Since I started this series, readers have been suggesting names of various composers. Some have been covered; others would follow in due course. But no one has mentioned the name of Pardesi so far. I am not surprised; no one fits the theme Forgotten Composers Unforgettable Melodies better than Pardesi. Pardesi who? I do not know, nor do I know anyone who knows anything about him. Yet there is one song composed by him which is so unforgettable that Pardesi merits a post in this series. That song is an incredibly sweet Mukesh-Lata Mangeshkar duet Chanda re mori patiya le ja from the film Banjarin (1960).

When all sources fail, you can trust our living encyclopaedia Arunkumar Deshmukhji (whom I had the pleasure to meet recently in Mumbai) would fill in some details. He informs me that the name of Pardesi was Chand Pardesi. He has given music to the following films:

Banjarin (1960),
Khufia Mahal (1964)
Parivartan (1973, with MK Pujari)
Kitne Paas Kitne Door (1976)
Banmanush (1979)
Ye Kaisa Nasha Hai (1981)
Bhai Akhir Bhai Hota Hai (1983)
Ek Baar Chale Aao (1983)

None of the films rings a bell. But the duet Chanda re mori patiya le ja from obviously an obscure movie would figure near top of my list of the best of Mukesh-Lata. It is songs such as these which induced me to start this series.

A search of YouTube yields some more songs, not in the same class but quite good in their own right. Here are some of Pardesi songs.

1. Kya doge dil le ke by Asha Bhosle from Bankelal (1972), originally started as Rasiya, lyrics Pandit Madhur

The video is not available. But very obviously it seems to be a fast-paced mujra song. I would rate it among one of the better Asha Bhosle songs, but sadly it is virtually extinct.

2. Zindagi hai to haseeno ka salam ayega by Manna Dey and Suman Kalyanpur from Khufia Mahal (1964), lyrics Zafar Rahi

This is an interesting qawwali from a B-grade fantasy film, picturised on an urankhatola. You can see Jairaj leading the men’s team. Tun Tun is a recognisable face in the ladies group.

3. Pyar hoga ji iqrar hoga ji by Asha Bhosle from Khufia Mahal, lyrics Shyam Hindi

A typical B-grade dance song. The lady (whom I do not recognize) is cavorting around Jairaj, who does not seem to be moved and appears suspicious of her intentions.

4. Sar se anchal dhalakne laga hai by Suman Kalyanpur from Khufia Mahal, lyrics Zafar Rahi

An unknown song, but it has quite a pleasant beat and typical Suman Kalyanpur melody.

5. Do lafzon ki hai mere sanam by Suman Kalyanpur from Khuafia Mahal, lyrics Shyam Hindi

Another Suman Kalyanpur song, but not much distinguishing about it.

6. Chanda re mori patiya le ja from Banjarin (1960), lyrics Pandit Madhur, music Pardesi

And now comes the song which puts everything in shade. Suddenly you have a Pardesi creation which ranks with the best by any great composer, and makes the song and Pardesi unforgettable for me.  The credits mention Ratan Pictures as the producers, Jaswant Jhavei as the director, actors such as Kanchan Kamini, Manhar Desai, Lalita Kumari etc – a perfect recipe for an eminently B-grade movie.

My fascination for Chanda re mori patiya le ja has its origin in my abiding romance with Raga Durga, which calls for a post by itself. Suffice it to say during my early twenties someone gifted me an LP of Bismillah Khan-VG Jog jugalbandi, whose anchor piece of was Raga Durga. The impact was like nothing I had experienced before. Then started my love affair bordering on obsession with this Raga. It is surprising there are hardly any film songs based on Durga. But anything based on it would move me beyond words. Then I realised the reason for my great fascination for Pankaj Mullick’s Ye raatein ye mausam ye hansna hansaana. Here is a more accessible Raga Durga by Ghulam Mustafa Khan.

Jai Durge durgati pariharini by Ghulam Mustafa Khan

Songs of Yore Award for the best male playback singer goes to?

My survey article on the Best songs of 1955 attracted a good deal of response. Some readers gave not only their shortlist of favourite five in different categories but also a detailed analytical, musical and emotional reasoning for their choice. As this exercise was becoming mammoth, a suggestion came that I should do category wise summary posts. Meanwhile Ashok Vaishnavji has posted two excellent summaries on his own blog (Part 1 and Part 2) based on his comments posted on this blog. It has been wonderful reading all the comments. Here is the first wrap-up on the best male playback singer of the year.

This was the year when Mohammad Rafi sang O door ke musafir; Mukesh Mera joota hai Japani; Talat Mahmood Tasweer banata hun tasweer nahi banti; Hemant Kumar Chup hai dharti chup hai chand sitare; Manna Dey Tu pyar ka sagar hai and Kishore Kumar Jeevan ke safar me rahi. Each iconic, extremely popular, memorable till even today and musically excellent. Rarely would you have a similar year when all the six great singers of the Golden Era gave everlasting songs. How does one reduce this to one or two? It would be obviously subjective, but let me start by listing the best ten songs of the year about which there should not be much dispute. It is not intended to be in order of merit, but simply grouped by singers.

Talat Mahmood: Tasweer banata hun tasweer nahi banti, Baradari, lyrics Khumar Barabanqvi, music Nashad

It must have been a big challenge for Nashad to create a Tasweer song in Talat’s voice considering that he had achieved enormous fame some years earlier with his non-film Tasweer teri dil mera bahla na sakegi. Nashad had another Tasweer challenge composed by Naushad in Rafi’s voice Tasweer banata hun teri khoone jigar se (Deewana, 1952). He must have been peeved at the perception that he got to compose for Naghma (1953) after it was turned down by Naushad with disdain as the banner was not big enough for him. Creating another Tasweer masterpiece in the face of such great legacies is a remarkable achievement of Nashad.

Talat Mahmood: Kisko khabar thi kisko yakeen tha, Devdas, lyrics Sahir Ludhiyanvi, music SD Burman

If Nashad had a challenge, one can imagine the challenge SD Burman must have felt in the face of Timir Baran-KL Saigal’s Devdas (1935). Saigal’s Dukh ke ab din beetat nahi is at a pedestal where it cannot be compared with any other song, but can only be paid a tribute. SD Burman-Talat Mahmood’s Kisko khabar thi with Sahir’s lyrics of deep melancholy picturised so beautifully on the Tragedy King Dilip Kumar is a worthy tribute to its great predecessor.

किसको खबर थी किसको यकीं था ऐसे भी दिन आयेंगे
हाय जीना भी मुश्क़िल होगा और मरने भी ना पायेंगे
हाय किसको खबर थी…

हम जैसे बरबाद दिलों का जीना क्या और मरना क्या
आज तेरी महफिल से उठे कल दुनिया से उठ जायेंगे
हाय किसको खबर थी…

Talat Mahmood: Mitwa lagi re ye kaisi anbujh aag, Devdas, lyrics Sahir Ludhiyanvi

Timir Baran- KL Saigal gave another immortal song Balam aye baso more man me. Mitwa lagi re ye kaisi anbujh aag – a song of melancholy, but to put it in Ashok Vaishnavji’s beautiful words, ‘pathos blended with an unbujh aag – a faint hope of meeting the beloved at least once in lifetime’, is another worthy tribute to its great predecessor. (Readers may note as I have said earlier, Sanjay Leela Bhansali–Ismail Durbar do not even try – there is no solo for Shahrukh Khan, and I should think rightly so)

Talat Mahmood: Bechain nazar betaab jigar, Yasmin, lyrics Jan Nisar Akhtar, music C Ramchandra

I have not heard Talat Mahmood live, but I have met people who swoon while describing their experience of hearing him live. When I hear this song I imagine a tall and handsome Talat on the stage with a solitary harmonium, and just a couple of musicians. He opens Bechain nazar betab jigar, then a slight pause with a shy smile, and then he continues ye dil hai kisi ka diwana, and the whole auditorium erupts with joy. And at every refrain Kab udkar pahunche parwana, Dil dil se kahe ek afsana or Hum jaan bhi de den nazrana I can see girls going delirious with delight. Everything in the picturisation – the Middle Eastern string instrument rabab, the dance, the sheer joy on the face of the actors – is absolutely beautiful. One of the rare songs of Talat Mahmood of pure delight.

