The first duo Husnlal-Bhagatram (2): Their songs for ‘other’ singers

(While I had already scheduled the first part and was working on the draft for this part on Husnlal-Bhagatram, I was also in touch with Pt Husnlal’s US-based son, Dinesh Kumar Prabhakar, and Pt Bhagtram’s Mumbai-based son, Ashok Bhagatram Sharma. Communication with Ashokji was difficult as he has kept himself outside the digital word, but I was delighted to get a call from Dineshji who was in Delhi, and I had a most memorable meeting with him and his mother, the 90-year old Nirmala Devi, the wife of late Pt Husnlal. I have incorporated the gist of my conversation with them in the later part of this post.)

Husnlal-Bhagatram shone like a meteor very briefly, during 1948-51, when their main singers were predominantly Lata Mangeshkar, Suraiya and Rafi. During this period, they created some absolutely mesmerising songs, but in many songs there was a repetitiveness in the melody and orchestration. In the Golden Era of playback singers, they did not diversify much beyond their above preferred singers. Thus, they were behind the curve when Mukesh and Talat Mahmood were creating waves. However, whenever they used them, HB showed their immense potential, for example in Kismat bigadi duniya badli (Mukesh, Afsana, 1951), or Ai meri zindagi tujhe dhoondhoon kahan (Talat Mahmood, Adal-e-Jahangir, 1955). If there was any doubt that they had a limited range, they dispelled it with an absolutely superb song in Kishore Kumar’s voice (duet with Lata Mangeshkar), Lahron se pooch lo ki kinaaron se pooch lo (Kafila, 1952). We also get a sprinkling of some nice songs in Shamshad Begum’s voice.

Before 1948, it was a kaleidoscope of voices. Their debut film Chaand (1944) had songs in the voices of GM Durrani, Zeenat Begum, Sitara Devi and Manju. Thereafter, in Hum Ek Hain (1946), which was Dev Anand’s debut film, they had an entirely different set of singers, namely Manik Verma, Zohrabai Ambalewali and Amirbai Karnataki. They repeated Zohrabai and Amirbai in a major way in Nargis (1946). But next year, they used Paro Devi as the lead singer in Heera. In the same year, they combined with their elder brother and mentor, Pt Amarnath, in Mirza Sahiban (1947), composing some of the career best songs of Noorjehan. Thereafter, they took to Suraiya, Lata Mangeshkar and Rafi in a big way, dispensing with the vintage era singers. I have covered these three major singers in the first part of my post on Husnlal-Bhagatram. They did use other playback singers occasionally, often creating outstanding songs. Any discussion on HB’s music is incomplete without looking at the immense variety of songs they composed for other singers, both in the vintage and the golden era.

These songs demonstrate that repetitiveness was not the only or the main reason for their decline. In the showbiz, the uncertain element of ‘luck’ also plays a part. HB happened to peak at a time which saw flowering of several talented composers: the doyen Anil Biswas, Naushad, C Ramchandra, and the new kids on the block, Shankar-Jaikishan, who would walk away with their legacy. Nevertheless, HB remain one of our greatest composers.

In conversation with Shrimati Nirmala Devi, wife of (late) Pt Husnlal and their son, Dinesh Kumar Prabhakar

I had mentioned in my earlier post that Dinesh Kumar Prabhakar plays the violin and is based in the US, teaching music there. Earlier he had worked for long years with the AIR and also composed music for several short films. I was in touch with him, and was planning to call him allowing for ten and a half hour time difference, when I was pleasantly surprised to get his call from a local number. Even though he was visiting Delhi in connection with a bereavement in the family (death of Pt Amarnath’s son), he was very kind to welcome me to meet him, his mother and their extended family. The 90-year old Shrimati Nirmala Devi is an amazing lady. She still has a razor-sharp memory and superb knowledge of music and music personalities of that era. She gave me a lot of interesting information, not available elsewhere – for example, the reason why the younger brother Husnlal’s name comes first in the duo’s name. Her talk also revealed that other family commitments, too, in Delhi were contributory factors for their decline in the film music.

Shrimati Nirmala Devi speaks about her husband (late) Pt Husnlal

DD Kashyap, who was directing Chaand (1944) for Prabhat Films, wanted to engage Pt Amarnath based in Lahore, who was a towering figure in music. As he was heavily preoccupied, he strongly recommended his younger brother Pt Husnlal who was staying with him and assisting him in Lahore-based films of Pancholi and others, assuring Kashyap that Pt Husnlal was no less talented than him. Pt Amarnath was like a father-figure to his younger brothers, especially to Pt Husnlal. A music session was organized to demonstrate Pt Husnlal’s talent. Kashyap was highly impressed. When it was time for Pt Husnlal to proceed for Poona/Bombay, Pt Amarnath, out of concern for his kid-brother, suggested to Kashyap to also engage Pt Bhagatram with him. Kashyap expressed difficulty in arranging the payment for two as the contract was already made out. Pt Amarnath assured him that he should not bother about increasing the fee, but the two brothers must work together. (Thus it was that Bhagatram got appended to Husnlal, forming the duo HB. Another reason why the younger brother’s name preceded the elder brother was simply the aesthetics – Husnlal-Bhagatram sounding better than the other way around.)

