Guest article by Hans Jakhar
(This is the second guest article by Hans Jakhar on the trot after his debut with Asha Bhosle’s songs by Ravi. He had given enough indication that he would be writing on Shakeel Badayuni’s partnership with Ravi. Hans’s forte is mastery over data. And you see full evidence of this when he argues with evidence that Shakeel collaborated with Ravi at a stage when his career was at a standstill and he was looking for opportunities outside Naushad-Ghulam Mohammad fold. With Ravi’s Midas touch, Shakeel Badayuni zoomed into a new trajectory with a greater variety of songs and with different music directors. Hans’s article is different from a routine of bio-profile and some song list, and is a valuable addition to SoY on analytical ways to look at a lyricist. Thank you Hans. – AK)
Shakeel Badayuni’s name automatically reminds us of Naushad. The two were inseparable. But, there is always a ‘but’, but I will delve into that later. First we should talk about their association which started in 1947. Various sources say that their association started with Dard, which may or may not be true, because I have seen many times such claims were found to be wrong. Naushad had 3 films in 1947. For Elan he used Zia Sarhadi. In Natak he used Majrooh Sultanpuri, Khumar Barabankavi and Shakeel Badayuni. Majrooh was given 1 song, Khumar five songs and Shakeel four songs. Majrooh came with Naushad in 1946 in the films Keemat and Shahjahan. Khumar wrote three songs in Shahjahan. It might be possible that Shakeel was tested first in Natak and then given all the songs of Dard. And it is also possible that Shakeel started in Dard, but Naushad used him also in Natak and used the other two because of some prior commitment. So we can be sure of only one thing, that their association started in 1947.
But once Naushad settled on Shakeel, he took him into his fold and continued with him uninterrupted up to 1965. In 1966 he remembered Khumar Barabankavi again for Saaz Aur Awaz and for Saathi he recalled Majrooh. Before Shakeel he had been using various lyricists for his films. It is also quite possible that in the earlier films he did not have enough say on this count. Naushad also tried to gain work for Shakeel outside his own films. Since Ghulam Mohammad was getting spill-overs which Naushad refused due to his intention to do lesser films, he also got Shakeel as some kind of dahej. In addition to this Naushad got work for Shakeel in Shanti and Char Din which were being directed by his friends. So we see that in the period from 1947-50, out of 172 songs, just about a dozen songs were given to Shakeel outside the Naushad fold.
In the period from 1951-60 also the same trend continued. Naushad used Shakeel’s lyrics for all of his 12 films which had 134 songs and Ghulam Mohammad gave 117 songs to him in 14 films. Besides these two, Sardar Malik, who had composed three songs with Ghulam Mohammad, used him also for 6 songs of Chor Bazaar. Sajjad Hussain gave two songs in Rukhsana, and Moti Ram, one in Lachak. Ravi made an entry in Shakeel’s life in 1960 and gave him two films: Chaudhvin Ka Chand and Ghunghat. So out of the 283 songs which Shakeel wrote in this period, if we leave out 20 of Ravi, there were 263 songs out of which Naushad and GM accounted for 251 songs.
So the question would be asked what is the basis of the title of the write up. For this I would have to bifurcate the statistics. Up to 1955 all was going right, Shakeel wrote 198 songs during this period. But 1956 and 1959 were two blank years for him. In 1957 and 1958 Naushad and Ghulam Mohammad had two films each in which Shakeel wrote a total of 43 songs. Besides that Ghulam Mohammad was left with no work. Out of the two films he gave music for, one was produced by Naushad and GM had only Shama and Pakeezah in hand which were never-ending type of films and in them also Shakeel was not the lyricist. Naushad was getting handsome amount for his films and he could afford lesser films, but Shakeel got paid for what he wrote. So work-wise he was in the need of another source.
I don’t know how their combo materialized, but Ravi came to Shakeel as a godsend. He not only provided much needed work, but also got him freedom from the shackles Naushad (may be unintended) had put around him in the matter of what type of lyrics he could write. I remember AK had said when presenting Rafi-OPN songs, that he read a comment somewhere that OPN rescued Rafi from the staid classicism of Naushad. Like AK I also do not agree with this comment, but it is true that Naushad had took on himself the mantle of saving classic music and Indian traditions in Hindi films. After he became the undisputed number one, he had a lot of influence on the situations and songs to be used. In addition, he worked mostly with a limited set of heroes, directors etc in the 50s and 60s. He rarely used during this period qawwalis, mujra songs, very romantic or fun songs. Johny Walker was the one who was given songs as a compulsion in films; he had quite substantive roles in Mere Mehboob and Palki, but was not given a song. Naushad had a great eye for the lyrics and even helped Shakeel in earlier phase, but due to his influence on Shakeel he interfered a lot in this department. Besides that Naushad had the habit of taking credit for songs and even lyrics to himself and he used various public platforms for this purpose. Due to all this a perception arose among the other composers who used to compose a variety of songs that Shakeel is a writer of only special kind of songs suited to Naushad only.
But Ravi changed all this. He was the one composer who never asked the lyricist to write to already prepared tune so Shakeel was on home ground because with Naushad he had never been asked to write to the tune. With Ravi he wrote qawwalis, mujras, romantic songs, comic songs, sad songs and all type of other songs which situation warranted. There were no restrictions and the effect showed in his songs.
The first film was Chaudahvin Ka Chand, which was a Muslim social with Lucknow as background and which showed the ills of parda system. Three friends, one getting married and the other falls for his wife without knowing this fact and the third friend tries to help which results in comic situations. The first friend is indebted to the second and is torn between friendship and love. So the situation was ripe for comic songs, mujra songs and also sad songs for the hero as well as heroine. And there was a qawwali too. All that Shakeel was longing for. Guru Dutt got back all his losses of previous films. Ravi became a front runner and Shakeel was seen in another light by the film world. The other film of 1960, Ghunghat was by some coincidence another film depicting evils of parda system in Hindu society. That was also a big hit with a variety of hit songs. Then came another social Gharana, which brought Filmfare award (Husnwaale tera jawab nahin) for Shakeel for second year running for again praising the heroine, which he could not do with Naushad. Watching the success Ravi’s Guru , Hemant Kumar also teamed up with Shakeel for Bees Saal Baad, Saheb Biwi Aur Ghulam and Bin Baadal Barsaat. ‘Kahin deep jale kahin dil‘ sung by Lata Mangeshkar in Bees Saal Baad brought the third Filmfare award to Shakeel for lyrics. The other film of 1961 Wanted, nobody wanted to see.
The Ravi-Shakeel juggernaut moved on. Shakeel wrote lyrics for six of Ravi’s 12 films for the year 1963. Of them Gehra Daag and Grihasthi were hits; Mulzim, Kaun Apna Kaun Paraya and Pyar Kiya to Darna Kya were so-so and Nartaki failed despite great songs. Then came three great hits, Door Ki Aawaz (1964), Do Badan and Phool Aur Patthar (both 1966), followed by two flops Aurat (1967) and Ummeed (1971). The partnership culminated with the death of Shakeel.
In all, this combo had 15 films and 114 songs. Break up was 85 solos (45 for females and 40 for males) and 29 duets (21 male-female, 5 female-female and 3 songs with more than two singers). Singer-wise, Rafi got 37 solos and 19 duets, Asha Bhosle got 34 solos and 26 duets and Lata Mangeshkar got eight solos and two duets. Other singers on the female side were Geeta Dutt – two solos, Shamshad Begum – three duets, Kamal Barot – two duets, Usha Mangeshkar – one solo and four duets, and Usha Khanna – one duet. Other male singers were Mahendra Kapoor – one solo and four duets, Talat Mahmood and Ravi – one solo each, and Manna Dey – one duet. The dominance of the big three was so complete that in 107 songs one or the other from them was present. Only the six solos and one duet were the songs in which none of the big three was present.
This Ravi-Shakeel bonding was not only special in terms of success – they produced 8 hits out of 15 and close to 90 gems out of 114 songs – but it brought Shakeel, besides the freedom, work also. In the 60s after his success with Ravi, 8 composers got him to write lyrics in 14 films which had 84 songs.
Now I will present the songs. As the series on Ravi is yet to come to an end and it is certain that Ravi’s combo with the big three Asha, Rafi and Lata will bring about separate posts, so I have selected songs keeping that in mind. Normally I believe in giving the best. The selected songs have a variety with particular emphasis on they being different from Naushad-Shakeel combo. I will keep the list to 10 and leave others for friends.
1. Sharma ke ye kyun sab parda nashin by Asha Bhosle and Shamshad Begum from Chaudahvin Ka Chand (1960)
Shakeel so smoothly moved into the qawwali mode as if he was daily writing qawwalis. See the sample.
महफ़िल में हुस्न की जो गया शान से गया
जिसने नजर मिलायी वही जान से गया
Later in Phool Aur Patthar he wrote a perfect comic qawwali too.
2. Meri pat rakho girdhari by Lata Mangeshkar from Ghunghat (1960)
Ghunghat has three absolute gems from Lata Mangeshkar: Laage na mora jiya, the fast paced Mori chham chham baaje payaliya and this one. Since she is AK’s field he would select or describe the other two, but to those who look down upon Ravi as a composer I have a poser, how many composers have been able to weave three such solos from Lata which keep you spellbound. Believe me, in the film situations they are even more effective than audio. The way this song is picturised is the ultimate for a devotional song. Body language, each movement and expression makes Beena Rai’s prayer look sincere.
3. Daadi amma daadi amma man jao by Asha Bhosle and Kamal Barot from Gharana (1961)
This is one of the best children songs. The singers keep alternating between the child actors and every movement of theirs is superb and Lalita Pawar as roothi hui daadi expresses 50 different emotions. What a great actress she was.