बेचैन नज़र बेताब जिगर-2 (…) ये दिल है किसी का दीवाना हाय दीवाना
कब शाम हो और कब शम्मा जले (…) कब उड़कर पहुंचे परवाना हाय परवाना

है दिल का चमन खिलने के लिए आयेगा कोई मिलने के लिए-2
फूलों से कहो तारों से कहो (…) चुपके से सजा दें वीराना हाय वीराना
बेचैन नज़र बेताब जिगर ….

जब रात ज़रा शबनम से घुले लहराई हुई वो जुल्फ खुले
नज़रों से नज़र एक भेद कहे (….) दिल दिल से कहे एक अफ़साना हाय अफ़साना
बेचैन नज़र बेताब जिगर ….

रंगीन फिजाँ छाए तो ज़रा वादे पे कोई आए तो ज़रा-2
ऐ जोशे वफ़ा दिल चीज़ है क्या (…) चुपके से सजा दें वीराना हाय वीराना
बेचैन नज़र बेताब जिगर …

Now listen to and watch this delightful song and note the pauses followed by a short rabab piece (…). Beautiful!

Hemant Kumar: Chup hai dharti chup hai chand sitare, House No. 44, lyrics Sahir Ludhiyanvi, SD Burman

Sahir Ludhyanvi had come to Navketan fold a few years ago, and his combination with SD Burman gave some of the most memorable songs of Hindi cinema. One aspect of Sahir’s poetry was deeply romantic in the backdrop of nature, and if Hemant Kumar is there to give voice the effect is magical. Remember SD Burman-Sahir-Hemant Kumar-Dev Anand combination’s immortal Ye raat ye chnadni phir kahan (Jaal, 1952). You have another excellent song with this combination of deep romance with silent moon and stars.

Hemant Kumar: Teri duniya me jeene se to behtar hai, House No. 44, lyrics Sahir Ludhiyanvi, music SD Burman

Another great song from the same combination – this time a song of dejection at the betrayal, which was another favourirte of Sahir Ludhiyanvi.

Mohmmad Rafi: O duniya ke rakhwale, Urankhatola, lyrics Shakeel Badayuni, music Naushad

In this fantasy film at the climax, when Dilip Kumar is left behind, his earnest pleading O door ke musafir humko bhi sath le le, pulls at your heartstring, making you feel you have also been left forlorn by your beloved, who has moved on to her final journey.

Mukesh: Mera joota hai Japani, Shri 420, lyrics Shailendra, music Shankar Jaikishan

One of the most iconic RK-Mukesh-SJ songs, which consolidated Raj Kapoor’s Chaplinesque tramp image.

Manna Dey: Tu pyar ka sagar hai, Seema, lyrics Shailendra, music Shankar Jaikishan

Outside RK banner too, SJ were creating some great music, albeit with different sensibilities. One of the best Manna Dey songs, enacted with deep piety by Balraj Sahni on the screen. A serene and soothing spiritual song, as if created to be sung by Manna Dey.

Kishore Kumar: Jeevan ke safar me rahi, Munimji, lyrics Sahir Ludhiyanvi, music SD Burman

SD Burman was also trying Kishore Kumar for Dev Anand, who would gradually become his main playback singer. Just the right amount of yodeling followed by a playful complaint and teasing of Nalini Jaiwant.

Some more songs

All the above songs were mentioned by the readers. Some other songs mentioned were Hemant Kumar’s Shivji bihane chale (Munimji), Rafi’s Basti basti parbat parbat (Raliway Platform), Kahan ja raha hai tu ai janewale (Seema) and Talat Mahmood’s Teri zulfon se pyar kaun kare (Joru Ka Ghulam). What has been surprising for me and somewhat disappointing is that the readers do not seem to share my fondness for Hemant Kumar’s Main gharibon ka dil hun watan ki zuban (Aab-e-Hayat). No one has mentioned this song, which I would have included as one of the topmost songs of the year.

Second cut

How does one reduce from 10 or 15 equally great songs to 2 or 3? My own top would have been Rafi’s O door ke musafir, Talat’s Bechain nazar/Tasweer teri dil mera and Hemant Kumar’s Main gharibon ka dil hun. But the aim of this post is to summarise the sense of the house. I have to sadly show the red card to O door ke musafir. While everyone has mentioned this song, the passion, I or Richard feel for this song, is missing in the readers’ comments. Kishore Kumar’s Jeevan ke safar me rahi is an outstanding song as far as it goes. But in the 50’s his best would be behind the stalwarts of the era Rafi, Mukesh and Talat. His time would come post Aradhana (1969). Mukesh’s Mera joota hai Japani is an iconic song for other historical and cinematic reasons, but it is not one of the quintessential Mukesh songs which touched the heart of Mukesh lovers.

Thus, in the second round are left Hemant Kumar, Manna Dey and Talat Mahmood.

Final cut

The higher you go, the steeper is the climb. Now making the final cut is going to be very difficult. If I try to summarise the sense of the house, Manna Dey’s Tu pyar ka sagar hai has been mentioned with so much respect, bordering on reverence that I feel he has to be included, even though he was not a prolific singer. The top space was occupied those days by Rafi, Talat Mahmood and Mukesh. 1955 is a very special year for Talat Mahmood. In the top ten he has four songs, but he had several more bearing his same silken touch – Teri zulfon se pyar kaun kare, Ae meri zindagi tujhe dhoondhoo kahan (Adal-e-Jahangir) and a couple of great duets. If you consider the total impact of a male playback singer, it would not be an exaggeration to say that 1955 was the year of Talat Mahmood. I believe the readers would agree the fairest result would be to declare both Talat Mahmood and Manna Dey as the best male playback singers of the year.

And therefore,

The Songs of Yore Award for the best male playback singer for 1955 goes jointly to:

Talat Mahmood and Manna Dey

Incidentally May 9 is the death anniversary of Talat Mahmood. So let this be a tribute to him from all of us.

And Manna Dey celebrated his 93rd birthday about a week back, i.e May 1. Among the doyens of the Golden Era, he is the only with us today. With this award wishing him a very happy, though belated, birthday.

And finally a big Thank You to all the readers. I hope I have been able to make a fair summary of the sense of the house.

Guest article by Subodh Agrawal

(Subodh Agrawal’s second article in this series has been a long time in coming.  I am responsible for part of the delay as it came when I had scheduled my post on the Best songs of 1955.  But when you read it you would agree it has been well worth the wait. Subodh bears his scholarship lightly, and writes in a style as lucid and fluent as the Raga Yaman itself. Here is his piece on one of the most popular ragas which would delight both connoisseurs as well as lay listeners. – AK)

I have never understood why Yaman is the first raga to be taught to students. Yes, it does have a simple structure – in the sense that it has no komal svaras, but its simplicity is deceptive. Creating beauty in Yaman requires a high level of skill and sensitivity. It sounds bland and pedestrian in the hands of a novice or an artist of average capability. There is, however, no limit to the heights it can attain in the hands of a master. No wonder it is one of the favourite ragas of our film industry’s composers, some of whom – Roshan for example – have given their best in this raga.

Yaman and Kalyan are two different names of the same raga. Yaman Kalyan, interestingly, is slightly different, as it uses shuddha madhyam occasionally along with the teevra madhyam of Yaman. The difference is not much, and in this article I would use Yaman to mean both Yaman and Yaman Kalyan.

The predominant mood of Yaman is tranquility – shant rasa. Another great raga Malkauns is also known for evoking shant rasa, but there is an important difference between the two. The tranquility of Malkauns has a Yogic, meditative quality about it. Yaman’s serenity is much closer to everyday life. It evokes the kind of peace one feels when one is happy at home and with family, in the company of friends, watching a beautiful sunset, or doing something one enjoys.

The shant rasa of Yaman combines well with bhakti rasa. It is an ideal raga for devotional compositions. Let me therefore begin with one of the best known works of Roshan, Man re tu kahe na dheer dhare, from the film Chitralekha. A few years back Outlook magazine had polled some leading music personalities to come up with a list of twenty all time great songs from films, and this song topped that list. I wouldn’t quite go that far, but there is no doubt that this is one of the great songs of Hindi films.

