Guest Article by Piyush M Pandya (Gujarati original) & Ashok M Vaishnav (English Translation)
(Continuing their series on the Arrangers and Musicians our guest authors Piyush M Pandya (Gujarati) and Ashok M Vaishnav (English translation) now write on S Hazara Singh who played several instruments, but became a legend with Hawaiian guitar. His Hawaiian guitar pieces became the identity of many superhit songs of OP Nayyar and several other music directors. His independent LP albums of tunes of old film songs he played on the guitar sold like hot cakes.
Piyush ji and Ashok ji have demonstrated through this series how important was the role of the musicians and the arrangers in embellishing the songs. S Hazara Singh is one of the legends whose Hawaiian guitar pieces in many songs transformed a shell into a beautiful sculpture. Thank you Piyush ji and Ashok ji for another excellent article in the series, and making us aware of S Hazara Singh’s contributions. – AK)
In the initial phase of film music, the instruments like harmonium, shehnai, flute, sarangi were used mainly for the music support of a film song. However, with advent of new generation of experimentalist music directors like Pankaj Mullick, Anil Biswas, Khemchand Prakash etc. instruments like piano and different types of violins, accordions, guitars, pianos, saxophones etc. also found way into film music compositions. With arrangers and instrumentalists from Goa Christian Western music also joining the film music industry, film music underwent a fundamental shift.
In this period of transformation of Hindi film music, sometime around 1942, in the city of Karachi, of the then undivided India, a young man worked as a craftsman of peti (harmonium). He was also very good at crafting the reeds and ‘tuning’ the assembled harmonium pieces. Not before long, he also started working on different string instruments. As the providence would have it, he came to the notice of Ram Singh, the famous saxophone player of the early era during his frequent travels between Bombay and Karachi for recordings. He invited this young man to Bombay. After initial hesitation, somewhere around 1947, the young man did land up in Bombay. The luck was favourable to him as he immediately got his chance to play guitar in the Khemchand Prakash orchestra for the two iconic songs Aayega aanewala and Mushkil hai bahut mushkil (Mahal, 1949). The two songs put the young man into a higher orbit of respected instrumentalists. Since there was another popular Hazara Singh, a vocalist in Punjabi cinema, our young man, Hazara Singh, added S (Sardar) as prefix to his name. We now know that young guitarist as S Hazara Singh. Even though he was proficient in playing all types of guitars, S Hazara Singh’s main body of work for the songs and the background scores is with lead guitar and Hawaiian guitars.
[Note: To know more about three basic types of guitar, please visit Saaz Tarang episodes on acoustic guitar, Hawaiian guitar and bass guitar.]
1. Tum na jaane kis jahaan mein kho gaye – Saza (1951) – Lata Mangeshkar – Lyrics: Sahir Ludhianvi – Music: S D Burman
Opening with harmonium, piano and violin ensemble prelude, Hawaiian guitar enters @ 0.44-0.49, it remains the fulcrum of the orchestration of the whole song, in the counter melody as well as interludes.
2. Jinhen naaz hai hind par woh kahan hain – Pyasa (1957) – Mohammad Rafi – Lyrics: Sahir Ludhiyanavi – Music: S D Burman
Hazara Singh’s guitar play adds pathos to the voice of Mohammad Rafi.
S Hazara Singh has played guitar for almost all the music directors of that era, but he was the mainstay guitarist for O P Nayyar.
3. Mera naam chin chin chu – Howrah Bridge (1958) – Geeta Dutt – Lyrics; Qamar Jalalabadi – Music: O P Nayyar
Use of Hawaiian guitar of higher than normally played scale right from prelude into the interludes is astounding.
Hazara Singh has played this song on one of his instrumental records as well. We can see how deftly he slides over the scales to create the effect of the complete song.
Hazara Singh’s initial exposure to musical instruments was as a mechanic. As such, he always experimented with the different technical aspects of the design of the instrument which led him to innovate sounds the instrument could create. He experimented with creating a ‘double-necked’ guitar. That guitar had two necks and fretboards joined together, each one having six strings. Hazara Singh would use this guitar to create a very different effect.
4. Deewana hua baadal – Kashmir Ki Kali (1964) – Mohammad Rafi, Asha Bhosle – Lyrics: S H Bihari – Music: O P Nayyar
Immediately after sitar and santoor play the opening notes, Hazara Singh plays it again with his double guitar, but to what different dramatic effect!