A sample of the lyrics
कहो तो तुम्हारी हम चम्पी कर दें
पियो तो तुम्हारे लिए हुक्का भर दें
हंसी न छुपाओ ज़रा आँखें तो मिलाओ
4. Maine bhi husn ki nazaron men jagah payi hai by Talat Mahmood from Wanted (1961)
As I said this was a useless film and the hero was particularly horrible. The same film company brought him again as hero with Waheeda Rahman in Kaun Apna Kaun Paraya. Talat Mahmood has only this song for this combo, so I chose this song. He sings here a beautiful fast-paced romantic song. Talat’s only other song is the famous solo from Ek Saal, Sab kuchh luta ke hosh men aaye to kya kiya. Why did Ravi not give him another song after these two gems?
5. Ding dong ding dong ding by Geeta Dutt from Grihasthi (1963)
In my younger days, if I was going somewhere and this song started, I would stand there and wait for the ‘Ding dong ding dong ding lala‘ part to come. I never cared to listen to the rest of the lyrics. The other song which had this ‘ding dong‘ effect for me was Mukesh’s ‘Bam babam bam bam lahri’. This is a song where lyrics are simple and the tune and singer have got the better of lyrics.
6. Agar koi humko sahara na dega by Usha Mangeshkar from Nartaki (1963)
This film has two very great numbers from Asha Bhosle and Rafi, but they will get their due in their posts. This film had two solos, one from Usha Mangeshkar and the other from Mahendra Kapoor, both of which were hits in their times. But MK’s song might get a chance if he is covered separately. Otherwise also this Usha song appeals more to me and when she sings well it is always a good song.
7. Hum bhi agar bachche hote by Rafi, Manna Dey and Asha Bhosle from Door Ki Aawaz (1964)
Shakeel wrote a number of comic songs for Ravi, most of them for Johnny Walker. I had selected the Kaun Apna Kaun Paraya song, but that I posted on the Ek bangla bane nyara post. Then I selected ‘Ek musafir ko duniya mein kya chahiye’. Then it struck me that of all the major singers used for this combo only Manna Dey is left out. So I included this song. This is one of the most remembered songs for birthdays and for a child’s birthday it is a must. One thing to note is that all of Joy Mukherjee’s songs were sung by Rafi except this one. Such was the bonding between Rafi and Johny Walker that when he was there the playback for the hero was given to another.
8. Husn se chaand bhi sharmaya hai by Rafi from Door Ki Aawaz (1964)
हुस्न से चाँद भी शरमाया है
तेरी सूरत ने गज़ब ढाया है
हाय इन प्यार में डूबी हुई आँखों की कसम
आदमी क्या है फरिश्तों के बहक जाएँ कदम
बिन पिए मुझपे नशा छाया है
मुस्कुराये जो तेरे लब तो बहारें आयी
खिल गए फूल पड़ी तेरी जहाँ परछाईं
तूने गुलशन मेरा महकाया है
These are the lyrics of this fabulous song. After his new found freedom, Shakeel wrote many romantic songs for Ravi but the most famous has always been ‘Chaudahvin ka chand ho’. This one has since taken the back seat, though in the 60s and 70s it was very popular. But, to me this ranks above ‘Chaudahvin ka chand ho’. This is so short and sweet.
9. Sun le pukar aayi aaj tere dwar by Asha Bhosle from Phool Aur Patthar (1966)
Ravi’s list cannot be complete without a solo by Asha. Their combo was so enriching and bewitching. As the mukhda suggests this is a devotional song. Asha had come of age by then and shows this with great confidence in this song.
10. Ye kaun hai jiske aane se by Mahnedra Kapoor and Asha Bhole from Aurat (1967)
This duet is just magic. Asha and MK combined in Kaajal for ‘Agar mujhe na mili tum to main ye samjhunga‘ to create a gem and they do the same here. Padmini was the common factor in both the songs. This film also had ‘Naari jeevan jhoole ki tarah‘. The lyrics by Shakeel Badayuni in the song were great. A sample
ये किसकी नशीली ज़ुल्फों की परछाईं पड़ी है लहरों पर
आकाश में इक बादल भी नहीं नदिया में घटा घिर आयी है
Acknowledgements and Disclaimer: The song links have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog does not claim any copyright over these songs, which rests with the respective owners, such as Saregama India Limited and others.
{ 89 comments… read them below or add one }
Hans ji,
No words…..
Only claps and Thanks.
-AD
Hans ji,
Yet again you prove your writing skills and a fine selection of songs and the reason for a particular item’s inclusion. More power to your pen , desk/ laptop. Looking forward to more posts.
Taking the cue from N Venkataraman ji, I had stopped posting Ravi _ Asha songs with lyrics by Shakeel Badayuni.
You have selected 2 songs from 2 films released in 1963. The year was the most prolific in Ravi’s career with 12 releases.
I am mentioning this Rafi beauty from MULZIM…
Deewana kehke aaj mujhe phir pukaariye.
Hans ji,
You ask how many composers can weave three spellbinding Lata solos in a single movie.
Well, quite a few.
I will start with Madan Mohan.
ADALAT, 1958.
Unko ye shikayat hai ke hum kuch nahi kehte
Yun hasraton ke daag
Jaana tha humse door
WOH KAUN THI, 1964.
Naina barse rimjhim rimjhim
Lag jaa gale
Jo humne daastaan apni sunaye
MERA SAAYA, 1966.
Tu jahan jahan chalega
Naino mein badra chaye
Nainowali ne haay mera dil
DASTAK, 1970
Bainyan na dharo
Hum hain Mataa e kucha o Baazaar ki tarah
Mayi re main kaase kahoon..
Disclaimer: Not for argument. Only highlighting the other composers’ abilities. I am sure you will take it in the right spirit. While stressing our viewpoint all of us, at times, tend to make sweeping statements.
Ravi and Mukhesh must have worked together in only 7 films, from 1960 to 1962…not many songs, too.
Since Shakeel Badayuni wasn’t associated with any of these, can we draw the conclusion that there is no Ravi_ Shakeel Badayuni_ Mukhesh combination?
Since I don’t have the HGK volumes with me, I may be wrong in my facts. Someone in the know, please clarify.
Hans ji’s observation about the WANTED song and his mention of Bam babam bam..( RAMU DADA) raised this issue in my mind.
By the way, even I like Ding Dong ..Ding lala . Two things always happen when I listen to this song. First one, I think Geeta Dutt here sounds a bit like Asha ( usually it is the other way round). Second, I start humming O Babu O Lala mausam dekho chala… another Ravi _ Geeta Dutt beauty.
Strange are the workings of the human mind ( or is it brain?)
Hansji
I enjoyed this post. Plenty of good information and Shakeel’s good work with Ravi.
I also like your exploration of Naushad with Shakeel.
It is my understanding that Naushad himself being a kind of poet he would guide this lyricists the way he wanted the lyric rather than leaving the lyricist to explore the story, characters and the way the song was going to be filmed.
I am very glad you have done your exploration and that is well done as well.
I was very delighted to read Dr. Shetty’s very excellent comment number 3.
Shalan Lal
Ravi wrote and sang the title song from the film UMEED, 1971, his last collaboration with Shakeel Badayuni….Insaan jee raha hai umeed ke sahare.
He sang the ‘ Piano song’ Mera dil hai pyar ka aashiyan…( a very professional rendition. In my opinion, the best by him)
penned by Shakeel.
Shakeel wrote 6 of the total 7 songs.
Interesting credit details in the title cards:
Lyrics…Late Shakeel Badayuni.
Singers…Rafi, Asha Bhonsle, Mahinder Kapoor, Usha Mangeshkar.
The title song written and sung by Music Maestro Ravi.
The Piano song sung by Music Maestro Ravi.
The stand out song from the film?
Undoubtedly,
Mujhe Ishq hai tujhi se
Meri Jaan E Zindagani…..Rafi.
The remaining songs from UMEED ,too, are good.
Asha Bhonsle had the mellow Hum ne chaha magar keh na paya Pyar ka Dastaan, the seductive Thodi si aur per le Rangile and the dance duet Dil ko bacha lo Babu ji ( with Usha Mangeshkar).
The comedy song Aajaa meri Jaan Tere Qurban tere deewana by Mahinder Kapoor and Usha Mangeshkar is also pleasant to hear.
Was it Leela Naidu’s last Hindi film before she made a comeback with Shyam Benegal’s TRIKAAL, 1985?
Her last screen appearance must be in the 1992 English film ELECTRIC MOON directed by Pradip Kishen and written by his wife Arundhati Roy.
Hans ji,
What a wonderful post. I read both of the posts by you, though I liked this one much more than the first one.
You have presented everything with accuracy and the post is insightful.
As you are planning yet more posts in the ‘Ravi’ series, I think, it’s better not to add any song to the list.
And,
I agree with Dr Shetty on delivering three Lata solos in a single film.
He has given Madan Mohan.
I will add, C Ramchandra, who had this magic in many of his films in early 1950s. The list would be exhaustive.
Patanga, Nirala, Albela, Anarkali, Jhanjhar,Shagufa, Nau Sherwan e Adil and so on..
I congratulate you for successful twin posts on Ravi and wish you all the best for the forthcoming parts in the series.
Anup
🙂
Hans ji, Shalan Lal ji, Anup ji,
Not just Madan Mohan and C Ramchandra, almost all the major music directors have at least a couple of movies qualifying… right from Khemchand Prakash…..MAHAL, 1949…
Aayega aayega aayega
Mushkil hai bahut mushkil
Dil ne phir yaad kiya..
SJ, AMRAPALI, 1966.
LP, SSS, 1978.