Mohammad Rafi sings Man re tu kahe na dheer dhare from Chitralekha (1964), lyrics Sahir Ludhiyanvi, music Roshan

Because of its capacity of combining bhakti and shant rasa, Yaman is ideal for recitation of Sanskrit slokas. You can get a flavor of what this raga can do in this recitation of Bhagvad Gita by the incomparable Lata Mangeshkar

http://www.parrikar.org/music/kalyan/lata_bhagvadgeeta.mp3

Another devotional masterpiece from Lata in Yaman is the Meera bhajan Kinu sang khelun holi set to music by her brother Hridaynath Mangeshkar:

Lata Mangeshkar sings Meera bhajan Kinu sang khelun holi

I have commented above on the kind of everyday serenity Yaman evokes. There can be no better illustration of this than this song – one of my all time favourites – from Bhabhi ki Chudiyan by Lata Mangeshkar, set to music by Sudhir Phadke. Apart from shant and bhakti rasa, this song also has a mood of joy. I sometimes wonder if the list of nine rasas is incomplete without a tenth –ananda rasa. If we could add this rasa then I would analyse Yaman’s mood as 40% shant rasa; and 20% each of bhakti, shringar and ananda rasas!

Lau lagati geet gati deep hun main by Lata Mangeshkar from Bhabhi Ki Chhdiyan (1961), lyrics Narendra Sharma, music Sudhir Phadke

I would now like to present two versions of the same bhajan by two great artists: Kishori Amonkar and Shobha Gurtu. Kishori Amonkar’s version is sweeter and classically orthodox. Shobha Gurtu, on the other hand, creates a different kind of impact in her powerful voice with a shehnai like timbre. In the comments on Youtube, there is some needless controversy as to which of the two is better. I think they are both beautiful in their own right.

Kishori Amonkar sings Mharo pranam in Raga Yaman

Shobha Gurtu sings Mharo pranam in Raga Yaman

Let’s move on, and add another rasa to the mix of shant and bhakti rasas – shringar. This song from Mamta by Roshan raises love to the level of worship. Roshan has surpassed himself in composing this, while Hemant and Lata have rendered it with feeling. Ashok Kumar and Suchitra Sen’s restrained acting superbly completes the picture. An NRI friend of mine commented that Ashok Kumar would win an Oscar hands down for the opening scene in which he covers his eyes with dark glasses and puffs on his cigarette. (I would gladly nominate this song for the title of the ‘all time greatest love duet from films’. My nominees for the male and female solos on love would be ‘Jalte hain jiske liye’ and ‘Tum apna ranj-o-gham’.)

Chhupa lo yun dil mein pyar mera by Hemant Kumar and Lata Mangeshkar from Mamta (1966), lyrics Majrooh Sultanpuri, music  Roshan

At this stage I would like to introduce a regular classical piece. Bismillah Khan has taken an extremely simple composition. You can’t get simpler than ‘ni re ga re ni re sa ni dha ni re sa’ in Yaman. It takes the genius of Bismillah Khan to keep it from sinking into ordinariness. It is an excellent introductory piece for learners of classical music.

Raga Yaman by Bismillah Khan

I would not normally associate Yaman with karun rasa. However, trust Indian film music directors and Mukesh to evoke pathos even in this raga. I recall with amusement that for some unfathomable reason Mukesh’s song Ansoo bhari hain yeh jeevan ki raahen in Yaman was very popular with boys of my age when I was a University student. I myself used to sing it with great feeling. An aunt of mine, who otherwise encouraged me to sing, told me in no uncertain terms to refrain from singing this song, as she had had enough of it! More than forty years later I don’t have any lingering fondness for this song. However, I still hold another Mukesh song – Saranga teri yaad mein – in the same raga in high esteem. I am not posting it here because AK has already done that in his excellent post on Sardar Malik.

Let me get out of this foray into karun rasa by presenting a classical piece by the great Pannalal Ghosh, which would restore the mood of joyful tranquility more suited to Yaman. When I listen to this piece it evokes the image of a beautiful sunset across a gently flowing river. Sunsets can make you happy or sad. Yaman goes with happiness; another beautiful raga Marwa with sadness. Here is the Yaman piece:

Raga Yaman by Pannalal Ghosh

Back to shringar rasa. Two great songs come readily to my mind – Zindagi bhar nahi bhoolegi yeh barsaat ke raat and Abhi na jaao chhod kar. I am opting for the latter, as it has a nice teasing quality. In a TV program Javed Akhtar called it his favourite romantic song.

Abhi na jaao chhod kar by Rafi and Asha Bhosle from Hum Dono (1961), lyrics Sahir Ludhiyanvi, music Jaidev

My next classical piece is by Sanjeev Abhyankar. The interesting thing about this piece is use of the flute as an accompaniment. It sounds like a duet between the singer and the flute:

Sanjeev Abhayankar sings Raga Yaman

Apart from devotional compositions, Yaman also excels in ghazals. Several beautiful pieces spring to mind. The best, however, are non-film – Lata’s Har ek baat pe kahte ho tum; Mehdi Hasan’s Ranjish hi sahi, which launched a wave of Pakistan mania among Indian music lovers; and Aaj jaane ki zid na karo by Farida Khanum. I present here a comparatively less known, but equally charming piece by Farida Khanum:

Wo mujh se hue ham kalam by Farida Khanum

The next classical piece brings together two legends, one from north and the other from south. The Carnatic counterpart of Yaman is Kalyani. I only wish Pandit Bhimsen Joshi had yielded a little more time to the maestro from the south.

Yaman Kalyan by Pandit Bhimsen Joshi and Balamurali Krishna

E ri aali piya bin is one of the standard classical compositions of Yaman. Several versions are available on Youtube. Lata Mangeshkar sang it for the film Raag Rang. A note of caution – while the main bandish is in Yaman, the preceding instrumental alaap forays into several other ragas, including Bahaar:

E ri aali piya bin by Lata Mangeshkr from Raag Rang (1952), music Roshan

Now listen to Dr N Rajam and her family present the same bandish on violin. Dr Rajam’s violin brings to mind the lofty voice of Pandit Omkarnath Thakur, who was her guru:

N Rajam and family present Raga Yaman

I close the presentation of film songs in Yaman with one that evokes a mood of pure joy.

Ja re badra bairi ja by Lata Mangeshkar from Bahana (1960), lyrics Rajendra Krishna, music Madan Mohan

This tarana from Ms Veena Sahasrabuddhe complements the joyful mood of this song in a pure classical vein. Her husband Dr Sahasrabuddhe was on the faculty of IIT Kanpur when Pankaj Sharan and I were both students there. Her father Shankar S Bodas and brother Kashinath Bodas were respected figures in the world of classical music.

Tarana in Raga Yaman by Veena Sahasrabudhe

The next classical piece is by Rajan and Sajan Mishra, with an introduction by Shujaat Khan. In this piece the difference between Yaman and Yaman Kalyan is brought out quite clearly. Listen carefully at 3:25 in the recording.

Raga Yaman by Rajan and Sajan Mishra

My brother Vikas introduced me to this recording of Ravi Shankar and Anouskha. Ravi Shankar’s voice shows signs of age, but the pieces played on sitar by his daughter are quite good. I had never taken much interest in her recitals earlier, but this one has made me take notice, thanks to the rich tonal quality of her sitar.

Raga Yaman by Anoushka Shankar

This recording by Ustad Vilayat Khan in Yaman is one of my favourites. It is a very personal interpretation of Yaman. I like its mood of quiet introspection and the imaginative use of silence:

http://audiofarm.org/audiofiles/10841

Part two of Vilayat Khan’s Yaman in madhya laya and part three in drut are available on Youtube. They present a more orthodox interpretation of the raga compared to part one:

Raga Yaman by Vilayat Khan in madhya laya

Raga Yaman by Vilayat Khan in drut laya

This is but a small sample of the vast possibilities of this great raga. As a leading exponent of classical music said during a private audience – one lifetime is too short to fully explore Yaman.

In parting:

As I said above, Yaman is ideally suited to reciting Sanskrit slokas. I can imagine what it would sound like in a rich, sonorous voice like that of Hemant Kumar. Unfortunately I have not been able to locate any such piece on the net. The closest I got is this song based on Jaidev’s Dashavatar Varnan from the film Anandmath. The raga is not Yaman, but the mood is quite close to Yaman. I present it to give a hint of how good Sanskrit slokas based on Yaman would sound in Hemant Kumar’s voice.

Hemant Kumar and Geeta Dutt sing Jai Jagdeesh Hare from Anandmath (1952)

I close by thanking AK once again for motivating me to write, and all the music lovers who have uploaded videos on Youtube. In particular I would mention Youtube user Thuryina who has uploaded many of the classical pieces I have used above. Tell us something about yourself Thuryina, if you are reading this.

