Kahan(1959) has sublime beauty. Yet another song Tera Dil Kahan Hai from film Chandni Chowk (1954) is rare Gem although it has distinct traces of tune” Rahe na Rahe” Hum from film Mamta.
Can you upload these songs?
I am sorry !! By mistake I mentioned The Rafi-Asha duet Chha Gaye Badal !! It is factual error.
Thanks for correction.
You have again added some terrific songs. So I am delighted to upload them.
Tumse lagan lagi by Lata Mangeshkar and Rafi from Madhu (1959)
Tim tim karte taare from Chirag Kahan Roshni Kahan (1959)
As for Tera dil kahan hai from Chandni Chowk, it is an Asha Bhosle song. But I do not mind uploading it for you, who have done a good deed by introducing us to so many forgotten gems. This song is also important, not only for traces of Rahe na rahe hum, but also for Asha Bhosle singing in a very obvious Lata style.
Tera dil kahan hain by Asha Bhosle from Chandni Chowk (1954)
But this gave me a chance to come across several unheard Roshan-Lata songs from Chandni Chowk. I am uploading these.
Jadu bura na Bangal ka
Here is a top class mujra with beautiful picturisation. The accompanists on harmonium, tabla and sarangi are very clearly etched, making it a very authentic mujra scene.
Bahak chale nainwa haye
We have seen Meena Kumari generally in weepy roles. Here she is dancing with abandon.
Dil ki shikayat nazar ke shikwe
The happy mood continues as she dances, looks at herself in the mirror, puts on jewellery before getting down to writing a love letter, while singing this lilting song.
Aa jayen janewale
Meena Kumari must have remembered that she is a tragedy queen. So back to sad stuff.
A million Thanks for the uploads. you are doing good service for the revival of forgotten Gems. Keep it up !! I appreciate your valuable comments /observations for each upload which brings out the essence of each song very effectively.
Thanks again
I have following songs in my collection. I think the songs have distinct signature of Roshan. I am not sure. Please confirm !!
1) Dekhoji Mera Jeeya Churaye Liye Jaye-Film Naubahar(1955)-A beautiful classical song
2) Dard E Dil Tuhi Bata-Film Jashan(1955)
3) Do naiyanon ne Jall bichhaaya-film sanskar (1955)
Spot on all the three, except that Sanskaar is a 1952 film. Here are the links:
Dekhoji mora jiya churaye liyo jaye from Naubahar
A fantastic song. Could easily figure in any top Roshan-Lata list. This film had the perennial favourite Ae ri main to prem diwani, which has figured earlier on this blog.
Dard-e-dil tu hi bata from Jashan
http://www.youtube.com/watch?v=Q9IsYDsuyvA
Do naino ne jaal bichhaya from Sanskaar
Meanwhile thanks to your comments, I just had a bonus. You had mentioned Taksaal song. I came across another absolutely beautiful song:
Brij ke Nandlala Radha ke sanwariya from Taksaal
Thanks for your compliments. But, getting to know these songs and uploading them has been a real pleasure. In fact, your comments has made Roshan-Lata journey richer.
“…..kaun gali gaye sham….”
a roshan lata melody from MADHU(1959).
Thanks a lot Arvind for refresing our memory about such a fantastic song. Incidentally, this also has a twin version inManna Dey’s voice. To think that when I did my post on twin songs I had completely forgotten about it.
Bata do koi kaun gali gaye Shyam by Manna Dey from Madhu (1959)
I feel great to be part of this ROSHAN CLUB, as I grew up listening to his songs. There are many musicians but Roshan left my soul drenched in a manner that his music has been giving me solace. There is quite interesting information here on Roshan that I thought was confined with Wikipedia only. I think Bharat Bhushan paired with Roshan and Sahir as were Raj Kappoor with SJJ-Shailendra, Dilip Kumar with Naushad-Shakeel Badayuni and Dev Anand with SDB-Hasrat Jaipuri. Roshan’s family is highly successful today but other than acquiring his name they don’t seem to do any thing special in the memory of their talented ancestor.
So well said. The Roshan we are talking about is the greatest of Roshans. I agree with you that the ‘successful’ Roshans should do something about their great ancestor. But don’t worry. We the lovers of Songs of Yore are there.
