Songs of Yore completes twelve years

In normal times, completing twelve years of blogging would have been a matter of joy, and possibly a bit of crowing. That would look quite out of place in these unusual times. We thought that we would be getting some respite from Covid. But now there is a scare of the fourth wave hitting the country. It is clear by now, the scientists are as clueless as we all are. Otherwise, we would not have got conflicting signals: It would be very mild, it would be like any normal flu; Don’t take it lightly, it has mutated into extremely virulent variants, you have to continue following Covid-appropriate behaviour. Masking is the only remedy, make it a part of your life; masking creates a sense of fear. A friend tells me, forget everything, enjoy your normal life, अधिक से अधिक क्या होगा, मर जाओगे, in the long run we are all dead. But I am not in a hurry to reach there.

What is happening in Ukraine deeply disturbs me. We never imagined that in the modern era a mighty state would so cruelly butcher a much smaller country, killing thousands, flattening towns and infrastructure. I have avoided politics scrupulously on this forum, but I find it shocking that even in this situation, some people find cause and justification for the brutal invader. And it goes on familiar whataboutery, crossing a red line, provocation by not complying with Minsk Agreements/Protocols. That the entire global economy is impacted, that there is uncertainty about energy supplies, and that India is facing a serious moral dilemma is nothing compared to what the people of Ukraine are going through.

As if Covid and Ukraine were not enough, suddenly we find inter-faith flashpoints erupting in different parts of India. Whether the chicken came first or the egg is pointless. It is not good for the country and it does not show us in a positive light.

Yet, amidst all that this blog maintained its pace. During the year the regular contributors wrote a number of guest articles: DP Rangan on Raja Mehdi Ali Khan and Kumkum; Hans Jakhar on Rajendra Krishna’s combination with C Ramchandra, Madan Mohan, and Ravi and Chitragupt; Ashok Vaishnav on non-film songs of Mukesh, Rafi and Manna Dey. What is gratifying is that they have been so enthusiastic to write for the blog and their articles have filled up some gaps in this blog. I have to make a special mention of Anita Rupavataram who writes her own blog, yet she offered to write for SOY and I was happy to welcome her in the comity of guest authors in the year.

Misfortune does not come alone. It is literally true today. During the year we lost a very dear member of SOY – KS Bhatiaji who left us on 30.6.2021. We lost four important music personalities.

Lata Mangeshkar (b. 28.9.1929 – d. 6.2.2022) has left her mortal body to merge with the Divine. But she is immortal through her songs. There is hardly anything about her which has not been already said. My shraddhanjali to her was my personal journey of discovery and then falling in lifelong love with her songs. There is no end to her songs one can add. But here is a unique song in which all the five Mangeshkar siblings – Lata Mangeshkar, Asha Bhosle, Usha Mangeshkar, Meena Khadilkar and Hridaynath Mangeshkar – are acting and singing together in the Marathi film Maaze Bal (1943). This is truly a historic moment. This video was shared with me by Shekhar Gupta from Singapore (I hope he is right); he is not active on SOY, but he never forgets to share interesting links with me. Shekhar has deep insight into Urdu poetry too, and he often shares with me unique stories about well-known ghazals and nazms. He is my go-to person if I have to find what was the word Sahir Ludhiyanavi had originally used in “वो अफसाना जिसे अंजाम तक लाना न हो मुमकिन” in place of अंजाम (he had used a very difficult word which he replaced by the more accessible ‘anjaam’ for the film song in ‘Gumrah’).

Chala chal nav bala by Lata, Asha, Usha, Meena and Hridaynath Mangeshkar from Maaze Bal (1943), music Datta Davjekar

Readers would remember this Datta Davjekar is credited with the debut of Lata Mangeshkar as a ‘playback’ singer in Aap Ki Sewa Mein (1947).