AK presents a great surprise:

(Someone who can bring alive Raga Yaman in his writing, what impact would he create if he sang it!  Subodh sings (or recites) Harivansh Rai Bacchan’s ‘Is paar priye madhu hai tum ho’ without any musical accompaniment.  He has also composed its tune. He is not a professional singer, but when someone loves Yaman so much he can transport the listener to the magical and mysterious world of  ‘Us paar’ – AK)

Here are the beautiful words of Harivansh Rai Bachchan:

इस पार, प्रिये मधु है तुम हो, उस पार न जाने क्या होगा!

प्याला है पर पी पाएँगे, है ज्ञात नहीं इतना हमको
इस पार नियति ने भेजा है, असमर्थ बना कितना हमको
कहने वाले, पर कहते है, हम कर्मों में स्वाधीन सदा
करने वालों की परवशता है ज्ञात किसे जितनी हमको
कह तो सकते हैं, कहकर ही कुछ दिल हलका कर लेते हैं
उस पार अभागे मानव का अधिकार न जाने क्या होगा!
इस पार, प्रिये मधु है तुम हो, उस पार न जाने क्या होगा!

दृग देख जहाँ तक पाते हैं, तम का सागर लहराता है
फिर भी उस पार खड़ा कोई हम सब को खींच बुलाता है
मैं आज चला तुम आओगी, कल, परसों, सब संगी साथी
दुनिया रोती धोती रहती, जिसको जाना है, जाता है
मेरा तो होता मन डगडग, तट पर ही के हलकोरों से
जब मैं एकाकी पहुँचूँगा, मँझधार न जाने क्या होगा!
इस पार, प्रिये मधु है तुम हो, उस पार न जाने क्या होगा!

And here is an equally beautiful and lyrical translation by Subodh:

Your sweet presence is with me, my dear, on this shore
Who knows what awaits us across there

We have the cup but know not if we can drink
Fate has sent us so helpless to this world
There are those who claim we are always free in our actions
Who knows better than us how dependent they themselves are
At least we can soothe our hearts with such claims
Who knows if even this solace will be ours across there

A sea of darkness undulates as far as the eyes go
Yet, someone on the other side calls us across
I go today, tomorrow you will come, day after tomorrow all our friends
The world mourns, but those who have to go, have to go
The waves breaking on the shore make my heart tremble
What will happen when I reach the midstream all alone.

And here is the coup de grace:

Subodh Agrawal sings Is paar priye madhu hai tum ho us paar na jane kya hoga, poetry Harivansh Rai Bachchan

Bachchan’s poem is nine stanzas long.  Subodh sings only two stanzas.  If someone is interested in the entire poem here s a link.

I am delighted to present a survey of the best songs of 1955 and invite the readers to an interactive discussion to choose the best songs, singers and music director. For this post I have to thank the readers AM and KR Vaishampayan who suggested while discussing the music of Mughal-e-Azam (which failed to win the Filmfare award for 1960 films!) that I do a year wise survey of music of films of 1953-45 in reverse order and place it for in-depth analysis, comments and suggestions by the readers. They suggested 1953 as the year because the first Filmfare awards were given in 1954.

Then why I am starting with 1955? The year of Filmfare awards relates to the films made in the previous calendar year. The 1954 awards should by that logic have been for films made in 1953. But as we all know the first award for the best music was given to Naushad for Baiju Bawra, which was made in 1952. I do not think the awards were meant for 1952-53 combined. Then both 1955 and 1956 year awards went for movies made in 1954 – SD Burman (Taxi Driver) and Hemant Kumar (Nagin) respectively. 1957 Awards onwards the calendar becomes regular. Which means there are gaps in 1955 and 1953.

Some more Filmfare Awards trivia. In the first two years the award for the best music was given for a particular song (Naushad for Tu Ganga ki mauj; SD Burman for Taxi Driver). Thereafter this category of award was given for the entire score in a film. Further, the awards for the best playback singer was started in 1959, which was combined till 1967. After 1968 onwards separate awards for male and female playback singers were given.

Since we have the advantage of hindsight and the internet, we might lay down the following ground rules:

· Year of Awards would refer to the films released in the same calendar year.

· Best music director award would be given to the complete score in a movie and not a specific song. It may be a good idea to discuss the entire work of a music director in that year to understand his impact.

· Separate awards would be given to male and female playback singers.

So here we go.

Musical landmarks

Urankhatola: Naushad

By this time Naushad was a superstar. Films were financed and sold in his name. He got as prominent billing as the stars in publicity material. He comes up with his typical class score in this fantasy film with great songs by Mohammad Rafi and Lata Mangeshkar.

Azaad: C Ramchandra

C Ramchandra was the antithesis of Naushad. It was said for C Ramchandra that he could create a score in a month what Naushad would take a year to do. CR proved this literally with Azaad. Regulars at this blog would by now be familiar with the story how Naushad rebuffed the offer of SHS Naidu, the producer from South, to compose music of the film in a month. They had just finished the Tamil version and they wanted to produce the Hindi version on the same set in a quick time. Naushad’s answer was that he was a music director and not an assembly-line factory. CR accepted the assignment, and true to his reputation he created a marvellous score containing a cornucopia of Lata Mangeshkar songs, including a duet with Lata in his own voice Kitna haseen hai mausam. Dilip Kumar wanted Talat to be his playback. But he was not available. CR assured Dilip Kumar he would sing in such perfect Talat style that no one would know the difference.

Shree 420: Shankar Jaikishan

Shree 420 was as much a Raj Kapoor masterpiece as Shankar Jaikishan’s with the team of Shailendra-Hasrat Jaipuri-Mukesh and Lata Mangeshkar. If a list of immortal iconic songs is made Mera joota hai Japani and Pyar hua iqrar hua would figure prominently in it.

Devdas: SD Burman

Just as it required daring on the part of Bimal Roy to recreate PC Barua – KL Saigal’s Devdas (1935), SD Burman had a tougher task to match up to Timir Baran- KL Saigal’s magic. For Saigal’s two duets – Balam aye baso more man me and Dukh ke ab din beetat naahi, SDB created two Talat solos Mitwa lagi re ye kaisi anbujh aag and Kisko khabar thi fitting wonderfully on the deeply tragic hero Dilip Kumar. (If you think about it, Sanjay Leela Bhansali – Ismail Durbar did not even try – there is no solo for Shahrukh Khan in their Devdas (2002). And I should say, rightly so – because their most memorable song is the peppy dancing duet between Paro and Chandramukhi Dola re dola re. Saratchandra must be squirming in his grave – in his story the two ladies do not meet). Another remarkable song is an outstanding mujra by then unknown singer Mubarak Begum Wo na ayenge palat ke unhe lakh hum bulayen, which gave her big fame as one of the best singers of mujras.

Mr & Mrs 55: OP Nayyar

OP Nayyar had created sensation a year earlier with Aar Paar. He continued his great success in this light hearted romantic comedy of Guru Dutt with Rafi and Geeta Dutt. Very early in his career OP Nayyar crossed swords with Lata Mangeshkar and sworn never to work with her. Geeta Dutt was his mainstay in his challenge to Lata Mangeshkar, as was also her challenge to her. OPN would later carry on this war with Shamshad Begum and Asha Bhosle as his main singers.

Jhanak jhank payal baje: Vasant Desai

If C Ramchandra was contrast to Naushad, Vasant Desai was a bigger contrast to OP Nayyar. So in the same year you have a musical masterpiece based on classical music and dance. Among rare songs sung by great classical singers is the title song of this movie by Ustad Amir Khan. You also have several Lata Mangeshkar songs, and an extremely melodious Hemant Kumar – Lata Mangeshkar duet Nain se nain nahi milao.

As per the rules set by AM and KR Vaishampayan I am not supposed to give any conclusion. My role is limited to presenting the facts, some overview and analysis, and leave it to the jury that is the wider reader community to decide the final winners. I think I would not be breaching the boundaries set forth for me, if I suggest that the best music director would be perhaps one of the above.

Other important musical compositions.