5. Pukarata chala hun main – Mere Sanam (1965) – Mohammad Rafi – Lyrics: Majrooh Sultanpuri – Music: O P Nayyar
Here the lead guitar provides the prelude and interlude as well as rhythm support.
6. Lakhon hain yahan dilwaale – Kismat (1969) – Mahendra Kapoor – Lyrics: S H Bihari – Music: O P Nayyar
Even the tom-fooling ways of Biswajeet playing guitar on the screen fails in breaking the spell of mesmerizing effect that the actual play of lead guitar creates.
7. Nadi ka kinara ho – CID 999 (1967) – Asha Bhosle – Lyrics: Varma Malik – Music: O P Nayyar
How innovatively Hazara Singh plays with scales and chords over his fretboard to create that magic effect in the interlude that lingers on even after the song is long over!
In all probability the lead guitarist would have been Dilip Naik, another regular guitarist on O P Nayyar orchestra.
8. Kitna haseen hai ye jahan – Humsaya (1968) – Asha Bhosle – Lyrics: Hasrat Jaipuri – Music: O P Nayyar
Lead guitar is used to provide rhythm and counter melody support in the pieces based on the western music mould.
9. Aao huzur tumko sitaron mein le chalun – Kismat (1969) – Asha Bhosle – Lyrics: S H Bihari – Music: O P Nayyar
The intoxicating mood that the initial strokes of lead guitar creates sets the stage for Asha Bhosle and soprano saxophone to build upon.
10. Chal akela chal akela – Sambandh (1969) – Mukesh – Lyrics: Kavi Pradeep – Music: O P Nayyar
Guitar comes in quite unusual fashion @ 0.35 to 0.41, and at the end of orchestral music of interludes.
Having covered some of the representative O P Nayyar songs with Hazara Singh’s wide variety of guitar play, we will take up a few more songs from other music directors.
11. Tera teer o bepeer dil ke aar paar hai – Shararat (1957) – Lata Mangeshkar – Lyrics: Shailendra – Music: Shankar-Jaikishan
Opening with mandolin prelude piece the songs would have remained one of the usual Shankar-Jaikshan – Shailendra – Lata Mangeshkar happy dance number with multi-instrument orchestra for interludes. But Sebastain D’Souza has imaginatively inserted Hawaiian guitar pieces @0.17 to 0.26 and then @0.34 to 0.44 of the mukda, subtly replicating the main tune, which has been brilliantly executed by Hazara Singh. The mukhda lines in the same style repeat in the song as well.
12. Jiya ho Jiya o jiya kuchh bol do – Jab Pyar Kisi Se Hota Hai (1961) – Mohammad Rafi – Lyrics: Hasrat Jaipuri – Music: Shankar-Jaikishan
Guitar also matches high speed beat of the song at the beginning and end of the interludes.
Beat-wise and place-wise following the same pattern, in the female version of the song the guitar also reaches higher scale to match the fairly high-pitched female scale of the song.
However, even more interesting is the use of Hawaiian guitar in the credit titles score (till 1.44). The lyrics part of the song (बोल) of the mukhda is reproduced by the guitar.
13. Aa ja aa ja main hun pyar tera – Teesri Manzil (1966) – Mohammad Rafi, Asha Bhosle – Lyrics: Majrooh Sultanpuri – Music: R D Burman
The long prelude is all Hawaiian guitar, with percussion support of drums. In all probability more than one guitarist would have played as a unit for such stunning piece. The guitar also has a dominant role during interlude pieces.
14. Tum ko piya dil diya kitne naaz se – Shikari (1963) – Lata Mangeshkar, Usha Mangeshkar – Lyrics: Farooq Qaiser – Music: G S Kohli
If the first interlude and the end piece are all Punjabi theka, second interlude is all Hawaiian guitar with dholak in percussion support!
The guitar albums records of S Hazara Singh received excellent response in the market.