HB became hugely popular. There came a time when 75% of the theatres in Bombay would show HB films. The family had a huge kothi in Versaova and, later, in Chembur near RK Studios. Many struggling music directors were given shelter by the family. Khayyam acknowledges that he owes everything to HB. Roshan also lived in one of the outhouses where Rakesh Roshan was born.

As I was the sole daughter of my father, I had to shift to Delhi to look after the family property. Panditji would visit Delhi from time to time. He started reducing his engagements in Bombay and, finally, shifted to Delhi as his staying in Bombay was becoming untenable. His main interest was in classical music and got busy with teaching and performing in major concerts.

On 28 December 1968, he went out for his morning walk as usual. We didn’t know where exactly he went. When he did not return for several hours, we got worried and started contacting the police. Mandir Marg police station informed us that a dead body had been found which was lying in Willingdon Hospital (now RML Hospital), where he lay peacefully with just a small scratch mark on his forehead. In the hospital records he was mentioned as an ‘unknown body’.

Panditji was tall and handsome and extremely popular for his sweet and helpful nature. He was a pujari of music, he had no other concern. Bhagatram handled the commercial part of the contract etc. Panditji played a major role in teaching Lata Mangeshkar the proper accent of Hindi and Punjabi-style songs. She was the daughter of a very famous music personality, and was gifted by Saraswati. Uma Devi (Tuntun) and Kishori Amonkar too learned from him for some time.”

I and my wife heard her mesmerized and didn’t realise how an hour and a half passed by. The family was concerned that she was straining herself, but she obviously loved to meet the lovers of songs of yore. I told the family in a lighter vein that such engagements would keep Mataji fit for many many years. You can have a brief glimpse of the amazing lady in this short clip I recorded impromptu and she very sportingly obliged.

Dineshji also sent me some nice pictures which I am presenting below.

I am delighted to present the diverse side of HB’s talent in the second part of my tribute to them.

1. Do dilon ko ye duniya milne bhi nahi deti by Manju from Chaand (1944), lyrics Qamar Jalalabadi

Manju had two songs, Angadai teri hai bahana and Jhoothe hain sab sapne suhane, in Naushad’s Rattan in the same year. Rattan went on to become a trail-blazer. That is a matter of luck. Manju sang several more songs in her career, but Do dilon ko ye duniya by HB in their debut film remains by far the best. The itinerant singer playing the harmonium slung around his neck has been used in many songs. HB would do it again with stunning effect in Chup chup khade ho zaroor koi baat hai.

2. Mere dilruba aa ja by Sitara Devi from Chaand (1944), lyrics Qamar Jalalabadi

The term ‘Item dance’ or ‘Item song’ number has come into vogue recently, but our films had item dancers from the very early days. The most famous item dancers of the vintage era are Azurie and Cuckoo. Here is a terrific item dance-song by Sitara Devi set to an Arabic tune. As the dance gets hotter, the excited onlookers can’t help whistling. Finally, all the men surround Sitara and dance in unison, she enjoying herself thoroughly all the while. Fans of Anil Biswas might remember, he had composed an item dance number for Sitara Devi two years earlier in Roti (Sajna saanjh bhai), but HB’s composition is more frothy.

3. Ae dil mujhe rone de by GM Durrani from Chaand (1944), lyrics Qamar Jalalabadi

GM Durrani was the leading singer of his time and an idol of Rafi in his early days. However, there was a sameness in Durrani’s singing; thus, he stood no chance when Rafi blossomed in full flow. But Ae dil mujhe rone de is a very nice song from his heydays.

4. Aye hain balma din pyare pyare by GM Durrani and Zeenat Begum from Chaand (1944), lyrics Qamar Jalalabadi

All the eleven songs of Chaand are very enjoyable. I introduce the fourth singer from this film, Zeenat Begum, singing a joyous duet with GM Durrani, picturised on the lead pair Beguam Para and Prem Adib, as they go on a joy ride in a car, with the lady on the wheel.

5. Ho nadiya kinare mora gaaon re by Manik Verma from Hum Ek Hain (1946), lyrics PL Santoshi

You see a graceful dance by Cuckoo, which must be one of her earliest appearances, accompanied by two other dancers. Manik Verma was better known as a classical singer.

6. Ye to bata mere khuda lut gaya by GM Durrani from Nargis (1946), lyrics Qamar Jalalabadi

This is a very melodious song in the voice of GM Durrani.

7. Roti aankhon mein teri yaad liye jaati hun by Amirbai Karnataki from Nargis (1946), lyrics Qamar Jalalabadi

8. Chale aana more Raja wada yaad kar ke by GM Durrani and Paro Devi from Heera (1947), lyrics Qamar Jalalabadi

Here is a Punjabi-folk based duet which would delight the lovers of vintage songs.