Besides the above big six there are several other films which are significant for their music or some songs, though they may not have been blockbusters. Main gharibon ka dil hun watan ki zuban by Hemant Kumar in Aab-e-Hayat composed by Sardar Malik is an eternal song for me. I have covered it in my post on Sardar Malik. Baradari composed by Nashad (not Naushad) has several iconic songs. Tasweer banata hun figures in my list of Talat Mahmood’s best and Bhula nahi dena jib hula nahi dena among the top 5 greatest Rafi- Lata duets. SD Burman had two more films with everlasting songs – House No 44 starring Dev Anand and Kalpna Kartik which had Hemant Kumar songs Teri duniya me jeene se and Chup hai dharti chup hain chand sitare, and Munimji starring Dev Anand and Nalini Jaiwant, which had Kishore Kumar’s Jeevan ke safar me rahi. Thus SD Burman shows tremendous range. Shankar Jaikishan had started foraying outside RK banner though to some annoyance to Raj Kapoor. In Nutan, Balraj Sahni starrer Seema they created a Manna Dey masterpiece Tu pyar ka sagar hai. Among the great composers who created memorable music in more than one film in the year is also C Ramchandra whose Vyjayantimala, Suraiya, Jayant starrer Yasmeen had unforgettable Talat classic Bechain nazar betaab jigar ye dil hai kisi ka deewana. A memorable niche song is Kavi Pradeep’s Tere dwar khada bhagwan bhagat bhar de from Vaman Avtar composed by Avinash Vyas. Another memorable song is Rafi’s Basti bast parvat parvat gata jaye banjara from Railway Platform composed by Madan Mohan. Incidentally this was the debut film of Sunil Dutt. But the song that takes the cake for immortal song from a completely unknown composer (Amarnath) is Preet kiye dukh hoye from Garam Coat. YouTube mentions that he was different from the famous Pandit Amarnath, the elder brother of Husnlal-Bhagatram. It seems this Amarnath gave music only for this film. If true, this is a most amazing personal discovery for me, because for some reason I always attributed this song to Madan Mohan.

Debuts

Ravi had his first film as independent music director in this year – Vachan which had an iconic children song Chanda mama door ke. Ravi had been earlier assistant to Hemant Kumar. Ravi also gave music to another film in this year Albeli, which had a very pleasant Hemant Kumar-Lata Mngeshkar duet Muskurati hui chandni. Jaidev also debuted this year with Joru Ka Bhai which had a memorable Talat Mahmood song Teri zulfon se pyar kaun kare. N Dutta’s first film as music director Milap came this year, with some extremely popular songs such as Bachna zara ye zamana hai bura (Rafi, Geeta Dutt) and Jate ho to jao par jaoge kahan (Geeta Dutt). His association with Sahir Ludhiyanvi would later give many more memorable films such as Chandrakanta, Dhool Ka Phool, Lighthouse, Bhai Bahan etc. N Datta and Jaidev had been assistants to SD Burman. N Dutta had another film this year, Marine Drive with a memorable Rafi song Ab wo karam karen ki sitam main nashe mein hun.

Fact file and trivia

There was a film named Amar Sahgal in this year which was made from the clippings of KL Saigal’s films.  This film had his 19 film and non-film songs. Another film named on a film star was Dev Anand in Goa. IMDB indicates it was a film about freedom fighters, so was Dev Anand playing himself, and if so what was he doing?

Film Lagan music by Hemant Kumar had a song, Dekhi teri duniya wo duniya ke rakhwale sung by Rafi, which was apparently first recorded in the voice of Ravi (but perhaps not used in the film). We lost Ravi on March 7 this year, so here is this song in his voice as a tribute to one of the great composers of the Golden Era.

I always wondered what happened to the greats of the New Theatres. I find the name of RC Boral as the music director of a film titled Swami Vivekanand, whose songs obviously no one knows. It makes one somewhat sad at the end of a great era. RC Boral was the lynchpin of the New Theatres in Calcutta and defined the best in music with iconic songs by KL Saigal like Babul mora naihar, Tadpat beet din rain etc. RC Boral (as also others) migrating from Calcutta to Bombay and becoming inconspicuous by 50’s signified Bombay finally prevailing over Calcutta for better or worse.

This year had at least four pairs of twin songs of which two were unknown to me.  Ye baharon ka sama by Hemant Kumar/Lata Mangeshkar is an extreme;y melodious song. It may be my bias, but this song also proves my general theory about twin songs that male version is almost invariably vastly superior to the female version. The other twin song which I did not know is quite unusual in that both versions are sung by males.  The song is Bast basti parvat parvat gata banjara by Rafi/Manmohan Krishna.  I have not been able to locate the Manmohan Krishna version, but I am sure it would land up on the YouTube some day.  After my expanded list I had thought I had covered all the well known twin songs, but it is amazing I keep on stumbling upon some outstanding twin songs.

LIST OF MEMORABLE SONGS

Here is a list of memorable songs of 1955 film wise in alphabetical order to help readers make choices. The list is obviously not exhaustive, but seeks to include all noteworthy songs.

Aab-e-Hayat: Sardar Malik
1.  Main gharibon ka dil hun watan ti zuban  -  Hemant Kumar & others

Azaad:  C Ramchandra
2.   Radha na bole na bole na bole re  -  Lata Mangeshkar
3.    Aplam chaplam  -  Lata Mangeshkar and Usha Mangeshkar
4.   Dekhoji bahar ayee   -   Lata Mangeshkar
5.   Ja ri ja ri O kari badariya   -   Lata Mangeshkar
6.   Kitna haseen hai mausam   -   Chitalkar and Lata Mangeshkar
7.   Marna bhi mohabbat me kisi kaam na aya   -   Raghunath Jadav & others
8.   Pee ke daras ko taras gayi ankhiyan   -   Lata Mangeshkar
9.   Kitni jawan hai raat koi yaad aa gaya   -   Lata Mangeshkar

Adal-e-Jahangir:  Husnlal Bhagatram
10.  Ae meri zindagi tujhe dhoodun kahan  -   Talat Mahmood/Lata Mangeshkar (twin songs)

Albeli:  Ravi
11. Muskurati hui chandni   -   Hemant Kumar and Lata Mangeshkar

Baap Re Baap:  OP Nayyar
12.  Piya piya piya mera jiya pukare   -   Kishore Kumar and Asha Bhosle

Baradari:  Nashad
13.  Bhula nahi dena ji bhula nahi dena   -   Rafi and Lata Mangeshkar      
14.  Mohabbat ki bas itni dastan hai   -   Lata Mangeshkar
15.  Tasweer banata hun tasweer nahi banti   -   Talat Mahmood
16.  Kho diya maine pakar kisi ko aag lag jaye is zindagi ko   -   Lata Mangeshkar
17.  Dard bhara dil bhar bhar bhar jaye   -   Lata Mangeshkar

Devdas:  SD Burman
18.  Aan milo aan milo Shyam sanwre   -   Manna Dey and Geeta Dutt
19.  Sajan ki ho gayi gori   -   Geeta Dutt
20.  Ab aage teri marzi   -   Lata Mangeshkar
21.  O janewale ruk ja koi dum   -   Lata Mangeshkar
22.  Mitwa lagi re ye kaisi anbujh aag   -   Talat Mahmood
23.  Kisko khabar thi kisko yakeen tha   -   Talat Mahmood
24.  Jise tu qabool kar le   -   Lata Mangeshkar
25.  Wo na ayenge palat ke   -   Mubarak Begum

Garam Coat:  Amarnath
26.  Jogiya se preet kiye dukh hoye   -   Lata Mangeshkar

House No. 44:  SD Burman
27.  Teri duniya me jeene se behtar hai   -   Hemant Kumar
28   Chup hai dharti chup hai chand sitare   -   Hemant Kumar
29   Phaili hui hai sapnon ki baahen   -   Lata Mangeshkar

Insaniyat:   C Ramchandra
30.  Ayi jhoomti bahar   -   Talat Mahmood and Lata Mangeshkar

Jhanak jhank payal baje:  Vasant Desai
31.  Jhanak jhanak payal baje  -   Ustad Amir Khan
32.  Saiyan ja ja   -   Lata Mangeshkar
33.  Nain se nain nahi milao   -   Hemant Kumar and Lata Mangeshkar
34.  Jo tum todo piya main nahi jodun re   -   Lata Mangeshkar
35.  Mere ae dil bata   -   Lata Mangeshkar

Joru Ka Bhai:  Jaidev
36.  Teri zulfon se pyar kaun kare   -   Talat Mahmood

Marine Drive:  N Dutta
37.  Ab wo karam Karen ki sitam main nashe mein hun   -   Rafi

Milap:  N Dutta
38.  Bachna zara ye zamana hai bura   -   Rafi and Geeta Dutt
39.  Ye baharon ka sama chand taron ka sama   -   Hemant Kumar/Lata Mangeshkar (twin songs)
40.  Jate ho to jao par jaoge kahan   -   Geeta Dutt