Most unsung hero of sweet music in films.
If this blog has to continue, this same sentence will be repeated.
Roshan’s hit ratio in the sixties rivaled SDB’s both in terms of commercial success and popularity. His lilting tunes left us spellbound whether the voice was that of Mukesh, Lata, Talat, Rafi, Manna De, Asha, Sudha Malhotra, or Nutan. In Radio Ceylon’s “Hamesha Jawan Geet” on Sundays sometimes Dalbir Singh Parmar, the announcer — a legend with a following as loyal as Amin Sayani’s — could be heard going through a literally unending list of listeners requesting a song and you could be sure it was the Mukesh-Lata duet from Malhar, “Bade armanon se rakha hai balam teri kasam”.
http://www.youtube.com/watch?feature=player_detailpage&v=shjfQSqswDU
Dalbir Singh Parmar, probably himself a fan, would end reading the list with the remark that the number of listeners requesting the song was so large he could not announce each name. Here are four Roshan-Lata gems not mentioned above:
Chhun chhun baaje payal – Humlog
http://www.youtube.com/watch?feature=player_detailpage&v=0FjVuQ0f_Sw
O bedardi, aa mil jaldi – Heera Moti
http://www.youtube.com/watch?feature=player_detailpage&v=LqXlSQWN3Co
Sakhi ri mera man uljhhe tan dole – Chitralekha
http://www.youtube.com/watch?feature=player_detailpage&v=LWmNd_MsppA
Jurm e ulfat pe hamen log sajaa dete hain – Tajmahal
http://www.youtube.com/watch?feature=player_detailpage&v=o82ZetjVBrc
Canasya,
Lata Mangeshkar for me is ‘the’ female playback singer. And for her, I have special fondness for three music directors – Naushad, Roshan and Chitragupta. I am happy that you share my fascination for Roshan-Lata Mangeshkar combination.
Yes…..Roshan was a very talented and skillful composer. A number of his songs were sweet and enchanting because he used lower pitch and focused more on the lower octave. I featured him as one among the top 3 composers of the golden era of film music (1950s and 60s). See my post and listen to 24 of his superb songs. His songs are in “top 3 composers of the golden era – part 3′. I also featured a medley of 18 songs from the top 3 composers in my last post “top 3 composers of the golden era – conclusion’. This post also lists several examples and reasons for filtering the top 3 composers. This medley of 18 songs also contains 6 lovely songs from Roshan. Roshan may not be widely recognized, but he is surely a great and talented composer. My website is http://rsbaab.wordpress.com
RSBAAB (Ravi)
I have seen your series. You have done a very thorough analysis. I am happy that two of my great favourites – Naushad and Roshan – figure in your list of top 3. On the third slot, I am not sure I would like to include Madan Mohan over SD Burman or Shankar-Jaikishan (in spite of their popularity and their ‘winning’ some Filmfare Awards).
Ak,
I cannot forgive myself for missing this article of your blog for such a long time.
Better late than never let me compliment you for this marvelous article.
It is a treat, plus the songs added by the family are equally great
He was very selective about his lyrics too, he did not tolerate tukbandi in his songs, Roshan’s music and his lyricist lyrics complemented each other and the singers added the icing on the cake.
You have mentioned your duvidha of choosing any one song from Mamta, you have settled for Rahte the kabhi but my favourite is Rahe na rahe hum and same with Aarti even though Kabhi to melingi is very good but for me Bane hue ho khaak se is another out of this world song.
Here it is
http://www.youtube.com/watch?feature=player_embedded&v=3YZ59hHpnCw
Mumbaikar8, I am happy you liked it. Heard Baney hue ho khak se for the first time. To me it does not register over Kabhi to milegi. But I am curious where did you hear this song and what was it that it became your top favourite?
Nice to go through so many songs of my favourite music director Roshan. Combination of Sarangi, Flute and Violin was the best in some of his compositions. Dil jo na keh saka from Bheegi Raat also deserves a mention in this list.
Mukund P Chaudhary,
Welcome to SoY and thanks a lot for your appreciation. Dil jo na kah saka has been discussed in ‘Twin songs’. I like Rafi version more.
AK,
Beautiful Roshan Lata song, but not usual, it is a rare one.