And, then , there is PAKEEZA, 1971,Ghulam Muhammad… with half a dozen lovely Lata solos.
Hans ji
Great presentation again.
I agree with you regarding breakthrough for Shakeel- Ravi association when Shakeel was looking for more work when not much was coming to him.
There is that characteristic data and statistical analysis . Again a lot for me to learn .
Keep it up.
Dr. Pradeep Shetty,
Dr. Pradeep Shetty has readily given a list of 3 spellbinding solos by lata for different composers which speaks of his study on various aspects of music of the HF Golden era.
(1) film ‘ Pyar Kiya to Darna kya ‘ , 1963
Song… ‘Jan-e-bahar husn..’
Singer .. Rafi
MD … Ravi
Lyrics … Shakeel Badayuni
https://youtu.be/Q6dVti1YVwM
(2) film… ‘ Gehra Daag ‘ , 1963
Song ….’ Tumhen pa ke humne … ‘
Singer … Rafi , Asha
MD …. Ravi
Lyrics…. Shakeel Badayuni
https://youtu.be/Gz0pIDvHSUU
AK
First of all thank you for continuing this series on Ravi. I think your introductions are even better than my articles. My articles are mostly data plus opinions and these two were with different subject matter, so they looked slightly offbeat to readers. Arunji has always appreciated your choice of words, which is exactly true for me also. My article looked better with your intro. Plus the usual effort you put in making these articles presentable are very commendable.
Arunji
What can I say when you praise me in such a manner, except that it fills my heart with a unique feeling of happiness and excitement. Thanks for your encouraging words again.
Dr Shetty
Thanks for the praise for the article. Such support from friends is heart warming. Regarding the statement about three gems from Lata, I think you have understood it differently than what I meant or may be I could not convey it in the right words. My statement was addressed to those who look down upon Ravi as a composer and it was not meant to compare him with other composers. I was defending Ravi rather than evaluating other composers. I mentioned that mainly because Ravi was a pro-Asha composer. Also how many does not mean there were no composers who could not produce so many gems in a film. It means there were not many. I am sort of friend of the under dog, especially if he is attacked unduly. So that is the reason. I may clarify here that this post does not mean that I look down upon the Naushad-Shakeel combo. In fact I am a big fan of this combo. My purpose in that is showing what difference Ravi made vis-a-vis Naushad. Another thing, when I write with so much felicity about Ravi, that also does not mean that he is my most favourite composer. Naushad again is my most favourite composer and that too by far. For me, nobody else comes near him. I start comparing only after Naushad.
Having knowledge of so much of data, how can I say that no composer ever composed 3 gems for Lata in a film. In my last article also I said Lata’s reputation was initially built on success of films in which she was the predominant singer. I must be a fool to know so many great composers who just vouched for Lata and then make such a claim.
Whatever it is, I believe in frank talk and never take such things in the wrong spirit. In fact, you are doing a friend’s duty by pointing out anything which looked odd to you. I think no person can learn, if he starts thinking about friends as opponents.
Dr Shetty @ 4
You are half right half wrong. There was no Mukesh song written by Shakeel Badayuni. But, Mukesh did sing two solos after 1962, one each in Premika and Sanjh Ki Bela. The Sanjh Ki Bela song was mentioned in the last post also.
Shalanji
Thanks for your kind words. Such appreciation from veterans like you is like a blessing to me. I knew you would like my frank opinion given in the article.
Hans,
Thanks a lot for your nice words for my role as a presenter and moderator. Guest authors are guest authors because they bring something new, and my introduction flows naturally. It seems the readers are not satiated and they would be looking for your contribution regularly.
Hans ji,
The context of Lata gems is clear now. Yes, you wouldn’t have said it the way we perceived. Still, thank you for making me think of those films with 3+ Lata spellbinders all through yesterday.
NAGIN, MOTHER INDIA, ANPADH, GUIDE, ABHIMAAN……
Yes, learning is a continuous process and as RIGVEDA beautifully puts it…
Let noble thoughts come to me from all directions.
Aano Bhadra Krtavo Yantu Vishwath.
I agree with you totally that friends are friends and not opponents or adversaries.
Hans ji;
Nice work.If bluebirds were real, a couple of ’em would be sitting on your shoulders singing right now.You’re article is inspiring and
so thoughtfully written .Your ability to recall is awesome and creative potential seems limitless . Statistical analysis is perfect ten [ ….oh ! Bo Derek ! ] . Our S o Y community is better and best now because you’re in it.
I always imagined Naushad Shakeel as a one way road ; now knowing Ravi Shakeel the road turned out to be two way street . So will move on to my return journey , sitting at the back and watching wind screen canvas and also world leaving behind thru mirrors. So one song from Aurat which I posted on your first article too.
Hame Unse Mohabbat Hai – Asha Bhosle, Shakeel,,..Aurat [1967]
https://www.youtube.com/watch?v=diXQSGo8fzI
….to be contd.
ksbhatia ji ,
Aap toh naughtia ji ho rahe hain!
When I think of perfect 10, the name that immediately comes to my mind is that of Nadia Comaneci, the Romanian gymnast ,who scored the first ever perfect 10 in an Olympic event…. Montreal, 1976. On her way to 3 Gold medals ,she scored 6 more perfect 10s. I was in school.
10 came in 1980 and Bo Derek loomed large from the posters . I was in Medical College. Did I see it? You bet I did, with the gang from the hostel. But, we were more drawn to BLUE LAGOON with Brooke Shields , released in the same year. पसंद अपनी अपनी।
I hope you know I am gently pulling your legs. गुस्ताख़ी माफ़, गुस्ताख़ी माफ़।
Anup
Thanks for the appreciation. I am happy you found it insightful.
So far as songs are concerned you can post songs written by Shakeel because there would not be a second Ravi-Shakeel post. 🙂
S Joseph
Thanks for your praise. I would try to deserve it in future also. Such support from SOY friends is a ‘revitalising bond’ with them.
The songs you have posted are my great favourites. In one’s honeymoon period most of us choose to sing these songs, especially ‘tumhen paa ke’. But, Shakeel had already written for later sour grapes type of situation ‘kahan aa gaye hum chaman se nikal ke’. 😉 He was master of such phraseology, which was utilised to the full by Naushad, especially for Dilip Kumar films.
Bhatiaji
Thanks for your now customary poetical praise. I think I dont need blue birds. My friends here at SOY are more than blue birds for me. My adrenalin is flowing after reading your post. So I waited for the reply to cool down.
I think earlier I also thought like you about Shakeel. But, when I started going deep I found he is very great. He started writing lyrics for Naushad and Ghulam Mohammad side by side. But, if you see his lyrics for Ghulam Muhammad you would find them so different. He also wrote 22 songs for Ravi’s guru Hemant Kumar in three films Bees Saal Baad, Sahab Biwi aur Gulam and Bin Badal Barsaat. As I am sure you must have listened those, you will recall that they are all gems. Icing on the cake was the comic ghazal in Bin Badal Barsaat ‘marije ishq hoon ae janeman meri dua lena’.
Dr Shetty mentioned the Asha song from Umeed, ‘humne chaha magar kah na paye’, which has the same sentiments which are there in ‘humen unse mohabbat hai’, but see how differently both songs have been composed and rendered. And both are gems.
Dr Shetty
The Rafi gem from Umeed is such a special song that when you search for the songs of this film on youtube, the other songs are found so low down that you are frustrated. So many people have posted songs in their own voices. The Asha song is another gem. The dance duet you mentioned was very popular in its days.
On the three Lata gem comment you remembered first Madan Mohan, which means he is one of your favourites. But, despite his special bonding with Lata, he was not the most prolific with her. This credit goes to SJ. They composed 150 female solos in their first decade from 1949-1958, out of which Lata was there in 145 of them. No composer was so one-sided, not even CR. Out of the 31 films till 1958, SJ gave 5+ solos to Lata in 20 of them. If we see the first decade of MM, he gave 80 solos to Lata and 84 to other female singers. CR gave 177 solos to her but he composed for 50 films during that period, so his average is much less than SJ. CR gave 50 plus songs to other female singers during the same period from 1949-58. In the period from 1951-60 Naushad gave her 5 or more solos in 8 out of 12 films, with Amar-7, Shabab-5, Udan Khatola-9 and Mughale Azam-8 being stand out performances. I think 3 is just a number, but if you have two gems like ‘bachpan ki mohabbat ko’ and ‘mohe bhool gaye sanwaria’, they are more than double their worth.
Some of the honourable members in the group have enough experience to start contributing lead articles . Am sure Dr. Shetty could contribute with a series if he makes up his mind.
Many times the comments from the learned members have hidden hints for some new series of articles . The observation today
‘ … Dr Shetty mentioned the Asha song from Umeed, ‘humne chaha magar kah na paye’, which has the same sentiments which are there in ‘humen unse mohabbat hai’, but see how differently both songs have been composed and rendered. And both are gems. ‘ , … gives an opportunity to explore the possibility of articles on ‘ DIFFERENT SONGS WITH SAME SENTIMENTS ‘ .
KS Bhatia ji has played the song which touched his heart (‘ humen unse Mohabbat hai…’), though a repeat … it is a beautiful song that one would not be tired of listening to . This was the situation those days with so many youngsters and the film industry exploited this fact on screen frequently. I give a song on this situation ( though outside the present subject ).
Film …’ Girl friend ‘ 1960,
Song … ‘ Kashti ka khamosh Safar…’
Singers… Kishore , Sudha Malhotra
MD… Hemant Kumar
Lyrics… Sahir Ludhianvi
https://youtu.be/PzaqgXpGjrs
S Joseph
You have raised a very good point. AK must be listening. He is the master of inventing such topics. Once he did the topic just on ‘kahna’.