Mr & Mrs 55:  OP Nayyar
41.  Ae ji dil pe hua aisa jadoo   -   Rafi
42.  Thandi hawa kali ghata   -   Geeta Dutt
43.  Jane kahan mera jigar gaya ji   -   Rafi and Geeta Dutt
44.  Ab to ji hone laga kisi ki sorat ka samna   -   Shamshad Begum
45.  Chal diye bandanawaz chhod kar mere dil ka saaz   -   Rafi and Geeta Dutt
46.  Idhar tum haseen ho udhar dil jawan hai   -   Rafi and Geeta Dutt
47.  Preetam aan milo   -   Geeta Dutt

Munimji:  SD Burman
48.  Jeevan ke safar men rahi   -   Kishore Kumar/ Lata Mangeshkar (twin songs)
49.  Shivji bihane chale   -   Hemant Kumar
50.  Ghayal hiraniyan main ban ban dolun   -   Lata Mangeshkar

Naqab:  Govind Ram
51.  Tera khyal dil ko sataye to kya karen   -   Talat Mahmood
52.  Hum unki mast ankhon ke mastane hain   -   Talat Mahmood
53.  Majnu bana diya warna hum bhi aadmi the kaam ke   -   SD Batish, Balbir & others

Ratnaghar:  Sudhir Phadke
54.  Aise hain sukh sapan hamare  – Lata Mangeshkar

Railway Platform:  Madan Mohan
55.  Basti basti parbat parbat gata jaye banjara  -   Rafi/Manmohan Krishna (twin songs)
56.  Dekh tere bhagwan ki halat kya ho gayi insan   -   Rafi, SD Batish, Manmohan Krishna & others

Seema:  Shankar Jaikishan
57.  Suno chhoti si gudiya ki lambi kahani  -  Lata Mangeshkar
58.  Tu pyar ka sagar hai  -  Manna Dey
59.  Kahan jar aha hai tu ai janewale  -  Rafi
60.  Manmohna bade jhoothe  -  Lata Mangeshkar

Shri 420: Shankar Jaikishan
61.  Mera joota hai Japani  -  Mukesh
62.  Dil ka haal sune dilwala  -  Manna Dey & others
63.  Ichak dana bichak dana  -  Lata Mangeshkar & others
64.  Pyar hua iqrar hua  -  Manna Dey and Lata Mangeshakr
65.  Mud mud ke na dekh  -  Manna Dey, Asha Bhosle & others
66.  O janewale mud ke zara dekhte jana  -  Lata Mangeshkar
67.  Ramaiya vastavaiya  -  Rafi, Mukesh, Lata Mangeshkar & others

Tangewali:  Salil Chaudhary
68.  Halke halke chalo sanwre  -  Hemant Kumar and Lata Mangeshkar

Urankhatola:  Naushad
69.  Mera salam le ja  -  Lata Mangeshkar & others
70.  Mohabbat ki rahon men chalna sambhal ke  -  Rafi
71.  Na toofan se khelo  -  Rafi
72.  Hamare dil se na jana  -  Lata Mangeshkar
73.  Na ro ai dil kahin rone se taqdeeren badalti hain  -  Lata Mangeshkar
74.  More saiyan ji utarenge par ho  -  Lata Mangeshkar & others
75.  Sitaron ki mahfil saji tum na aye  -  Lata Mangeshkar
76.  O door ke musafir mujhko bhi sath le le  -  Rafi

Vachan:  Ravi
77.  Chanda mama door ke  -  Asha Bhosle
78.  Jab liya hath me hath  -  Asha Bhosle

Waman Avtar:  Avinash Vyas
79.  Tere dwar khada bhagwan bhagat bhar de re jholi  -  Pradeep

Yasmin:  C Ramchandra
80.  Bechain nazar betab zigar  -  Talat Mahmood
81.  Mujhpe ilzam-e-bewafai hai  -  Lata Mangeshkar
82.  Tum apni yaad bhi dil se bhula dete to achcha tha  -  Talat Mahmood and Lata Mangeshkar
83.  Ankhon me sama jao dil me raha karna  -  Lata Mangeshkar
84.  Hans hans ke haseenon se nazar char kiye ja  -  Lata Mangeshkar

Some ‘special’ songs

Now I post some songs of 1955 which I consider ‘special’. They are not the best nor the most popular, nor are they likely to figure among nominations or winners. Some of these songs are relatively unknown, but extremely melodious and deserve to be known better. Some are quirky, breaking from the general mould, while some others have some interesting point about them. So enjoy these special songs of ‘1955’, while you think about the shortlist for various awards.

1. Aise hain sukh sapan hamare by Lata Mangeshkar from Ratnaghar, lyrics Narendra Sharma, music Sudhir Phadke

Sudhir Phadke-Narendra Sharma-Lata Mangeshkar combination’s classic Jyoti kalash chhalke from Bhabhi Ki Chudiyan is well known. No less melodious is the relatively unknown Aise hain sukh sapan hamare, with equally elegant lyrics by Narendra Sharma.

2. Muskurati hui chandni by Hemant Kumar and Lata Mangeshkar from Albeli, lyrics Ravi, music Ravi

What a fantastic gift by Ravi, who wrote the lyrics as well as composed the music, to his mentor Hemant Kumar. Ravi later became known for his ghazals for Rafi and Mahendra Kapoor, but in this early song and one of the rare songs he composed for Hemant Kumar, the latter’s influence is quite obvious.

3. Ye baharon ka sama by Hemant Kumar from Milap, lyrics Sahir Ludhiyanvi, music N Dutta

You have another forgotten Hemant Kumar masterpiece composed by another debutant. Sahir Ludhiyanvi, who later became known for his hard hitting rebellious poetry, writes a somewhat uncharacteristic soft romantic song, matching perfectly with the sonorous voice of Hemant Kumar. It is a twin song, the other version is sung by Lata Mangeshkar. My own preference is Hemant Kumar without doubt, but this video link has both the versions.

4. Shivji bihane chale by Hemant Kumar from Munimji, lyrics Shailendra, music SD Burman

I have to admit of Hemant Kumar-weakness. Here is a very different Hemant Kumar fun song about Shiv-Parvati cosmic marriage, presented as a stage song by a comic anchor Dev Anand disguised in heavy moustache. For good effect, in his introductory speech Dev Anand warns the ladies in the audience (read Nalini Jaiwant) not to look at persons in moustache with buri nazar, because hiding underneath may be their Lord Shiv (paramour).

5. Halke halke chalo sanwre by Hemant Kumar and Lata Mangeshkar from Tangewali, lyrics Prem Dhawan, msic Salil Chaudhary

There must be something about 1955 and Hemant Kumar, here is another ‘special’ song with him. We are all aware of tonga songs of OP Nayyar-Rafi-Asha Bhosle. Nothing could be more different from it than Salil Chaudhary-Hemant Kumar-Lata Mangeshkar. So you have this tonga song with a difference picturised on a pre-Rafi Shammi Kapoor and Nirupa Roy.

6. Tere dwar khada Bhagwan bhagat bhar de re jholi by Pradeep, lyrics Pradeep, music Avinash Vyas

Kavi Pradeep has a very special niche in film music. Essentially he was a lyricist of inspirational, devotional and patriotic songs. With his booming voice, whatever he sang became a landmark. This is one of the most memorable songs of Pradeep.

7. Dekh tere Bhgawan ki halat kya ho gayi insan by Rafi from Railway Platform, lyrics Sahir Ludhiyanvi, music Madan Mohan

Pradeep must have been hugely popular, because you have this parody of his famous Dekh tere insan ki halat which came a year earlier (Nastik, C Ramchandra). By overturning the phrase Sahir Ludhiyanvi laments at the state of affairs of God who does not have time for the deprived, but has chosen to reside in the abode of rich people.

8. Ab to ji hone laga kisi ki surat ka samna by Shamshad Begum from Mr & Mrs 55, lyrics Majrooh Sultanpuri, music OP Nayyar

Mr & Mrs 55 is famous for Rafi and Geeta Dutt’s songs. But for Shamshad Begum lovers, this song is a treat. Guru Dutt-OP Nayyar had some fascination for creating situational songs on extras and unknown actors with the lead actors being onlookers. He would do the same thing with his iconic Le ke pahla pahla pyar in CID. Shamshad Begum was among the few prominent singers who stood for OP Nayyar in his spat with Lata Mangeshkar.