It is a double version, song one happy and the other sad, the happy version is sung by Suman Kalyanpur, Sudha Malhotra and the sad version by Lata.
The happy version might not be there on the original album, it is a short version, the up-loader (thanks to him) has combined the sad version with the short happy version.
Movie: Zindagi Aur Hum, song: hum teri lagan me magan
https://www.youtube.com/watch?v=b4gBd0O71GU
Mumbaikar8,
You do manage to get some real off-beat songs. Rohan is my great favourite, and Zindagi Aur Hum had some great Lata songs. My favourites which I strongly recommend:
1. Dheere se gagri utaar re
2. Cheen liya re beimaan mera dil
3. Tu hum ko dekh aur hamaari nazar ko dekh
AK,
Zindagi aur hum has some excellent Lata songs, my favoutie is Matwali muraliya baji re aadhi raat .
Hum teri lagan me magan attracted my attention because of its happier version.
Fantastic post Ak ji,
Read first time fully. I listened Your recommended songs of ‘zindagi aur hum’ first time. Among them i have already listened ‘tu hum ko dekh’ but others were new to me. All songs r too good. ‘Dheere se gagari utaar re, mera dhul dhul jaye singaar re’ is really a classic beauty. A soothing melody. And also ‘matwaali muraliya baaji re aadhi raat’ is a gem Mumbaikar ji.
U have picked some of absolute gems in ur list..i esp like ‘eri mai to prem diwani’, ‘bahe ankhiyon se dhaar’, ‘dheere se gagri utaar re’.
i wudlike to add some timeless melodies of Lata under Roshan which i like very much.
1. Baaraati (1954)
Aa phir se mere pyar ki kismat sanvaar de
Ujde hue chaman ko payaam e bahaar de
2. Anhonee (1952)
Is dil kì haalat kya kahiye
Jo shaad bhi hai nashaad bhi hai
3. Shisham (1952)
Banaai hai itni badi jisne duniya
Use tute dil ka banaana na aaya
4. Raagrang (1952)
Yahi bahaar hai duniya ko bhul jaane ki
Khushi manaane ki
5. Chhora chhori (1955)
Maar daala sanwariya ne oye hoy hoy
Banki tirchhi najariya ne oye hoy hoy
6. Maalkin (1953)
Muhabbat ne kya kya tamaashe dikhaye
Jise dil bhulaaye wohi yaad aaye
7. Do roti (1957)
Ashko ki kahani kya kahiye
Aaho ka fasana kya kahiye
Hans hans ke rulaata hai kaise
Bedard zamaana kya kahiye
8. Jashan (1955)
Dard e dil tu hi bata yeh kaisi gham ki shaam hai
Is jahan me kya wafa ka bewafaai naam hai
Jignesh,
Mumbaikar8’s Matwali muraliya baji ri aadhi raat re is a terrific song. For this we can’t thank her enough. Among your additions, I especially liked Aa phir se mere pyar ki kismet sanwaar de and Is dil ki haalat kya kahiye jo shad bhi hai nashaad bhi. All songs were new for me. Thanks a lot. Raag Rang has an out of this world Talat-Lata duet – Har nayi raat naya dard liye aati hai…- Mat chhed zindagi ke khamosh taar so ja, dil-e-beqaraar so ja. You must have heard it; if not I would pat myself for bringing it to your notice. I have to mention here, for Lata with various music directors, I rank Roshan very highly – higher than some conventionally famous combos.
I m v v thankful to indianscreen.com for bringing lots of unheard rare beauties at that time (2005-07) when youtube was not so rich as today, and ‘Dil e beqaraar so ja’ is fortunately amongst those indianscreen downloads. I heard it first time around 2006 and was instantly fascinated by that supreme melody, one of the best duets equalling the height of ‘sine me sulagte hai armaan’.
I m v v thankful to you introducing 2 very nice songs to me first time. 1. Aa jaye jaanewale..from Chandni chawk and 2. Dheere se gagari utaar re…from zindagi aur hum.
AK Ji,
This was one of the posts which I had initially intended to write, but overlooked totally because you simply drowned me into the ocean of vintage music. I have to admit that this experience was a total eye opener which i enjoyed immensely.