One can listen to several of his such records, mainly songs of ‘60s, on YT. However, how I wish we could have got to listen to these shellac records –
Number HMV N. 15937 – having Preet laga ke main ye phal paya (Aakhein, 1950 – Music: Madan Mohan) on one side and Teri Duniya Mein dil lagata nahin (Baawre Nain, 1950 – Music: Roshan), OR,
Number HMV – N. 92616, having instrumental versions of Eint ki dukki paan ka ikka (Howarah Bridge, 1958 – Music: O P Nayyar) on one side and Masti bhara hai sama (Parvarish, 1958 – Music: Dattaram) on the other side, OR
Number HMV N. 92640, having Lovely lovely on one side and Pehla pehla pyar hai (both from College Girl, 1960- Music: Shankar Jaikishan).
S Hazara Singh was proficient with many instruments. But his dazzling guitar performance has overshadowed his prowess with violin or clavioline – the two instruments with which he was equally brilliant.
S Hazara Singh left this world on 3rd January 1972, but his path-breaking work on guitar in Hindi films remains immortal.
Credits and Disclaimers:
1. The song links have been embedded from the YouTube only for the listening pleasure of music lovers. This blog claims no copyright over these songs, which vests with the respective copyright holders. Some songs can be played only on the YT, in those cases only links have been given
2.The photographs are taken from the internet, duly recognising the full copyrights for the same to the either original creator or the site where they were originally displayed.
Additional References:
https://www.youtube.com/@SmrutiGandhaMarathi/featured
{ 12 comments… read them below or add one }
Nice to know about the guitarist Hazara Singh who has played the instrument for several popular songs listed above. A good number of the songs mentioned above are hits and have been able to enhance the mood with the music . Kudos to the SOY in bringing to light the artists!
KB,
Thanks a lot for your appreciation. Many of the songs listed here would be bland without Hazara Singh’s guitar.
Another great article by Piyush and Ashok ji on the artists who remained in the background.. All songs listed are terrific and now we can appreciate who was behind those fabulous guitar pieces.
KB #1; Sivanadam #3
We have heard these songs many a times and would, perhaps, noticed the effect that guitar was able to make in the overall song.
However, when taking up these songs for the article, I did found the profoundness of the effect that the guitar has made on the whole song..
So is the case for all other songs which have been covered in the earlier articles as well.
Piyush ji and Ashok Ji,
I have often heard the instrument played on Vividh Bharati as filler music. But it was only after reading this post that I am wiser for I can now associate the sound with a name – both of the player and the instrument. Thanks a lot for this informative post!
Anita # 5
So true.
Most of the finer aspects of a song composition, for lay listeners are like us, are simply a matter of enjoyment at the subconscious level.
When we published this series in Gujarati on Web Gurjari, I too, realized that even a simple exposure like this also can give us much a better perspective of why we have liked of what we like .
It was AKji who immediately agreed to take up the English translation of the series on SoY.
Now that it seems to meet that basic purpose, I personally feel so happy. Of course, the bonus of living through the nuances while working on every episode is a great bonus to me!
Dear Piyush Ji and Ashok Ji, I have been reading this fantastic series with great interest. This article on guitar has provoked me to ask you to clear my doubts about another musical instrument which mimics the electric guitar. I have zero knowledge about it (as i am no expert of any kind), and i am just a listener and admirer of old hindi film songs for last 37 years, and this little info i have gathered is just by listening to Shanker Jaikishan songs of 60’s / 70’s. The instrument is Clavioline.
I have uploaded some pieces of the subject instrument which i am thinking to be Clavioline but i could be grossly wrong. So please enlighten me to distinguish between electric guitars and Clavioline (in percussion mode).