Shakeel was really a master of writing songs on the same sentiments in different set of words and all looking great. He also wrote ‘meri baat rahi mere man men’ which Asha sung. Earlier he wrote ‘lagan more man ki balam nahin jane’ and ‘jane wale se mulaqat na hone payi, dil ki dil hi men rahi baat na hone payi’ which both are Lata gems.
Some words are favourites of every lyricist. Now look at ‘dil se dil takrana’ which Shakeel used in mukhdas of at least three gems. ‘Kabhi dil dil se takrata to hoga’ by Mukesh, ‘takra gaya tumse dil hi to hai’ by Rafi and ‘jab dil se dil takrata hai’ again by Rafi. Shakeel also used ‘chaman’ and ‘veerana’ quite a number of times either in mukhda or in antara, while some lyricists used ‘khijan’ and ‘bahaar’ to show the same contrast.
Dr Pradeep Kumar Shetty @19 ; Hans ji;;
At 73+ my interests and hobbies makes me going …..and enjoying playing music of my taste. Remembering Tina Charles famous song of the 70s ….I will go where music takes me ….and that’s where my destiny. The cassette is still with me and I do listen when my mind is tuned to Pop Music.
Conversely there are plenty of mood I struck upon soul touching songs . Yes Ravi’s boss Hemant excelled in bringing out the best matching melancholy of lyrics by Shakeel in this song of Bees Saal Baad……Aye mohabbat meri duniya mein tera kaam na thaa. Each word , each line , each stanza is worth weighing with many gems and golds . I think this is best of Shakeel outside Naushad’s Camp. Can’t resist posting this song….since present article covers Shakeel’s worth .
Ae muhabbat meri duniya ….Bees sal bad …Lata ….Shakeel badayuni
https://www.youtube.com/watch?v=JSoimHpvYhg
This song deserve Nadia’s 10 too.
Yes Ravi-Shakeel combination worked very well as they gave several lovely songs. I pick up just a few.
1 Lage na mora jaye sajna nahin aye Latha in Ghungat
2 Husnu wale thera jawab nahin – Rafi in Grahasthi
3 Raha ghardishon meri humdum – Rafi in Do Badhan
Ravi’s worked with Shakeel for the last time in Aurath which is Hindi remake of Tamil film Chithi. Padmini acted in both version.
R Vasudevan ji,
AURAT was released in 1967.
Ravi and Shakeel worked together in UMMED, 1971 ( released after Shakeel’s death in 1970) and JOGI, 1982, a delayed in the making/ release (?) movie.
Later in the day I will post some interesting information about JOGI.
Hans ji @25;
“”…..Shakeel was really a master of writing songs on the same sentiments in different set of words and all looking great…….”
Very true statement by you sir . And morever , further to this ….his favorites wordings were …Bhavar, Kishti , kinare , moujyen, sagar, nadi , ….and all other connected words. I think more than a dozen songs are there and some where I have listed them in one of my comments / observations made either on an article or in open house. I will trace and come back if found.
Shakeel Badayuni seems to have lent his voice to two mushairas with Mubarak Begum in PAK DAMAN, 1957.
Shakeel Badayuni, Ghulam Muhammad.
One of them is:
Hungama e gam se tang aakar…
https:// youtu.be/ FYLdgQdTyoc
Has he lent his voice for any other movies?
Hansji,
Thanks for such a good, informative post. I must say that I now have more respect and admiration for Ravi’s capability as a Music Director than what I had so far.
Your penchant for data collection and lucid but in depth analysis makes new discoveries. My salutes.
Hans ji,
I was eagerly waiting for this post. You have come with a gem. As AK has observed your forte is statistics. With statistics you have established that Shakeel blazed a new trail with Ravi, outside Naushad camp. The credit for bringing them together goes to Guru Dutt (Chaudvin ka chand). Then they gave a series of hits. However it is surprising to me that Guru Dutt didn’t repeat Ravi despite Chaudvin ka chand was a musical hit.
Hope more such articles flow out of your pen/ computer.
Ek bhooli yaad ne phir dil mera tadpa diya…
JOGI, 1982.
Singer…Ravi.
N Venkataraman ji had discussed about the 3 movies produced by Huda Bihari in the earlier post.
Interestingly, after handling the writing department in ISI KA NAAM DUNIYA HAI, 1962, H S Bihari is absent from both DO BADAN, 1966 and JOGI.
While Shakeel Badayuni wrote all the songs for DO BADAN, in JOGI, one song out of the total five was written by Anjum Jaipuri. Surprising, considering the fact that H S Bihari was around at the time. Also, the time gap of 12 years between the death of Shakeel Badayuni and the release of JOGI is confounding.
While Shakti Samantha and Raj Khosla were the directors for the first two respectively, Huda Bihari himself donned the robe of the director for JOGI. He is credited among the starcast of the latter two .
Ravi has sung for the first and the last movies.
Bhatiaji @ 26
You are right. The interests and hobbies keep one going at this age. I would add love and appreciation of near and dear ones and also friends and even some leg-pulling keep us refreshed in the day and provide us calm and serene sleep at night.
I think you have hit the nail on the head by mentioning Bees Saal Baad. Here Hemant provided Lata with a trio of gems (missed by Dr Shetty or perhaps he may have remembered and did not mention) on varied genres. The fast ‘sapne suhane ladakpan ke’, the haunting ‘kahin deep jale kahin dil’ – the song which is remembered more and Lata herself rates it very highly – and the sad ghazal you posted. See the last antara
देने वाले मुझे क्यों तूने मुहब्बत दे दी
क्या ग़मे इश्क़ से पहले मुझे आराम न था
This film was a trend setter in many ways. Biswajeet became in one stroke a Hindi film star from a Bengali film star. The film started a trend of haunting movies and in them Biswajeet was the leading star.
Vasudevanji
Each song you mentioned is a gem. It appears your taste is very rich.
Thanks for so lovely words of appreciation. I am happy I could enhance Ravi’s status as a composer in your mind’s eye. This was one of my objectives, particularly because he has not been given his due place.
No 36 above is meant for Shachindraji.
Giriji
I am overwhelmed by your highly appreciative words. A month back I could not imagine there are so many like minded friends.
You are right about Guru Dutt. He was unstable in his decisions in choice of at least composers. He chose Ravi’s guru for Sahib Biwi aur Gulam and retained Shakeel and what a score they produced. All the songs included in the film are remembered till today. The irony was that the film produced by him did not do well but his next film as actor Bharosa, with Ravi as composer was again an instant hit. I think he was a bit tragic minded and successful films turned his head. Earlier also he had discarded OPN despite Aar Paar, Mr and Mrs 55 and CID.
Dr Shetty
I think Jogi was certainly a delayed in production film, which you have also stated earlier. I have read somewhere that Naushad said he got for Shakeel song writing jobs when he was ill. This may be true of Ravi also who had long association and was obliged to him for a number of hits. I think Shakeel wrote them long back. The film is delayed one that is every bit probable. Its cast includes Snehlata of ‘humne dekhi hai in ankhon ki mahkati khushboo’ fame and Premendra, who appeared in four films in 1970 and 71, but is not mentioned to have featured in another film after that. I have seen his first film Holi Aayi Re-1970, long back. Both of them do not appear to have aged by more than 10 years in Jogi. So in my view this is a delayed film.
The song by Ravi, ‘ek bhooli yad ne’ is quite superb.
Hans,
I am sorry I am late in responding.
But I am glad I am late, I have comment # 18 by bhatiaji to ditto. He has said it all in his poetic way.
I will just say thanks. Yes I will add (sorry AK) wish you had written Ravi Rafi too.
I want to thank you for adding Talat Mahmood’s Maine bhi husn ki nazron men jagah payi hai.
I second your question on why he didn’t give him another song.
I will add this song from Chaudvin ka chand,
I don’t think any city has been praised as beautifully as Lucknow by Shakeel
https://youtu.be/3JvZ3Otvs48
Giriji@32 Hans @ 38
In this interview Ravi speaks how Shakeel and Ravi were brought together by Guru Dutt.
https://youtu.be/s_JYPNNGe0Y?t=1612
Hans ji @34;
Yes , Bees Saal Baad had great songs sung by Lata ji and utmost beautiful lyrics by Shakeel and Hemant Kumar decorating with heart touching composition. These songs truly Milestones where any traveler would pause to hear and take rest .
Shakeel created many pleasantries for Ravi ….soft romantic to Sad /Melancholy songs ….and Ravi did full justice in bringing out best composed tunes……. No yawn songs …….. transformed into sublime musical thoughts….. orchestra never painful to ears. Some songs that hits my mind are …..
मिल गए तुम,तो दिल को सहारा मिला..Nartaki 1963_Rafi_Shakeel_Ravi
https://www.youtube.com/watch?v=Kjk22WukTbA
Hay Re Insaan Ki Majbooriyan – Mohammed Rafi, Ghunghat
https://www.youtube.com/watch?v=Z3zFeQBG46Q
Mili Khaak Mein Mohabbat – , Mohd. Rafi, Chaudhavin Ka Chand
https://www.youtube.com/watch?v=7zoUoixvRMg
Badle Badle Mere Sarkar – Lata, , Chaudhavin Ka Chand
https://www.youtube.com/watch?v=h0V-CgaklJo
….to be contd.
Dr. Shetty, Hans ji ;
Like Jogi there was another movie which was delayed by quite few years. Reasons not known but songs of Umeed were known well before its delayed release .
Mujhe Ishq hai tujhi se (ummeed ) rafi
https://www.youtube.com/watch?v=Jf7WYaputgY
RARE song sung by Ravi -Mera dil hai pyaar ka aashiyan yahaan jee to loonga karaar se-….Umeed …Shakeel Badayuni
https://www.youtube.com/watch?v=H1g0L8-ujk4
…..to be contd.