But thanks to Jignesh Ji once again, a few of my favorite songs, which I believe have not been posted before, I would like to present;
Three songs from Naubahar ;
KAHAAN HAI TU KAHAAN HAI -LATA-ROSHAN -J NAKSHAB …: http://youtu.be/7lLILt7Dk8w
Woh paas nahin majboor hai dil Lata Mangeshkar Fi…: http://youtu.be/LhLKdpwsB78
UNKE BULAVE PE DOLE MERA DIL- LATA- FILM- NAUBAHA…: http://youtu.be/uV7bRsxpdjQ
And one hilarious solo from Madhu ;
dhaani chunar mori haaye re-Lata Mangeshkar-MADHU…: http://youtu.be/p-z_zHGkXa8
Sharmaji,
You are never too late for posting Roshan-Lata songs. Dhani chunar is my great favourite too.
You are going to see more and more of vintage songs on SoY.
AK ji,
Song no. 2. The lead actors name for Malhar (1951) have to be changed. Here is the link please.
http://www.thehindu.com/features/cinema/blast-from-the-past-malhar-1951/article3257837.ece
AK
By now I have come to dread the red rectangle with bevelled edge with a mocking face which pops out when you open the embedded link. Why dont you appoint a committee from among your followers (as a retired Govt. servant you are aware of this procedure to postpone decision making by individuals and spread it on a conglomeration and escape accountability for future mishaps) to inspect all old postings and carry out the necessary repair or announce a requiem for the departed link. I earnestly solicit all my fellow travellers to support me in this noble cause. As an aside let me confess I do not practise what I preach.
Mahesh,
Thanks a lot for pointing the obvious mistake. I must have had a blind spot. Arjun/C Arjun/Malhar had come in for detailed discussion in my post on C Arjun under Forgotten Composers.
DP Rangan,
Subodh earlier had exactly the same idea, and started mentioning the missing links, and I diligently started replacing with new links. Soon I found the exercise was pointless, because it was not a static thing. So my advice, Just chill!
Winter is approaching in northern hemisphere with a pronounced chill. I am feeling it here in Houston. I decided to act as a one man army and restore links. I did a few but will now give up. I still hope you will consider afresh my idea of the Committee with the proviso I should not be a member.
DP Rangan,
I don’t know whether you have read my post on “Some thoughts on taxonomic and mathematical analysis of Hindi films and songs” that appeared on 1April 2015. I had set up three Expert Committees in all seriousness. It was a non-starter.
I do recollect it. Thank God you have not abandoned the working traits you acquired over your years of service in the state/central government. May be adding a fourth committee may act as a stimulus and break the Rip Van Winkle like slumber. Never despair. There is always light at the end of the dark tunnel.
Ak ji
A lovely post so much further enriched by followers of the blog. As mentioned by you, Roshan made incredibly beautiful use of flute and sarangi. May I add that no one else made better use of Jal Tarang in film songs than Roshan. Composers normally use large orchestra with distinct sections for strings, brass, woodwinds, percussion etc. Now, even if a composer is adept in use of jal tarang, it is not easy to place jal tarang vessels correctly in arrangement of orchestra. I think Naushad ocassionally made fine use of jal tarang but Roshan was peerless in use of this rare musical instrument.
I recently listened to the song ‘phulwa ban mahake dekho lahke daali daali’ (Heera Moti) through the link provided by you. Jal tarang notes make this lovely duet even more compelling. Similarly one remembers film ‘Barsaat ki raat’ for use of jal tarang.
Thanks
Ashok Kumar Tyagi,
I am not very proficient in identifying the instruments. But Roshan is among my top favourites, one important reason being his use of instruments. Thanks a lot for this additional information.
AK ji
Sifting through various posts in SoY, we get envigorated and also get enlightened. What I said about jal tarang was as told by my Hindi teacher in 1965. He also played Naushad’s ‘Madhuban mein radhika naache re’ on a record player and told how jal tarang was used beautifully even while remaining within the boundaries of the raga. He reminded us about the Indian genius – imagine 15 porcelein vessels of progressively increasing sizes filled with water, a musician having thin wooden sticks in hands and striking the vessels’ rim , thus creating lovely notes through water waves. Roshan sometimes used jal tarang in interlude or prelude pieces and sometimes used it as percussion – water waves’ melody playing in a straight manner in support of the singer.