https://soundcloud.com/user-92519119/street-singer-jigar-ka-dard-badta-ja-raha-hai/s-bz9GwUMN95X?si=7297685cb1cd4f93bf747672c332b269&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
https://soundcloud.com/user-92519119/ghar-ki-murgi-daal-barabar/s-hrFDne1cw0O?si=81329e258e72461b81f16e79582d66b9&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
https://soundcloud.com/user-92519119/prince-thandi-thandi-hawa-mein-dil-lalchaye-3/s-G1VcF50JNUC?si=fc964d8206814bab9737a1f3bfe07fff&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
https://soundcloud.com/user-92519119/preetam-charcha-gali-gali/s-Vl98ldu9AZh?si=ca0c216926aa4f3c8c96fc503aa56dd2&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
https://soundcloud.com/user-92519119/evening-in-paris-hoga-tumse/s-slMhtxGzofW?si=8e1d0e8d6a934026b61168c7892c12b2&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
https://soundcloud.com/user-92519119/around-the-world-duniya-ki-sair-kar-lo/s-qNolGZxo5uj?si=2505ae93961b40199da95dada0fe405a&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
https://soundcloud.com/user-92519119/brahmachari-koi-pyar-hame-bhi-karta-hai/s-xsd2LJceUwc?si=0729bdba63884283abd926cb53fbbf34&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
https://soundcloud.com/user-92519119/insaniyat-mere-yaar-ki-yaari-dekh-ke/s-FPBJKf86etX?si=0519fd49b10f4fbe9820837b5a9ef951&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
https://soundcloud.com/user-92519119/vachan-london-se-aaya-hoon/s-hBkyEXqQCO5?si=4e0c3d23bc074c4d9d4f8ef2699a29e7&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
I did some basic research and found that SJ started using it in 1966. Film ‘Street singer’ has four songs using clavioline (in percussion and other modes), this might be their first film where this instrument was used in songs. In the same year they used clavioline in the title music of film ‘Butameez’ ‘Love in tokyo’ and ‘Pyar mohabat’ but not in the songs. In 1967 SJ used it in 8 out of total 9 films, both in songs as well as title/ background music, so now onwards they started using it heavily and it became their hallmark.
Some other composers have also used it in percussion mode in some songs but rarely (as if not to copy SJ). Below are two such songs.
https://soundcloud.com/user-92519119/abhilasha-waadiyan-mera-daaman-3/s-bzxMCMQ3OLO?si=6c1c9326e3b24cddb240cfc929f9a569&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
https://soundcloud.com/user-92519119/jab-yaad-kisi-ki-aati-hai-ari-o-shokh-kaliyo-muskura-dena/s-8RzelN1w2kh?si=ab7628b9d46f4c95a9695af28cc285e1&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
Clavioline has been used so vastly (in normal electric keyboard mode with other effects) in hindi film songs that a normal listener fails to notice that its a Clavioline.
So Piyush Ji and Ashok Ji, i request you that if possible make an article on Clavioline and its players as this was a widely used instrument. This would be very informative for people like me. Thanks and Regards.
Kuljeet Singh,
Welcome to Songs Of Yore, and my compliments for such a deep interest in musical instruments. I am sure the authors would respond to you.
Kuljeet Singh # 07
Thank you so much for your so keen interest in the subject.
First of all, I need to clarify that I hardly know anything about the technicalities of the instrument. So I will not be able to provide any information on difference between sounds or the technicalities of electric guitar or clavioline.
I only know that clavioline was first used by Kalayanji Virji Shah to play the sound of bin for Nagin (1954).
However clavioline being an electric synthesiser organ it should be able to produce many diffrent types of sound effects.
The instrument that seems to been the common in the tunes that you have mentioned was very prominently used by Shankar Jaikishan in Hare Kanch Ki ChudiyaN (1967)
Here are two songs:
https://youtu.be/wMsu3fqD2uU
https://youtu.be/rktTKtSH7DE
With my limited knowledge I can say that this instrument is certainly not THE electric guitar.
Kuljeet Singh # 07 and my response #9
Incidentally Hare Kanch Ki ChudiyaN has another song wherein guitar and the other instrument are used together
https://youtu.be/D7a5YMmYIts
Here lead guitar is the lead instrument and that other instrument plays the supporting role in counter-melody as well interlude pieces and can eaily be distinguished.
Ashok ji, Thanks for your reply. I understand that the thing we are talking about already became obsolete some 40-45 years back. New synthesizers, new composers and new trends ultimately took over, so the loss of information in this age cannot be avoided.
I know some rare instrumental song tunes played on Clavioline (specially in percussion mode) by Charanjeet Singh in 1970’s, but I have no idea if he has actually played it in SJ or RD or OP songs. Here is one such tune.
https://youtu.be/81yTaU6qd04
I also found a great demo video of Clavioline which gives one an actual feeling of how it looks like and about its controls, effects etc. But still the skills which were demonstrated in playing it in SJ songs are outstanding and often puzzles me and left many of my questions unanswered. Interesting part is at 01:55 where he demonstrates percussion key function.
https://m.youtube.com/watch?v=JK0m1moewgA
Kuljeet Singh #11
As AKji so ruefully notes in the article, Book Review: “Behind the Curtain”, “The musicians remained behind the curtain during their lifetime and, now sadly, the ecosystem in which they flourished has gone with the wind.”