9. Marna bhi mohabbat mein kisi kaam na aya by Raghunath Jadav and others in Azaad, lyrics Rajendra Krishna, music C Ramchandra

There are qawwalis and qawwalis in films – you have some by usual playback singers like Rafi, Manna Dey and Balbir and some by professional qawwali singers like Ismail Azad (Humein to loot liya mil ke husn walon ne). It is the latter which give you the real flavor of qawwali. I had not heard the name of Raghunath Jadav before the internet era, but apparently he must be a professional qawwali singer. As per Sudhir Kapur’s article at Atul’s site this song is picturised on Baalam (in black achkan) and Master Nisar (in cap).

10. Preetam aan milo by Geeta Dutt from Mr & Mrs 55, lyrics Saroj Mohini Nayyar, music OP Nayyar

Preetam aan milo is the iconic song of CH Atma composed by OP Nayyar much before he entered films. The song is written by his wife Saroj Mohini Nayyar. He uses the same song in the voice of Geeta Dutt who was capable of singing for two entirely different situations – one deeply spiritual and the other racy night clubs or party dancing. OP Nayyar gives a glimpse of both Geeta Dutt’s in this film.

AND THE WINNERS ARE!

Having come to the end of my presentation, the question still remains who are the winners for 1955. I have refrained from giving my own nominees or winners, though I, like every music lover, do have my own preferences. So let me seek comments, views and opinions about nominees for each category (say five for each category). And if I am permitted to be a bit immodest, let us call them:

Songs of Yore Awards for 1955 for music category: Nominees for

Best music director

Best male playback singer

Best female playback singer

P. S. – On the suggestion of some readers I am also adding an Award for

Best duet

Sardar Malik was not counted among the top five composers, which place was occupied by Naushad, Shankar Jaikishan, C Ramchandra, OP Nayyar and SD Burman. He would not be counted among the top dozen, some people might have difficulty in including his name even in the top twenty music directors of the Golden Era. Google search of his name intriguingly takes you to the Wikipedia page of his son Anu Malik, who we all know, has been the most dominant composer of the 1990’s. He has been winner of several Filmfare awards (Sardar Malik won none), judge at reality music shows and quite a prominent figure in the show-biz. I am not sure how many of Anu Malik’s songs would survive a few years from now, but I am sure Saranga teri yaad mein, Ae gham-e-dil kya karun and several more of Sardar Malik’s compositions would remain immortal.

Bits of information collected from here and there indicate he was born in 1925. He learnt music from Ustad Allauddin Khan and was trained as a dancer under the famed Uday Shankar at his residential school at Almora. He was a gifted singer and started getting both singing and composing assignments. Seeing the rise of independent playback singers such as Rafi and Mukesh, he realised he could not match them, and confined himself to music direction, and came over to Bombay. He was married to the sister of Hasrat Jaipuri. His early films Renuka (1947), Raaz (1949) and Stage (1951) did not leave much impact. His first noteworthy film was Laila Majnu (1953), in which he gave music along with Ghulam Mohammad. Talat’s Ae Gham-e-dil kya karun in Thokar (1954) created a sensation, though the film may not have been a great success. Main gharibon ka dil hun watan ki zuban by Hemant Kumar in Aab-e-Hayat (1955) is one of his most memorable songs. Sarangaa (1960) is of course a musical masterpiece, containing several all-time great songs. In spite of his obvious talents he remained consigned to B-grade films. He passed away in 2006; though suffering neglect himself, he must have been a satisfied man at his son’s ‘enormous’ success.

Here are some of Sardar Malik’s unforgettable melodies.

1.  Saranga teri yaad mein by Mukesh in Sarangaa (1960), lyrics Bharat Vyas

I have not seen any compilation of the best Mukesh songs without this song near the top.  It is picturised on a perfect B-grade actor Sudesh Kumar. But it does not matter if the melody is so exquisite complementing equally elegant lyrics of Bharat Vyas and the beautiful scenery of the woods and a misty night.

2.  Haan diwana hun main by Mukesh in Sarangaa

Creating one Mukesh masterpiece in the face of giants like Anil Biswas, Naushad and Shankar Jaikishan is a tough task, but Sardar Malik creates another Mukesh immortal in the same film.

3.  Piya kaise milun tumse by Rafi and Lata Mangeshkar from Saranga (1960)

Sarangaa had a great Mukesh-Lata Mangeshkar duet Laagi tumse lagan sathi chute na, which I have used in another post. This Rafi-Lata duet also is no less beautiful.

4.  Baharon ki duniya pukare tu aa ja by Talat Mahmood and Asha Bhosle from Laila Majnu (1953), lyrics Shakeel Badayuni

Laila Majnu had two composers, the other one being Ghulam Mohammad. But it seems, unlike normal duos they composed separate songs in the film. Baharon ki duniya pukare tu aa ja is credited to Sardar Malik. A beautiful Talat-Asha duet.

5.  Tere dar pe aya hun fariyd lekar by Talat Mahmood from Laila Majnu

Laila Majnu also had this silky solo by Talat Mahmood credited to Sardar Malik.  This was the phase when Shammi Kapoor was not the Shammi Kpoor we know, and we have a number of Talat Mahmood songs picturised on him.

6.  Ae gham-e-dil kya karun by Talat Mahmood for Thokar (1953), lyrics Majaz

Majaz  was a great but deeply troubled Urdu poet. His anguished ghazal has been made immortal by Talat Mahmood and in equal measure by the composition of Sardar Malik, picturised on a pre-yahoo Shammi Kapoor.

7.  Main gharibon ka dil hun watan ki zuban by Hemant Kumar in Aab-e-Hayaat (1955), lyrics Hasrat Jaipuri

As Premnath straddles through the street of this magical city singing Main jo gata chalun sath mehfil chale, the horde of beautiful damsels cannot help pourng out in the street and balconies, and dancing and singing in chorus. One of my top Hemant Kumar favourites, with one of the best song picturisations.

8.  Hui ye humse nadani ki hum teri mehfil me aa baithe by Lata Mangeshkar from Chor Bazar (1954), lyrics Shakel Badayuni

A less known Lata Mangeshkar song, but should compare with the best of Lata during the period. The song has traces of C Ramchandra style.

9.  Baharon se poochho mere pyar ko tum by Mukesh and Suman Kalynpur from Mera Ghar Mere Bachche (1960), lyrics Hasrat Jaipuri

A very pleasant Mukesh-Suman Kalyanpur duet in another B-grade movie.

10.  Chanda ke des mein rahti ek rani by Mukesh from Mera Ghar Mere Bachche

Sardar Malik seems to have some special talent for Mukesh.  Lullabies are generally sung by mothers. Here he comes up with one of the best lullabies sung by and picturised on a male (Sudesh Kumar).

11.  Sun more rasiya sun man basiya by Mukesh and Suman Kalyanpur from Madan Manjari (1961), lyrics Hasrat Jaipuri

It does not get any sweeter than this.  I cannot think of many duets more beautiful than Sun more rasiya sun man basiya, again a from a perfect B-grade film starring unknown actors like Nalini Chonkar and Manhar Desai.

12.  Mujhe tumse mohabbat hai magar main kah nahi sakta by Rafi from Bachpan (1963), lyrics Hasrat Jaipuri

Sardar Malik does a competent job with Rafi as well.

13.  Sun chand meri ye dastan by Mukesh from Nag Jyoti (1963), lyrics Bharat Vyas

But with Mukesh, Sardar Malik is in his elements. Another beautiful lyric by Bharat Vyas, composed beautifully by Sardar Malik.

14.  Yun na hume dekhiye hum baar baar kahte hain by Rafi and Suman Kalynpur from Jantar Mantar (1964), lyrics Hasrat Jaipuri

I like this song picturised on Mahipal and Vijaya Chaudhry for it shows how the talented, but sidelined composers bestowed great care even in a B-grade film.

15.  Aaj ki raat aji hothon ko chup rahne do by Rafi and Suman Kalyanpur from Roop Sundari (1964), lyrics Bharat Vyas

Again a B-grade film starring Mahipal and Anita Guha. Any talented person would get frustrated at the unfair film world, so I do not blame Sardar Malik for showing traces of Roshan in this song. But a melodious song nevertheless.

Every married man encounters this experience quite often – you are all dressed up to go to a wedding, you go out to take out your car. The dear wife should have by then locked the house and come to the driveway. But you wait and wait, yet there is no sign of her. You go in to find out what the matter is. She is crouching on the floor and searching desperately for something under the carpet, cushions, in nooks and crevices. Some tiny attachment, a screw or a latch, which lets the earrings or danglers hold on to the ear, has slipped off. You barely suppress your smile, when she flares up, what is so funny about it, don’t you think you should help me in finding the damn thing?  As a dutiful husband you also go down on all the fours to join her in the search.