Thanks
Old post, but worth mentioning the timeless “Khuda-e-bartar teri zameen par” from Taj Mahal and also “Sakala bana pavana chalat”from Mamta.
Chitrapatsangeet,
The second song is terrific and my great favourite. I am not able to recall the first one.
A K Tyagi’ji;
Yes , Jal tarang has been very effectively used by the MDs of the golden era . Naushad ‘s did very well made use of the instrument in Kohenoor songs. SJ did in Suraj , Amrapali and Basant Bahar and I think CR also used in some of his films like Jhanak jhanak payal baaje , Insaniyat etc . S N Tripathi and Chitragupt also did in some semi mythology movies but I am not able to recollect the songs [I do remember scenes like Snakes playing Tabla , Sarangi, Veena, Jal tarang etc. in films which i saw in my child hood] . Roshan was exceptionally good at using Jal tarang in Barsaat ki raat right from the opening titles and other places as background music . Here is the beautiful title song ……Garjat barsat sawan ayo re….. from Barsaat ki raat…
https://www.youtube.com/watch?v=62TjjoPCyG8
Chitrapatsangeet ,
You have made my day .The Song from Mamta is a perfect sixer ! A song that should find its place as one among the best of Lata and Roshan. I think many would agree on that .
I am unable to find Taj mahal song on YT .
AK, Bhatiaji,
Here is the song Chitrapatsangeet has mentioned.
Along with Roshan and Lata, the master Sahir is wonderful too.
We have discussed so many tunes being recycled.,lyrics of this song was recycled by Javed Akhtar in his own subtle way. He has reused very uncommon word like ज़ंग too.
I would request you to listen to these songs for its lyrical value too.
Taj Mahal song Khuda e bartar
https://www.youtube.com/watch?v=NFNlodmL6Vg
1947 The Earth song by
https://www.youtube.com/watch?v=Ha2zTxnROJg
Mumbaikar8,
Heard the songs for the first time. You have discovered a nice connection between the two lyrics.
That Javed Akhtar took Sahir’s lyrics as inspiration or what you may call it has been common knowledge for years. Even the book “Anthems of Resistance: A celebration of progressive Urdu poetry” discusses it.
Mumbaikar8;
Thanks for the Taj Mahal and1947 the Earh songs . The first one beats other by miles . Lataji’s emotional rendering to the soulful music and lyrics is superb . As S S W stated the 1947 Earth song is surely the inspired song and needs polished orchestration like that of late 50s era . May be some directional corrections are required while composing as per demand of the situation . Here I will quote the movies made by Shyam Benegal . The music in his movies make you believe as if audience is living in that particular era. Naushad and Shanker Jaikishan music are the example which present day MDs should follow while making or composing ….or even any sound…for the historical or other period movies .
SSW,
I believe Javed Akhtar lived with Sahir Ludhiyanavi in his struggling years in Bombay.
SSW,
Agree may be a common knowledge, only Javed Akhtar can answer that.
But the form of demanding an answer from the almighty and the choice of vocabulary drives one there.
AK,
As far as I have heard, Javed considers Sahir his friend philosopher and guide, he used to hang out a lot with him when he arrived in Bombay (then) as they had more than one common interests (In his own words)
Mumbaikar8 I don’t think Mr.Akhtar needs to answer anything. The link between the two poems has been there for all to see since 1947 Earth was released and the link has been discussed in forums on the internet.
Now as for the two songs, I find the melody of the Taj Mahal song fairly straightforward, the orchestration in the interludes is quite pedantic though the music during the verses has possibilities. I suppose the interludes were required to be loud. Lata is a treat.
I find the song from 1947 Earth as good as the one from Taj Mahal even though the music is sparse. I am not talking about the lyrics here, just the song. It is sung by two non Hindi speakers, and they have done a fairly decent job. This song has interesting dissonances.
Lastly neither SJ nor Naushad were authentic to the period when composing music. They just couldn’t have been. The demands of commercial cinema saw to that. For example the Sitar that you hear in “Mohe panghat pe” did not exist in 16th century, nor was the tabla there in those days. You can also hear a piano in the background and the flute is backed by a clarinet. Naushad and SJ composed twentieth century music and that is a good thing in my opinion. Mughal-e-azam was hardly historically accurate.