Zindagi di thi to jeene ka maza kyun na diya….Ye arzoo thi kabhi hum bahaar dekhenge by Lata Mangeshkar from Baarish (1957), lyrics Rajendra Krishna, music C Ramchandra

I never cease to be amazed at the new discoveries I make of Lata Mangeshkar’s supremely melodious songs from time to time. I can’t say the same of other singers. As I heard snatches of this song recently on the radio, I became restless to locate its co-ordinates. The problem was I had heard only some key words and without the correct mukhada it was impossible to locate the song. I called KL Pandey who had surely heard the song and after some false leads, he finally called me to mention the correct film Baarish. This was likely as I had zeroed in on the 1950s and C Ramchandra on the basis of its tune, tonal quality and singing style. Thank you Pandeyji for your help without which I could not have found the song, as it starts with a recital couplet:

ज़िंदगी दी थी तो जीने का मज़ा क्यूं न दिया
मेरी क़िस्मत में ये आराम बता क्यूं न दिया

Sandhya Mukherjee (b. 4.10.1931 – d. 15.2.2022): We, in the Hindi world, know Sandhya Mukherjee for her duet with Hemant Kumar, Aa gupchup gupchup pyar karein, from the film Saza (1951; SD Burman), and if we scratch our memory, perhaps her another duet Bol papeehe bol re (now with Lata Mangeshkar), from the film Tarana (1951; Anil Biswas). That was the limit of our familiarity about her. The outpouring of grief and obituaries on her death in both West Bengal and Bangladesh made me realise that she was much larger than what we knew.

Born to music-loving parents, Narendranath Mukherjee, who worked in the Railways, and Hemaprabha, in Dhakuria, Kolkata, she was brought up in an environment of music. When she was 13, HMV released her first song in Bengali. She had a thorough training in classical music from various gurus: Yamini Ganguli, Pandit Chinmay Lahiri, AT Kanan, Gyan Praksh Ghosh, and finally the Master Ustad Bade Ghulam Ali Khan. Bombay being a magnet for every artist, she sang in some Hindi films, but her heart was in Kolkata and shifted there. In Kolkata she had a most successful career in Bengali films, other modern Bangla songs and light classical music. She was known as Geetashree (गीतश्री), the Queen of Melody. If Hemant Kumar was the voice of Uttam Kumar, Sandhya Mukherjee became the preferred voice of Suchitra Sen, and his other heroines.

When Sheikh Mujibur Rahman was released from jail and returned to a new nation, Bangladesh, Sandhya Mukherjee sang an inspiring song Bangabandhu phire ele. She continued with her daily riyaz, and would appear from time to time in classical music concerts or sing for the radio. But she was famous more for her film and ‘aadhunik’ Bangla songs, having sung a substantial 3000 songs.

She won National Award for the Best Female Playback Singer for the films Nishipadma (Ore sakal sona malin holo); and Jay Jayanti (Amader chhuti chhuti) in 1970. A few weeks before her demise, she was in the news for refusing Padmashree Award on the ground that it would be demeaning for her stature to accept it at that late stage.

I pay my tribute to Sandhya Mukherjee with these songs.

Maine jo lee angadai, dheere se muskaai by Sandhya Mukherjee and others from Jaagte Raho (1956), lyrics Shailendra, music Salil Chowdhury

This dance song on a westernised tune comes just after Sumitra Devi had thoroughly annoyed her alcoholic husband Motilal by her melancholic Thandhi thandhi saawan ki phuhaar, piya aaj khidki khuli mat chhodo (Asha Bhosle). On his scolding, can’t she sing and dance like ‘those women’, with great efforts she overcomes her traditional hesitation, and starts dancing and singing to this song.

Saanwra re tore naina laage (thumri) by Sandhya Mukherjee from Mamta (1966), lyrics Majrooh Sultanpuri/traditional, music Roshan.

Sandhya Mukherjee shows her talent on the other extreme in this beautiful thumri. Just watch Suchitra Sen’s adakari, and the Madam Chhaya Devi’s exultant expression of approval. I find that this short piece is not counted as a song in HFGK.

Ghir ghir aayi kaari badariya, piya nahin aaye, main ka karun guinya by Sandhya Mukherjee from Anthony Firangee (1967), lyrics traditional, music Anil Bagchi

While on thumri, here is another excellent one from the Bengali film Anthony Firangee.

Bangabondhu phire ele tomar swapner swadheen Banglay by Sandhya Mukherjee NFS (1972), lyrics Abidur Rahman, music Sudhin Dasgupta

Sandhya Mukherjee had been at the forefront of mobilising artists in support of Mukti Bahini and sensitise people about the plight of Bangladeshi refugees. She sang this song in the honour of Bangabandhu Sheikh Mujibur Rahman on his release from prison and return to a free Bangladesh of his dreams.