9. Aa ja tujhe afsana judaai ka sunayein by Noorjehan from Mirza Sahiban (1947), lyrics Qamar Jalalabadi, music Pt Amarnath and Husnlal-Bhagatram

I don’t know how much credit should go to HB for Mirza Sahiban, which they composed with their elder brother and mentor, Pt Amarnath. Pt Amarnath passed away during the making of the film; therefore, HB must have had a major role in its music. This YT link credits the song to them. This is easily one of the best songs of Malika-e-Tarannum Noorjehan.

10. Haye re ud ud jaye mera reshami dupattawa by Zohrabai Ambalewali, Shamshad Begum and Noorjehan from Mirza Sahiban (1947), lyrics Qamar Jalalabadi, music Pt Amarnat and Husnlal-Bhagatram

If Zohrabai and Shamshad Begum join with Noorjehan, you can imagine they would create a blast. You can compare this with their protégé SJ’s song on the same theme of a dupatta flying away – Hawa mein udata jaye mera laal dupatta malmal ka.

11. Saamne gali mein mera ghar hai by Zohrabai Ambalewali from Mirza Sahiban (1947), lyrics Aziz Kashmiri, music Pt Amarnath and Husnlal-Bhagatram

You can never tire of Cuckoo’s dance. There was oomph as well as grace about her. If the voice is of Zohrabai, it is sone par suhaga.

12. Haath seene pe jo rakh do to qaraar aa jaye by GM Durrani and Noorjehan from Mirza Sahiban (1947), lyrics Aziz Kashmiri, music Pt Amarnath and Husnlal-Bhagatram

I didn’t mean to fill up this post with the songs of Mirza Sahiban, all the ten of which are outstanding. But this GM Durrani-Noorjehan duet is too good to be left out.

13. Itne door hain huzoor kaise mulaqat ho by Surinder Kaur from Pyar Ki Jeet (1948), lyrics Qamar Jalalabadi

To HB goes the credit of recording Surinder Kaur’s first song for Hindi films in Pyar Ki Jeet – Kabhi panghat pe aa ja mere raja which was a chorus song with Suraiya and Meena Kapoor. Here is a very melodious solo by her. (Shaheed was released earlier, and Surinder Kaur became identified with Badnaam na ho jaaye mohabbat ka fasana from that film.)

14. Tere aane par dil dhadke tere jane par dil roye..Tera aana tera jana, na ye achchha na wo achchha from by Geeta Dutt from Hamari Manzil (1949)

Geeta Roy (Dutt) was the lead singer in Hamari Manzil. Here is a nice song for her fans.

15. Ho kaale kaale baadal chhaye piya by Mukesh and Shamshad Begum from Apni Chhaya (1949), lyrics PL Santoshi

This has appeared earlier on SoY. But worth a repeat as it must be one of the best Mukesh-Shamshad Begum duets.

16. Manwa mein pyar dole sara sansar dole by Mukesh and Zohrabai Ambalewali from Sartaj (1950), lyrics Majrooh Sultanpuri

A repeat again, but what an absolutely delightful song.

17. Mohabbat ka dono ke dil par asar hai by Shamshad Begum from Afsana (1951), lyrics Asad Bhopali

Gorgeous dance by Cuckoo to a gorgeous song by Shamshad Begum, set to music equally brilliantly by HB.

18. Lehron se pooch lo ya kinaron se pooch lo by Kishore Kumar and Lata Mangeshkar from Kafila (1952), lyrics Vrajendra Gaur

19. Ae meri zindagi tujhe dhoondhun kahan by Talat Mahmood from Adal-e-Jahangir (1955), lyrics Qmar Jalalabadi

This also has a twin version in the voice of Lata Mangeshkar. No prizes for guessing which version is better.

20. Yah kah do chaand taaron se…Hai zindagi itni haseen by Talat Mahmood and Asha Bhosle from Apsara (1961), lyrics Qamar Jalalabadi

I have to thank Mahesh for introducing me to this melodious Talat Mahmood-Asha Bhosle duet. A befitting song to end this post with which shows HB’s talent with a variety of singers and styles.

Acknowledgements and notes
1. Dinesh K Prabhakar has since gone back to the US. His website is here. You can view his music videos on YT in the account dkp3650.
2. I am grateful to Arunkumar Deshmukh for giving me contact number of Ashok Bhagatram Sharma, though it didn’t lead to much; and to KS Bhatia for the contact details of Dinesh K Prabhakar.
3.  It transpires that while the three brothers, i.e. Pt Amarnath and H-B were very fond of each other, Bhagatram’s descendants have become estranged from the branch of the other two brothers.
4. The video clip of Shrimati Nirmala Devi had some disturbances. Our very enthusiastic senior DP Rangan has been a great help in cleaning it up.