Mumbaikar8,
I accept your apology. 🙂
Jokes apart, Hans is an authority on Ravi, as also on Ravi-Rafi. But his offer was on Ravi with Asha Bhosle and Shakeel Badayuni, and I didn’t want to palm off the entire series to him.
Mumbaikar8 @40,
I have heard this interview on Vividh Bharti when it was broadcast. Based on that only I said that the credit for bringing together Ravi and Shakeel goes to Guru Dutt.
Thank you for the Youtube link. It refreshed the memories.
Mumbaikar8
Third day can not be said late. I am sometimes awfully late in my responses, but then try to compensate by writing something special. I think you have done the same. Your comment is very insightful. Your mention about the title song ‘ye lucknow ki sarjamin’ that it is the most beautifully written praise of a city is apt. He has entered into the soul of Lucknow legend and lyrics tell of a very learned man. I remember you also posted the title song of Ankhen in the Ravi-Rafi post. Some composers did not take seriously the songs which went with film titles, but Ravi was different is proved by these two songs. But, the problem is that some times you missed them when you reached the cinema hall late. This happened to me in Chaudhvin Ka Chand, but fortunately I entered the hall just when the Ankhen song started. The impact of the songs in the hall was electrifying. In Chori Chori I entered when ‘panchhi banun udti phirun’ was half gone. Though now we can see all of these songs again and again and whenever we want. The interview posted by you is also great. You and Gaddeswaroopji continue to post interviews and articles which are very useful in enhancing our knowledge.
Regarding Ravi-Rafi post, I think it was better AK wrote it because he must have listened to quite a number of songs for song selection, which is good. You remember the song ‘aap yun hi agar humse milte rahe’. Similarly, if AK goes on listening to these songs he would start loving Ravi more. 😉
Here I would stop leg pulling and tell the truth. I had asked for Asha post in March itself but could not give it to AK before August. In between a thought came to me about Shakeel. I was keen for these posts because there were special themes in my mind, which factor has contributed in making these posts so interesting for friends. But, even if I had time I would have liked AK to do that, because he has some mastery in description of songs and data I would add in comments – which actually I did. I also agree with AK that Asha and Rafi being the two main singers, if I had done both there would have been hardly anything left for AK. This would have been bad because the series, after all, has been envisaged by him and I am very thankful to him not only for starting the series, but also giving me the opportunity to write. This series would go a long way in enhancing the reputation of Ravi.
Bhatiaji
I forgot to mention the two naughty Hemant solos in Bees Saal Baad, which contributed a lot in the success of the film. The songs you posted, what can I say, they are my absolute favourites. ‘Zindagi ke safar men’ you mention frequently and this along with ‘aaj duniya badi suhani hai’ are on top of my list from this film. Haye re insaan ki majbooriyan, signifies the mastery of Ravi over background songs, most of which he gave to Rafi. And what great lyrics, describing the situations of the principal characters involved in the ‘ghunghat’ drama.
शमा के अंजाम की किसको खबर
खत्म होगी या जलेगी रात भर
जाने ये शोला बनेगी या धुआं
And the two Chaudhvin Ka Chand songs showing the state of mind of both the hero and heroine with the marriage in a state of turmoil. One says
मैं कहाँ रहूँ चमन में मेरा लुट गया ठिकाना
and the other says
कर के बर्बाद मेरे दिल का चमन छोड़ दिया
The use of ‘chaman’ in both songs is significant. I earlier talked about that word being favourite of Shakeel.
Another Ravi film which was delayed was Amanat, which was released in 1975. In 1971, I listened to the song ‘teri jawani tapta mahina’ in a remote village not even connected with road, when I was attending a marriage and the song was being played on loudspeaker.
Hans ji ;
Ravi gave quite a number of sad songs and you correctly stated that most of these songs were used as background songs . I have a great feeling …..Is it necessary to go emotional for a lyricist while writing a sad song ? I don’t close my eyes when sad songs strikes my stereo ears . I let tear falls to cool my face and that is a great feeling.
Writing words is everyone’s wisdom ; but lyrics writing that fits the composition is an art. Kalam , Dwat and Shahi were really blessed with many arrow strikes of wonderful designed nibs of holders that converted many dark spaces into sunshine. I think , with the invention of Ball pens , this art slowly diminished , may be tending to infinite zero.
looking for some more songs……
Ms. Mumbaikar , Hans Ji [s];
Title song of Chaudvin Ka Chand is awesome. Nice beats and flute matching beautiful lyrics in praise of Lukhnow ….its charms and traditions . The song just does’t ends there ….it has one last stanza em phasing friendship…..and that comes at the end after the death of Rehman. Full stanza was there in original movie. The YT version have only one line ….as edited version.
Hear that full stanza from 2.23 to 3.30…..
ye LUCKNOW KI SARJAMIN
https://www.youtube.com/watch?v=5yjznIlKY5Q
Though it is out of place or inappropriate to mention a combination of Shakeel Badayuni and Naushad, in this post but I do add for the sake of Sakeel sahib.
song – aaj purani raho se koi mujhe awaaz na deh
film – Aadmi
what a dard bari song from the pen of Shakeel Badhayuni rendered by none other than Rafi Sahib with feelings and composed so well by that master music director Naushad. what a great song.
Hans,
You know, I am sort of in the “first day first show” responding habit that even three days seems late.
About title songs, I had the same feeling for Aankhen’s title song the other title song with such intense feel is “Wahan kaun hai tera”.
Let me start pulling from where you have stopped
“I think it was better AK wrote it because he must have listened to quite a number of songs for song selection, which is good. You remember the song ‘aap yun hi agar humse milte rahe’. Similarly, if AK goes on listening to these songs he would start loving Ravi more”
Going by you suggestion after the number of post of Rafi AK has done for different MDs and particularly after the SDB Rafi post AK should have developed “वह करवा चौथ वाला प्यार “ for Rafi.”
ham ko ma.alūm hai jannat kī haqīqat lekin
dil ke ḳhush rakhne ko ‘ġhālib’ ye ḳhayāl achchhā hai.
Getting serious, AK posts are delicacies of a master chef, my feel is that if the writer has the admiration and esteem for his subjects, that you have for Ravi and Ravi result adds that needed pinch of salt which makes it more relishing .
Hansji,
I am sorry that I am late to respond.
You have once again placed before us another irrefutable argument in favour of Ravi. Backed up by brilliant statistics and subsequent analysis, You have brought forth Ravi’s role in giving Shaqeel Badayuni a new lease of life during a critical period of his career. Thus your taking up the brief for Ravi Shankar Sharma has not gone in vain for the second time. You deserve a big round of applause.
I would seek clarification on a couple of points. However they will have no bearing on the argument you have placed before us.
You have mentioned in one place, I quote
“Up to 1955 all was going right, Shakeel wrote 198 songs during this period.”
Which period here you are referring to? Can you please clarify?
In another instant you mentioned, again I quote,
“But once Naushad settled on Shakeel, he took him into his fold and continued with him uninterrupted up to 1965.”
However in 1949 film Andaz, Naushad gave all the songs to Majrooh. After 19 years we find Majrooh back in Naushad’s fold in the film Saathi.
Next about the songs. Once again a nice selection of songs. The three songs, Meri pat rakho girdhari, Husn se chaand bhi sharmaya & Sun le pukar aayi aaj tere dwar, stand out. Daadi amma daadi amma man jao & Hum bhi agar bachche hote too demands mention.
Very thoughtful of you to have kept aside the Ravi’s combo with the big three Asha, Rafi & Lata. You must have written this article much earlier. The articles on Rafi solos & Rafi duets for Ravi have since been posted, also the article on Asha-Ravi combo. I do not think there will be any separate post on Asha duets for Ravi, since Rafi’s post covered a lot of her duet songs. So there should no further moratorium in posting Asha & Rafi songs for RaviI-Shakeei combo here. And the post on Ravi-Lata combo can be expected on 28th of this month.
Would be back for some more discussion later.
Bhatiaji
You have hit the right track. Sad songs are difficult for the lyricist. Composer and singer of the trio acquire some kind of expertise after a number of songs, but, the lyricist has to go into the character and situation each time to write a really great sad song. AK also mentioned this when there was the talk of song bank, which is most true for sad songs, if not for others.
Yes there are a few background and title songs of this combo which were sung by Rafi. ‘Kaun apna kaun paraya’ title song and ‘kuan paas tu phir bhi pyasa’ from Mulzim are such philosophical songs which cannot be grouped with sad songs. But, there are two very sad songs with the hero in similar situations. ‘Zindagi kya hai’ from Pyar Kiya To Darna Kya and ‘bhagwan ik kusoor ki’ from Gehra Daag. The strange thing in these songs is that the Gehra Daag song is written in first person and is a background song, while the other song from lyrics would be taken as a background song, but it is lip synced by Shammi Kapoor. I like the picturisation of both. Shammi throws himself around during the song and in the end starts a slow dance ‘chutki bajate huye’. Both songs leave a great impact in the film.
https://www.youtube.com/watch?v=dsxzJNDT0c8
https://www.youtube.com/watch?v=7ARuHoPn7xA
Here are some of the lyrics from these songs
Ist song
झूठी हैं दुनिया की बहारें रंग हैं सारे कच्चे
वक़्त पड़े पर थाम लें दामन फूल से कांटे अच्छे
इस गुलशन में कदम कदम पर एक नया धोखा है
IInd song
दुनिया के ज़ालिमों ने चलाई वो आंधियां
सारे चराग बुझ गए मैं देखता रहा
Shakeel’s lyrics were always great when he wrote sad songs, which is highlighted by Vasudevanji. He wrote a number of such songs for Naushad. AK had also talked about three songs of the same type in Do Badan.