SSW,
I think I do not read enough forums online.I am no aware of any forum that discussed this link between the two songs..
The answer I thought Javed would answer was whether he was inspired bt Taj Mahal song or not.
SSW,
I think one common bond was both were estranged from their fathers.
Mumbaikar8 in all honesty I did not even know about the Taj Mahal song till my wife drew my attention to the similarity in the lyrics with the one Mr. Akhtar penned , some years ago. Other than that I did not pay attention to it, as musically it seemed to me , fairly straightforward. I actually favour Rahman’s composition only I wish the women had been less sweet. Then around chance would have it there seemed to be the mention of these two songs in a lot of places including a couple of books. Serendipity I guess.
SSW,
I disagree that the interludes for Khuda e bartar ought to have been loud. For one, it would have suppressed the flow of the shaayri and the force of Sahir’s thoughts, and secondly the mood is contemplative and the raga chosen is Todi, which doesnt lend itself to loudness. I am all for the minimal interference with the vocals.
Chitrapatsangeet, this is what I wrote.
“Now as for the two songs, I find the melody of the Taj Mahal song fairly straightforward, the orchestration in the interludes is quite pedantic though the music during the verses has possibilities. I suppose the interludes were required to be loud”
I did not say that the interludes should have been loud. In fact you’ll see my statement suggest otherwise.
As for whether a particular raga lends itself to loudness or not is debatable simply because in my admittedly limited knowledge Indian art music as currently practised does not explore the concept of loudness or tone dynamics the way for example western art music does. Other than music produced for plays ,Indian art music that I am used to is essentially devotional or contemplative.
There is nothing to stop a composer from using Todi with a large orchestra with a degree of loudness. All these limitations are l in the mind. Actually film composers have attempted to push those boundaries .
Now as for Sahir’s lyrics that is a different thing. Yes I agree it would have worked without any music as any poetry. But the movie demanded scenes of carnage during the interludes which is why I presumed there was loud music. If the director had not chosen to have those scenes or the MD or arranger had been less conventional it may have resonated better. As it stands, hearing it on the radio, without viewing the scene on screen makes the interludes incongruous.
My usual regrets at grammatical inconsistencies in my reply stand. I type too fast and there is no going back to edit.
SSW, sorry I misunderstood what you wrote.
Sorry I am looking at this blog after so many years. I agree that Roshan and Madanmohan were much underrated and did not get the limelight in the golden era which saw so many talented musicians. I think Aeri mainto prem diwani is amongst the best of Lata. Dekhoji mera jiya churaye liye jay also from Naubahar is not far behind. I also would like to mention other great songs of Malhar- kahaho tum jara awaz do and Dil tuze diyatha rakhneko. Ek bar agar to kahde also was great. Talat’s song in Anhonee – main dil hun ek arman bhara is great composition. Not many people realize that Talat seng hit songs for Rajkapoor also like the ones in Bewafa before Rajkapoor found Mukesh. So was the case with Dilipkumar till Rafi came along. There is an old story that Naushad saw Talat smoking and got upset and started using Rafi for Dilipkumar.
I read a story also that Hritik Roshan did not understand Roshan’s music and did not care about it when he was young.
Gulab Shah,
You are right about Dilip Kumar-Mukesh predating Dilip Kumar-Rafi, but the same is not true of Raj Kapoor-Talat Mahmood, because Raj Kapoor associated with Mukesh in Aag (1948) and, in a big way, in Barsaat, before Talat Mahmood sung all those songs for him you have mentioned.
The progeny of Roshan or for that matter Sardar Malik, or Chitragupta have achieved great fame, but I have never heard them mention Roshan, Sardar Malik and Chitragupta or doing anything for their memory. That is a sad thing which would require a long discussion.
AK ji ;
I entirely agree with you . But I am not sure about Rajesh Roshan . He at some moment of times composed songs of the style of his father but later on stick to his on rhythm based songs , him using pause between the beats became his signature style . Roshan too some time used ” pause” as a beat break .
Today being Eid , here is Roshan’s beautiful composition . Note the ” pause ” in this song also.
Mujhe mil gaya bahana teri deed ka…..Lata…Barsaat ki Raat…Roshan
https://www.youtube.com/watch?v=LGgdRyO34xo
….Happy Eid to all the members of So Y family.