Ore sakal sona malin holo by Sandhya Mukherjee from Nishipadma (1970), lyrics Gauri Prasanna Majumdar, music Nachiketa Ghosh

This is one of her two National Award winning songs. Based on the story Hinger Kochuri by Bibhutibhushan Bandopadhyay, this was remade into the Hindi film Amar Prem (1972)

Bappi Lahiri (b. 27.11.1952 – d.15.2.2022) was another departure of a legend, coincidentally on the same day as Sandhya Mukherjee. He dominated the film music in an era much beyond the interest of this blog. But it was not possible to miss his weighty presence in the media and reality shows. Heavy gold jewellery around his neck made him unique among celebrities.

Born as Alokesh Aparesh Lahiri to Aparesh and Bansuri Lahiri, both renowned singers of classical music and Shyama Sangeet, Bappi had music in his genes. He became famous by his daak naam overshadowing his bhaalo naam. He had a meteoric rise to the top with his disco songs. He had a brief foray into politics, contesting Lok Sabha elections in 2014 on BJP ticket, which he lost, and that was the end of his dabbling into politics.

I pay my tribute to him with this song, which is a complete package of Amitabh Bachchan’s acting and dancing, funky lyrics, composed into a classical-based song, sung equally marvellously by Kishore Kumar. Bappi deserves high praise for composing this great song.

Buzurgon ne farmaya…Ke pag ghunghroo baandh Meera naachti by Kishore Kumar from Namak Halal (1982), lyrics Anjan, music Bappi Lahiri

https://www.youtube.com/watch?v=cTvUrpSr9ck

KK (23.8.1968-31.5.2022): I had heard his name, but I didn’t know much about him. But his death last week after a concert in Kolkata made me realise that several of his songs I knew would have some longevity. He was gifted with a very unique voice which was very suitable for soulful poignant songs.

One could not but feel deeply saddened by the way he left us: he is present now at the concert, and in an hour he is no more. The saturation TV coverage of the tragedy gave rise to many हेतुहेतुमद्भूतs: If only his Team had the foresight to rush him straight to the hospital from the venue rather than to the hotel first; had the venue not been overcrowded much beyond its capacity; had the venue’s AC not malfunctioned; had someone given him CPR immediately. But all this is futile. 54 is not the age to go.

He sang over 3000 jingles. He had sung several songs in Hindi and South Indian films. Let me pay my tribute to him with the following memorable songs.

Tadap tadap ke is dil se aah nikalti rahi by KK and Dominique from Hum Dil De Chuke Sanam (1999), lyrics Mehboob, music Ismal Darbar

He hits the bull’s eye with his debut song in Hindi films.

Tu hai aasman mein, teri ye zameen hai/Tu jo hai to sab kuchh hai, na koi kami hai…Tu ashiqui hai by KK from Jhankar Beats (2003), lyrics Vishal Dadlani, music Vishal-Shekhar

Aankhon meein teri ajab si adayein hain by KK from Om Shanti Om (2007), lyrics Vishal Dadlani, music Vishal-Shekhar

I am a huge admirer of this blockbuster for a clever referencing of classic Hindi films and some trite tropes, as well as smart reprising of Hollywood classic dialogue, “Frankly, my dear! I don’t give a damn.” Its music was also a blockbuster. KK was able to give a soulful melody in this great comedy.

Wo subaha kabhi to ayegi. And it did come in the form of the historic win of Indian Men’s badminton team in the Thomas Cup. This is huge for the sport. This would also bring some gender parity, because our recent heroes have been Saina Nehwal and PV Sindhu. One man deserves special mention: P Gopichand who has mentored so many world level players.

If you thought our next frontier to make ourselves a humane and liberal society is to legalise same-sex marriage, a girl from Gujarat has gone one step further – she has decided to marry herself in the next few days with full ceremony and family participation. You can’t fault her logic: One has to love oneself in order to be happy in life. She could not imagine that she would be able to love another person more than she loves herself.

And before the year ended we saw Rafael Nadal winning his 14th French Open, which was his 22nd Grand Slam. This is awesome but he showed that winning the 22nd Grand Slam could not be easier. That is Rafa magic which awes his opponents.

Acknowledgements and Disclaimer:
1. For information on Sandhya Mukherjee I have been benefitted by several sites. I would especially mention Upperstall among others.
2. 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 them, which rests with the respective owners of the rights.