What a comparison you have made of the objects of writing through times. It brought to mind those days when we took a dawat with us and some naughty boys spilled their dawat on others and as a result got a good thrashing from the teachers.
Regarding the Chaudhvin Ka Chand title song, you have perhaps not listened to the link which Mumbaikar8 posted. In that link also there is the full song. The video links do not provide full songs though.
Vasudevanji
I think when a lyricist is being discussed, it is always fitting to mention his songs which highlight the attributes of his writing. Shakeel was such a master of love songs, whether they were happy or sad, that they left a great impact. Thanks for mentioning the great Aadmi song.
Mumbaikar8
I am in total agreement with what you say. What you have said in last para of your comment above was the exact reason why I offered for Asha-Ravi, because that is the combo about which not much is known and particularly the way I wanted to project it. Ravi-Rafi is well known and otherwise also Rafi gets quite good representation on various sites.
I think AK has a very healthy respect for Rafi, which is also genuine. But, the problem with these Lata aficionados is that they can not do anything which will bring her level down. You know the saying that to shorten a line without rubbing it off is to draw a bigger line. The Lata line has been drawn too big. So to defend that line you have to keep the other lines shorter. You see in my last post Dr Shetty -who is a big fan of Asha – even gave negative comments on some Asha songs. You will never find a Lata fan do that. They also have groups and if somebody wants to do it differently, they first think what will others of my group say if I do that. This thinking drives the mob culture. I once mentioned the case of my Bengali friend, who borrowed the video cassette of Phir Wohi Dil Laya Hoon, just for the sake of listening the great Rafi songs in that film. I asked him if you so like it why dont you buy. He replied that he can not answer questions of his Bengali relatives and friends for whom Rafi is no-no in the context of Rafi-KK debate. Even the fact that the hero was a Bengali did not matter.
Venkataramanji
Thank you for the elaborate comments and also for the expert praise from a fellow statistician which has provided immense satisfaction and happiness to me.
About clarifications you sought. The first one was about figures of 1951-60 which were bifurcated by me in two parts. I had mentioned the figures of 1951-60, in the previous para, so the argument continued in the next. The other one was clearly a slip. For a statistician, this is a big mistake. But, that was caught also by a bigger statistician than me. So I do not feel shy. But, thanks for pointing out that.
Yes what you say in your last para seems to be more likely. Ravi-Lata should come on 28th unless AK wants to fool us and spring a surprise, which he has already done on occasions. Asha has more than 60 duets sans Rafi, and they are great too so I cant say her duets will not come. But, Ravi-Shakeel songs can all be posted to whatever group they belong, because for once we should give preference to lyricist rather than singers.
Hansji @ 55,
Thanks for the clarifications.
1) Now I got it. The 198 songs were for the period 1951 to 1955. Sorry for my slow reflex.
2) Even the greatest of players make mistakes like an edge or a miscued shot. It does not matter, as long as such shots do not prove costly as is the case here. You are doing a great job. Just I was trying to setting the record right. I would be happy to play a second fiddle.
3) AKji generally reserves the honour exclusively for me as I am in the habit biting the bait.
4) It would be great if we can have a separate post on duets of Asha for Ravi.
5) I endorse you view – “for once we should give preference to lyricist rather than singers.” Starting from Ranganji’s post on Bharat Vyas, followed by AKji’s post on Shailendra & Hasrat Jaipuri and now your article on Ravi-Shaqeel collaboration, there is a significant shift in our focus. Great going this year.
Thanks once again.
ksbhatia ji, Hans ji, Vasudevan ji,
Happy and sad songs; romantic/ ched Chad songs; situational songs; devotional, patriotic, inspirational songs ;
mujras, qawwalis; ghazals, shayris; haunted soul’s songs; lullabies, children’s songs; seductive, dance numbers, club/ cabaret songs; philosophical songs; comedy/ sarcastic songs; travel/ holiday songs; ……… etc etc etc
What a great variety we have in our film songs!
Here is a Romcom ( Romantic Comedy)song from KAUN APNA KAUN PARAYA, 1963 which I had intended to post for Ek Bungalow bane nyara theme.
Johnny Walker is promising to make a dwelling for himself in his beloved Shammi’s heart. No physical brick and mortar structure for this lovelorn pair.
Rafi, as usual,is excellent. I want the keen eared among you to tell me whether the talking portions are in Rafi’s voice or Johnny Walker’s! The first utterance sounds hundred percent Rafi while the next two sound like Johnny Walker.
आशिक हूं अपने प्यार के जोहर दिखाऊंगा
नज़रें मिलाके दिल में तेरे घर बनाऊंगा।
(No झूठ, By God..)
दिल की ज़मीन पे डाल के बुनियाद प्यार की
दरवाजा इक उठाऊंगा सब्र ओ करार की
फिर उसमें इंतजार की खिड़की लगाऊंगा
नज़रें मिला के
( Fresh हवा आने जाने के लिए……)
Speaks of तारे तोड़कर लाना.
नक्शा बड़ा अजीब है दिल के मकान का
मुश्किल से इसमें होगा गुजारा मेहमान का
और मेरा क्या है , मैं तो कहीं बैठ जाऊंगा
नज़रें मिला के
(अपून तो घर का आदमी है….)
A comical qawwali from KAUN APNA KAUN PARAYA.
Asha Bhonsle, Shamshad Begum & chorus.
Dekh kar ye Rang e Mehfil
Ye khushi ye Zindagi
Walwale uthe hain dil mein
Chahta hai mera jee…
Allah kare main bhi
Dulhan ban jaaoon…
Among the various artistes in the song, Tun Tun sings in the voice of Shamshad Begum and dances. Has Tun Tun ( Uma Devi) ever sung for herself on the screen? Has she sung in the 60s and later?
Hansji,
Giriji @ 38 wrote the credit for bring them (Ravi & Shaqeel) together goes to Guru Dutt and you have concurred with his views. Mumbaikarji had lent credence to it by posting a link where Ravi himself says so. That should have settled the matter. But I would like to carry it a little further.
After the commercial disaster of Kagaz Ke Phool (1959), Guru Dutt was left high and dry. For Chaudhvin ka Chand (1960) Guru Dutt recruited the experienced director M Sadiq, who was undergoing financial instability at that time. Dutt believed in his talent. Moreover, he was convinced Sadiq , being from a Muslim background, will be able to convey the Nawabi decorum and etiquette aptly. I feel, M Sadiq might have suggested Shaqeel’s name. Sadiq had worked with Shaqeel in four films earlier.
1. Kajal (1948), music Gulam Mohammad, Ratan Pictures, lyrics Shaqeel Badayuni and D N Madhok shared 9 songs.
Hansji can you give the exact break-up.
2. Chaar Din (1949), music Shyam Sundar, Ratan Pictures, lyrics Shaqeel Badayuni (9 songs)
3. Pardes (1950) music Gulam Mohammad, All India Pictures, Shaqeel Badayuni (9 songs)
4. Shabab (1954), music Naushad, Sadiq Productions, Shaqeel Badayuni (15 songs)
So there is a possibility that, Sadiq, being familiar with Shakeel, was instrumental in bringing Shaqeel for Chaudhvin ka Chand. As you have pointed out, Shaqeel too was in need of films outside Naushad’s fold to further his career. Even Naushad could have recommended Shaqeel to Sadiq.
And even Ravi too could be M Sadiq’s suggestion. Ravi and M Sadiq worked together for the film Jawani ka Hawa (1959). I remember reading somewhere (I cannot recollect the source), that Sadiq suggested Guru Dutt to watch the film Mehndi (1958), another “Muslim Social” film. Ravi was the music director for this film.
Thus it is my conjecture that M Sadiq may be instrumental in bringing together Ravi & Shaqeel for Chaudhvin ka Chand.
And Chaudhvin ka Chand was the turning point for Guru Dutt, Shaqeel and Sadiq.
Mumbaikarji @ 40,
Thanks for posting the song Ye Lucknow ki Sar Zameen. That reminds me of another song on Lucknow by Shaqeel for the film Paalki (1966)
Ae shahar-e-lucknow tujhe mera salam hai
Ae shahar-e-lucknow tujhe mera salam hai
Tera hi naam dusra jannat ka naam hai
Ae shahar-e-lucknow.
Time for a song
Allah Duhaai Hai Duhaai Hai by Asha Bhosle
https://www.youtube.com/watch?v=G1n4sHpk83s&feature=player_embedded
Hans ji, ksbhatia ji,
Responding late to some comments.
Yes, I did think of BEES SAAL BAAD. Also some not mainstream/ prolific composers’ albums … ANURADHA ( Pt Ravishankar)_ 3 out of the 5 Lata solos are gems, LEKIN and MAYA MEMSAAB ( Hridaynath Mangeshkar), RUDAALI ( Bhupen Hazarika) etc etc.
What do I say about the songs from SAHIB BIWI AUR GHULAM? Three absolutely spellbinding gems from Geeta Dutt…Piya aiso jiya mein samay gayo re, Na jaao Sainya chuda ke bainya and Koi door se aawaaz de chale aao. … the first two bring Meena Kumari, the Choti Bahu in front of one’s mind’s eyes. Still, Asha Bhonsle going on Waheeda Rehman ( the playful Bhanwra bada naadaan hai, Meri Jaan O meri Jaan achha nahin itna situm and the touching Meri baat rahi mere man mein) and the dance number Saaqiya aaj mujhe neend nahin aayegi, left a mark. All through my childhood,I was under the impression that the composer was SDB!
For me, it is the Numero Uno Hemant Kumar_ Shakeel Badayuni album.
N Venkataraman ji,
Going by your near perfect hits at foreseeing the upcoming posts, Ravi _ Lata combination may be the next one to expect. But, the momentous 90th Birthday of Didi makes me hope for something much more special and unique. Am keeping my fingers crossed.
Dr Shetty
You are in a tricky query mode. But, I will try to answer you. First, the Johny Walker song from Kaun Apna Kaun Paraya was posted with full lyrics by me on ‘ek bangla bane nyara’ at comment 36. I had also posted the audio link which had the missing lyrics in video song. I had not given there the talking part. The talking part in the antara missing from your comment says ‘import band hai na darling. I have no doubt that all these talking parts have been done by Rafi. Rafi was not only a great singer, but also a high class mimicker. He mimicked the character actor Radha Kishan so perfectly in the song ‘maike se aaja beewi ri’ in film Devar Bhabhi, that it is hard to identify the voice. This fact was mentioned by Ravi in some interview.
The other query about Uma Devi took some of my time. Uma Devi, as per records available with me sang in all 70 songs, 40 solos and 30 duets. Now dont ask me how all the stats are with perfect zeroes. Initially she was given more solos and upto the end of 1950 she had 33 solos and 17 duets and the total comes again a perfect 50. Later her 19 songs were spread from 1951 to 59. She sang one duet in 1964 film Khufia Mahal with Rafi. I am not aware of her singing any song after that. So far as picturisation of songs on her is concerned, I have found two videos. One is from the film Rangeen Raten, which was unique in that Geeta Bali played the part of a male – heroine’s brother – through the whole film. And another unique thing is that she lent her voice in this song, in which Uma Devi comes at the end, the other singer being Shamshad. ‘Main ek shola, aag babola’;
https://www.youtube.com/watch?v=b3i1vpTe6ig
The other song on her is from Khufia Mahal, picturised on her and Sheikh.
‘Wai wai kurbaan’
https://www.youtube.com/watch?v=KpRYOfK8I9w
There seem to be 3-4 other songs which are likely to be picturised on her. Videos are not available, but from cast and the song type it appears she was an actor in those songs. It appears upto 1953 most of her songs were playbacks for others.
I agree with you about Sahab Biwi aur Makaan and I rate Hemant Kumar very high as a composer.
Venkataramanji
I think stats and facts should be as correct as possible and if somebody points out some discrepancy, then he is doing great service. Kindly dont talk about playing second fiddle, because, in stats there is always scope for several people. You are always the number one.
Regarding your query about Kaajal, I am unable to give a positive answer, because I could not find any authentic information about this film, not even on ASAD. Therefore, I did not include any song from this film in Shakeel’s stats. In my view most of the songs in that film were written by DN Madhok. Shakeel might have written one or two.
Your conjecture about M Sadiq being the common link and may be Naushad also behind him, to bring together Ravi and Shakeel is perfect. Since Ravi mentions Guru Dutt, my query ended there, because I was interested in knowing whether Shakeel and Ravi came together on their own and whether Ravi himself chose Shakeel. I know he later recommended Shakeel a lot for other films and he became one of the three main lyricists associated with him. I had in my write up added that two of Naushad’s friends were directing Shanti and Char Din. I knew M Sadiq and SU Sunny were very close to Naushad. I had not earlier cared who was the Director of the film CKC, but after your mentioning it, I am sure it was M Sadiq who was instrumental in fixing both Ravi and Shakeel for the film. The main reason was in my view their thinking that Ravi would be appropriate because, one he was a ‘non-fussy’ character and two he never insisted on composing tune before the lyrics. Shakeel had by now got into the habit of writing lyrics first, and to change suddenly to writing to tune was impossible for him.
Hans ji,
How could I miss an entire song, given along with the lyrics in EK BUNGALA BANE NYARA and repeat it! Anyway, I am sure friends will enjoy the re reading!
The question about the talking portions was one with the answer already known, but to come from one or more experts. Rafi’s mimicking power, especially for the comedians,was exemplary. I have written about Maike se aajaa beewi re sometime back in one of my comments on another topic.
I woke up with the feeling that I have given some misinformation about SBAG.
And, yes, here it is.
Please read Meri Jaan O Meri Jaan with Saaqiya aaj mujhe….
Thanks for the information on Uma Devi.
I am sure in some post here , previously, I have mentioned Main ek Shola aag baboola in some other connection.
( So, I have repeated the KAKP song with lyrics; have brought up the DB and RR songs, too! Eerie coincidences!!!). Has she been discussed in detail in SOY?
70 is the number I , too, had read as the total songs of Uma Devi.
Dr Shetty
Repeating is not a bad thing, if context demands it. Even I have repeated ‘maike se aaja’ and ‘main ek shola’ when the context demanded. Mostly I dont mention such repeats, but since your comment did not have full lyrics, so I had to mention that.
Uma Devi was not discussed in detail to my knowledge.
Pradeepji @30,
Shaqeel Badayuni besides reciting his own poetry also made an appearance in this film. Here is the link.
https://www.youtube.com/watch?v=4CsMjkEVTMU
And the link posted by you
https://www.youtube.com/watch?v=FYLdgQdTyoc
I think Shaqeel lent his voice only for this poetry, the other one was by Md Rafi.
Hansji,
I was wondering how much a song writer get for each song. I believe lyricists were paid per song.
Lyallpuri said in an interview
“…..When music directors become successful, they ask for more money for themselves but are reluctant to pay the lyricist any better……… Shaqeel Badayuni made good money, it was owing to his association with Ravi and Hemant Kumar who paid him considerably better than Naushad”
Going by the above quote, Shaqeel benefitted financially too through his association with Ravi.
Was it enough? Could Ravi do enough for him?
While the discussion is on Shakeel, here is a beautiful song from Noor Jehan, penned by Shakeel saheb sung by Suman Kalyanpur and music by Roshan. This is one of my favorite songs.
https://m.youtube.com/watch?v=wMRYEo5UNeg
I have no idea as to how many other MD’s he worked with or how many other films he worked with Roshan
Giriji @ 69
Answering your first question “how many other MD’s he worked with “
Besides Naushad, Gulam Mohammmad & Ravi, Shaqeel penned lyrics for B S Thakur, Shyam Sundar, Moti Ram, Sajjad Hussien, Sardar Malik, Hemant Kumar, S D Burman, Roshan, C Ramchandra, Kalyanji-Anandji, Sonik-Omi, Saraswati Devi &Md Ibrahim, aggregating 21 films.
And your second question “how many other MD’s he worked with”
Besides Noorjehan (1966), Shaqeel and Roshan came together in one more film in 1965, Bedaag.
N Venkatraman ji,
Correct me if I am wrong.
Shakeel Badayuni has worked with Khurshid Anwar in PUGREE, 1948 and SINGAAR, 1949.
Two movies released after his death carry his name as lyricist, his only association with the composers.
PYAR KA RISHTA, 1973.
Shankar Jaikishan.
Shakeel is credited with the lyrics of 3 out of the total 5 songs…all Asha Bhonsle ( one solo, one duet each with Kishore Kumar and Sharda, all picturised on Mumtaz. The female duet starts as My name is Flory, understand? !!!)
Indeevar is the other lyricist.
JURM AUR SAZAA, 1974.
Lakshmikant Pyarelal.
Shakeel_ one song_ a soothing lullaby by Suman Kalyanpur picturised on Nanda.
Mere dil aaj tu maayus na ho
Kal na ye gham ka andhera hoga
Sham ke baad Savera hoga…
Ram Bhardwaj ( who?) _3, and Asad Bhopali were the other lyricists.
Where was Anand Bakshi!
One music director, who, in my opinion, could have worked with Shakeel Badayuni ,is Usha Khanna. She has worked with almost all the prominent lyricists, many of them with literary background.
Two unusual titles from Shakeel filmography…
BACHELOR HUSBAND, 1950
Saraswati Devi, Mohammed Ibrahim.
MR MURDER, 1969
Sonik Omi.
Venkataramanji @ 68
I dont know what the lyricists were getting for each song. Perhaps the rates varied from one lyricist to the other. But, they were mostly surviving in the industry with other jobs like story, screenplay and dialogue writing, which were connected jobs. Some were perhaps doing other jobs too. I have read that Bharat Vyas, who was B Com, worked as accountant for some people.
Regarding Naqsh Lyallpuri’s claim, I would say that so far as I know, the composer was not the pay master for lyricists. So the situation whether Naushad paid less and Ravi paid more does not arise. It seems Lyallpuri had some grudge against Naushad. When Shakeel came with Ravi and Hemant, rates for lyricists might have been revised due to lapse of time. After your mention of M Sadiq, I am sure Naushad was also involved in getting Ravi and Shakeel combined. So he was a true friend of Shakeel. There seems to be some truth in Naushad claim that he brought Shekeel work when he was hospitalised. Shakeel writing for SJ and LP who were normally working with other lyricists, lends credence to this theory.
What is enough is a question nobody can answer. What is enough for one is pittance for another. But, I can say that Shakeel had enough luck to have been able to find a good living. If he still did not do well, then there must be some other reason.
Dr Shetty
Along with mentioning songs, you are also giving wonderful facts too. Pugree composer was Ghulam Mohammad and in Singaar Shakeel wrote only 3 songs.
Hans ji,
Thank you for correcting me on PUGREE.
After having mentioned Shakeel Badayuni not working with Usha Khanna, the only other notable name in the category seems to be Shailendra .
I think UK must be the music director to have worked with the maximum number of lyricists across generations. I could count 66.
Worked with her own father Manohar Khanna and husband Saawan Kumar Tak.
With Anjaan and Sameer.
Majrooh, Sahir, Kavi Pradeep, Bharat Vyas, D N Madhok, P L Santhoshi, Hasrat Jaipuri, Raja Mehdi Ali Khan,Prem Dhawan, Rajinder Krishen, Indeevar, Jaan Nissar Akhtar, Gulshan Bawra, Kaifi Azmi, Anand Bakshi, Varma Malik.,S H Bihari..
Nida Fazli, Irshad, M G Hashmat, Farooq Qaiser, M K Javed, Javed Anwar, Shahid Anwar, Amanulla Khan Aman, Anjum Sardar ., Kulwant Jani, A K Romani ..
Neeraj, Yogesh, Santhosh Anand, Pandit Madhur, Vittalbhai Patel,Maya Govind, Vishweshwar Sharma, Vinod Sharma, Shail Singh, Dharmesh Dutt, Omkar Varma, Ram Bhardwaj, Amit Khanna, Nandi Khanna, Ravindra Jain, Rahul Rawail, Prem
Asad Bhopali, Gauhar Khanpuri, Naqsh Llyalpuri, Qamar Jalalabadi, Jalal Malihabadi, Akmal Hyderabadi, Zaffar Gorakhpuri, Anjum Bikaneri, Sardar Bikaneri, Rana Saheri,Payam Sayeedi, Rana Saheri, Saleem Sagar, Saajan Dehlvi, Mahendra Dehlvi, M Maroof…
Missed anyone?
Hans ji, AK ji, Deshmukh ji, N Venkataraman ji…. please clarify.
Here is Ghazal written by Shakeel Badhyuni.
Na milate gham to barbadi ka afsane kahan jaate
agar duniya chaman hoti to veerane kahan jaate
chalo acha huva apano mein koi gair to naikala
agar hoti sabhi apne to begaane kahan jaate.
Dr Pradeep Kumar Shetty @75;
Its an amazing information !! so many lyricists writing songs for Usha Khanna !! To me the reason could be She took every assignments…… be it A, B or C class movies. I think this information could be a record in history of india cinema music . Stats holders to conform .
Pradeepji @ 71,
Hansji has provided the answer to your first query.
Regarding Shakeel penning songs for LP & SJ, I was concentrating on Ravi’s association with Shakeel and did not look beyond 1970 for other composers. Thank you for pointing out the error.
Digressing from the subject of this post;
Unusual titles: Bachelor Husband / Kunwara Pati (1950). Yes in those days using both Hindi and English names was in vogue. Even today manye movies carry both Hindi and English titles. Haa Haa Hee Hee Hoo Hoo, I am not having a hearty laugh. It is the name of a 1955 film. A few more, Galloping Ghost/ Bhagta Bhoot (1943), Bambai Ki Billi (1936, 1960). And a few recent ones, Pop Corn Khaao Mast Ho Jaao (2004), Romeo Bola Pyaar Ki Aisi Ki Taisi (2012). Nothing to beat this, Dada Kondke’s Andheri Raat Mein Diya Tere Haath Mein (1984).
And you have more than 50 films representing various shades of Mr., Mr. & Mrs. and Miss from 1933. Few samples Mr. 420, Mr. Bechara, Mr. Bhatti on Chutti, Mr. Khujli, Miss Cocacola, Miss 1933, Mr.&Mrs.Bombay, Mr. yaa Miss.
Hansji,
One more trump from your sleeves !
I think that in a creative art, in order to remain more creative, one would need as many sources of inputs that one can continue to have and then keep practicing the new learning.
I would like to draw a similar case of Shailendra and Hasrat working with a wide range of music directors not only helped their own creativity but also should have helped SJ also remain so profusely creative.
Pradeepji @ 75
Wow, this is a fascinating list.
Echoing Bhatiaji’s comments (@77), working with 66 lyricists may be a record. It will take time and effort to find somebody who had worked with more lyricists. I think I can add one more name to your list, who made it big in Bollywood. I would come to that later. Before that let me try to answer your query @ 71.
Ram Bhardwaj ( who?)….
There are many stories of successes and failures in film industry. We come to know about success stories, may be all of them may not have fortune smiling on them. Ram Bharadwaj story is a tragic one.
Ram Bharadwaj, born in 1935, was a food inspector in Najibabad, in the Bijnor district of Uttar Pradesh. When not supervising sugarcane licensing, Ram Bhardwaj, an amateur poet, wrote poetry. He aspired to become a song writer in Hindi films. He was transferred and moved to Meerut along with his wife and two sons in 1974. His younger son was studying in class five then. It was in the same year Ram Bhardwaj got the opportunity to write three songs for the film Jurm aur Sazaa., composed by LP. Between 1974 and 1984 he penned 23 songs in 12 films. Besides LP he worked with O P Nayyar, Kalyanji Anandji, Ilayaraja & Usha Khanna. He wrote all the four songs for Ilayaraja for the film Kamagni. Coming to his association with Usha Khanna, he wrote one song for her film Maan Maryada and 5 songs for the other film Yaar Kasam. All the three films were released after his death in 1985. When it seemed that fortune was smiling on him, he was getting more songs; tragedy struck.
His younger son was talented cricketer, and played for the under-19 team for his state, Uttar Pradesh. A day prior to the national selection for under-19 team he broke his thumb and the subsequent events ended his dream of playing cricket for his country. When he was 17, he composed a song that caught the fancy of his father. Ram Bhardwaj discussed his son’s composition skills with Usha Khanna, and asked her to hear it. Soon after, she used it for the film Yaar Kasam. At 19, Vishal Bhardwaj recorded his first song penned by him—the same year he lost his father. The song, Suno Balam Ji, was rendered by Asha Bhosle. Thus the number goes upto 67.
As told by Vishal Bharadwah in an interview,
They were tenants in Meerut. Their landlord was a judge and his son a lawyer—“it was the most deadly combination!” There was a case going on between them regarding the property and Bharadwajs believed that the matter was settled out of court—but one day there was an order of kurki (seizure of property). Officials came early one morning. After returning from his usual cricket practice (in 1985), he found to his dismay that his home had been emptied out on the street. Chairs, tables, utensils, clothes, photo frames—everything lay strewn on the road outside his home. In the midst of it, right there on the street, his poet father—for long his best friend—lay sprawled, and lifeless. His father was just 49. Some years later, his elder brother, who had struggled for years in Mumbai to become a film producer, also died of a heart attack.
That was the tragic story of Ram Bharadwaj, who could not live to see his son’s success in Bollywood.
My digression from the main subject of this post arises out of your query @ 71 and the comment @ 75.
Pradeepji @ 62,
Compared to other big names (composers), Lata’s songs for Ravi are limited. Both Akji and Hansji in their posts on Ravi presented only one song each of Lata. Taking the cue from Hansji our friends have carefully avoided posting any Lata’s songs here. But in the introductory post on Ravi by Akji, even if I leave out the songs which find only a mention without the links, quite a number of Lata’s songs have been posted. That narrows down the number further. Echoing Hansji’s words ‘Repeating is not a bad thing, if context demands it.’
However, I wish and hope Akji to come out with something special, like a Guru-Chela combination with Lata. I am not predicting, I am hoping.
The group has brought out a lot that I did not know about Shaqeel Badayuni. Lyricists contribution is being appreciated. I thank all the honourable members of the group for their contributions.
Venkatraman ji has initiated an interesting discussion regarding Sadiq being responsible for Shakeel – Ravi association. This suggestion would settle only if we get some lifetime statement of Shakeel/Ravi/Sadiq.
Truly speaking the Music Director , Singers and the lyricists names are mentioned on all the music albums and discs . So we cannot say these lyricists are not being given credit for their contribution .
There are many more unknown contributors who make the song that we hear . The song would not be enjoyable and lively without their contribution. I enjoy the obligato/preludes/interludes etc. which is said to be composed and played by some others – though under the overall direction of the musicians directors . Also the individual musical instruments are so pleasing to hear . These contributors’ names never appear any where. It is well known that there were arrangers also . Names of such contributors to the song we hear , are not recorded on the albums/discs . Such important role played by so many really unknown contributors to make the song we hear !!
N Venkataraman ji,
I didn’t connect Ram Bhardwaj with Vishal Bhardwaj at all!
What a heart wrenching tale!
I have liked Vishal Bhardwaj’s music from his Jungle jungle pataa chala hai to the beautiful score of MAACHIS to his adaptations of Shakespeare’s works.
He is brilliant.
Rekha Bhardwaj has also been able to find a niche in the music scene and is good most of the time.
Thank you for your information.
I am glad I asked Ram Bhardwaj (who?).
ksbhatia ji,
I don’t think there is another music director who has worked with 67 lyricists.
The present day music scene has innumerable lyricists , sometimes contributing only one song for a particular film. But, in the days of yore, I don’t think we can find another MD who would have worked with even 50 lyricists.
Giri ji, N Venkataraman ji,
JAAN PEHCHAAN, 1950, with music by Khemchand Prakash and Manna Dey ( following KP’s demise) has lyrics by Shakeel Badayuni.
Pradeepji
@ 83,
I too am glad that you asked the question. I got an opportunity to share the information.
@ 85,
Yes it is in my list. May be I forgot to mention. Thanks.
Hansji am so sorry for offering my views so late. Your current post is a continuation of the earlier one. You have started off with brilliant analysis and deduction to establish your case from where you had left off earlier. I have a small suggestion to make. Your stream of statistics is mind bogging and if you were to present them in a tabular manner, it would be all the more impressive and better appreciated. Am expecting more such posts from you.
I was thinking there are only a few movies of Ravi and Badayooni ji… But today knew that many songs of both.. Thanx hans ji… U r also gem…
Rajender Sharmaji,
Welcome to SOY. I am happy that you discovered more of Ravi-Shakeel Badayuni combination.