The jhumkas made in Bareilly were particularly prone to this problem – they would fall off in market places. It happened in the ‘60s (Asha Bhosle, Mera Saya, 1966, Madan Mohan). It turns out it happened in ‘40s too. You have this frothy Jhumka gira re from the film Dekhoji (1947). The lyrics are raw and straight from the soil, and who else but the full throated Shamshad Begum to give expression to the unrestrained joy in this folk song. The only other singer who could do justice to this song was Zohra Ambalawali (recall her Ankhiyan mila ke jiya bharma ke from Rattan). I love the lyrics सैंया ढ़ूढ़े रे नैनों में नैना डाल के – if you have to crouch on the floor to search the jhumka, do not make a long face, do it nainon me naina daal ke.

झुमका गिरा रे झुमका गिरा रे
झुमका गिरा रे बरेली के बाज़ार में
झुमका गिरा रे

सास मेरी रोए ननद मेरी रोए
सैंया रोये रे गले में बैयां डाल के
झुमका गिरा रे

जेठ्‌ मेरा ढ़ूंढ़े जेठानी मेरी ढ़ूढ़े
सैंया ढ़ूढ़े रे नैनों में नैना डाल के
झुमका गिरा रे

सैंया मेरा गावे बहन मेरी गावे 
सैंया गावे रे गले में बाजा डाल के
झुमका गिरा रे

Jhumka gira re Bareilly ke bazaar mein by Shamshad Begum from Dekhoji (1947), lyrics Wali Saheb, music Tufail Farooqui

I have some friends who share the same passion for old film music. They were delighted to hear the Shamshad Begum version of Jhumka gira re. They are from different academic and professional backgrounds. They gave me different perspectives on the song.

Mathematician 1

He said that different cities would have different probabilities of defective jhumka pieces depending on the tradition of workmanship there and training facilities for skill upgradation. Now the fact of the jhumka falling in Bareilly does not a priory mean that it is a product of Bareilly. This becomes a question of conditional probability which has to be solved by Bayesian methods of finding the probability of event A, given B, i.e. P(A|B).

Mathematician 2

He said that falling jhumka is an event of very low probability, but if it happens, the loss is significant. Such an occurrence typically follows Poisson distribution, whose mean is the same as variance. So to arrive at any definitive conclusion we have to study the number of falling jhumkas in a given time across cities on a long time series of data. In the absence of any such data any adverse inference about Bareilly would be mathematically wrong.

Mathematician 3

This friend of mine had also acquired an MBA degree from a reputed institute. His analysis was that this is a simple case of defects in manufacturing process. The cause of defects has to be segregated into chance causes and assigned causes. The chance causes follow a bell shaped normal distribution. The challenge is to use the tools of statistical quality control, as W Edwards Deming  did for Japan, which had equally poor reputation for quality, but soon transformed into a Mecca for high quality with SQC. By shifting the mean towards left and narrowing the standard deviation, you can say with 99.97% confidence level that in a batch size of a million jhumkas, the number of defective pieces would fall within the range 10±1.03.

Physicist

He said that this  song was commissioned by the Ministry of Education for teaching science to school students.  No, that beats me! He said, look at the words Jhumka gira re carefully.  It is not utha re even though it fits in the meter perfectly.  We all know earth’s gravitational pull ensures that the jhumka can only come down and not go up.  But what about Newton and apple?  There was a problem with garden and apple – Adam and Eve, and the original sin etc.  Government did not want  the impressionable children to get ideas.   So they were looking for a cleaner example.  Considering the ubiquitous appeal of film music, they invited proposals from renowned music directors.  In an open competition Madan Mohan won in a close finish against Shankar Jaikishan’s Hae gazab kahin tara toota (Asha Bhosle again, Teesri Kasam).

Economist

His view was that jhumka is a metaphor for gold whose rise or fall is seen as the most authentic indicator of the state of the economy. So jhumka gira re has to be read as something like ‘Gold falls in Dubai’ or ‘Sensex falls in Dalal Street’ or ‘Nikkei falls in Tokyo’. The country was passing through great turmoil in 1947. The entire productive capacity of the country had been diverted towards British war efforts causing great deprivation to the people. Then why such a peppy foot-tapping tune? He said the British in their last days had become extremely touchy about anything that may remotely be a reflection on their governance. A few years back they had egg on their face when Door hato ae duniyawalo Hindustan hamara hai (Amirbai Karnataki, Kismat, 1943, Anil Biswas) slipped past the British censors. Churchill was so furious that he summoned the then Viceroy Lord Linlithgow to London to give him a severe dressing down. Churchill was not satisfied with his mumbling explanation. He unceremoniously sacked him and sent the no-nonsense Field Marshal Wavell as Viceroy.  It was risky to take any chances with the edgy British officials, so the composer camouflaged the sad song (notice the poignant words  Saas meri roye nanad meri roye/ Saiyan roye re galey me baiyan daal ke) in a peppy tune. Then why should Madan Mohan do it in 1966? Same reason. Lal Bahdur Shastri died under mysterious circumstances in Tashkent where he had gone for a Kosygin-mediated dialogue with Ayub Khan post Indo-Pak War. The new PM Indira Gandhi was buffeted by the party Syndicate, and it would not be until a few years when she would throw their yoke and emerge into her own. The economy was in poor shape, the fruits of Green Revolutions were still some years away, and India still was on ship to mouth under PL 480. In this scenario Madan Mohan did not want to aggravate the sense of despondency, and composed it as a street dance song by a moll of a gang of dacoits.

Police Officer

This friend of mine has been an upright, hardworking and diligent police officer. He had a stint as SP of Bareilly during those days. He took it upon himself as a mission to solve this riddle. He found out that it was not a chance event but the handiwork of a gang of sharp tricksters, who would snatch away the jhumkas so deftly that the lady would not feel anything. His paper titled, The case of falling jhumkas: Bareilly police model of solving a serial crime without a clue, which he presented at the National Police Academy is now regarded as a classic. Scotland Yard uses it as a generic model to solve heinous serial crimes, and now they have almost got rid of serial crimes such as necktie murders which afflicted them once upon a time (Frenzy, Hitchcock). As a proof of his success he said now they sing Gir gaya jhumka girne do (Kishore Kumar Lata Mangeshkar, Jugnu, 1973). They don’t care. They know, firstly it won’t happen, if it happens the Bareilly police would crack the case and restore the jhumka to them.

PS: Recently I happened to pass through Bareilly when I stopped by Ramu halwai’s tea stall. Ramu while making the tea started singing Jhumka gira re Bareilly ke bazaar mein. I was aghast. Had the Bareilly blight surfaced again? I briefly narrated to him my friends’ perspectives. He was flummoxed. He said this is a traditional folk song which they had been singing for generations.

Happy Holi to all!

A tribute on his birth anniversary February 24

When you think of Talat Mahmood you think of his iconic soft, sentimental melodies like Meri yaad mein tum na aansoo bahana, Jalte hain jiske liye, Humse aya na gaya tumse bulaya na gaya, Ae dil mujhe aisi jagah le chal jahan koi na ho, Zindagi denewale sun, Jayen to jayen kahan etc. These are all solos obviously, as would be the case if you have to choose the best songs of any great singer. Then why I am doing my first Talat Mahmood post on his duets?

Hindi films are essentially about romantic love, and it is inevitable every singer would get to sing duets too picturised on the hero and the heroine, and sometimes on side actors. I view duets as a special category, more so in the case of Talat Mahmood whose many duets brought out a breezy side of him. His solos in a blue mood on Dilip Kumar for films like Arzoo, Babul, Devdas, Tarana, Sangdil, Shikast, Footpath, Daag etc. in many ways consolidated the latter’s image as the Tragedy King. This also became a trap for Talat Mahmood who unfortunately was the first one among his contemporaries to fade away. Rafi and Mukesh had debuted in playback singing several years before Talat Mahmood’s Bombay debut in 1950 with Arzoo (he was already famous as a singer because of his non-film songs, and some film songs in Calcutta). Yet Talat stopped getting any worthwhile offer after Jahan Ara (1964), whereas Rafi and Mukesh continued to reign strongly for many more years. And just as Dilip Kumar wanted to break free of this image before his reel life tortured his real life – with comedy capers like Azaad (1955), Kohinoor (1960) and Leader (1964), and later Ram and Shyam (1967) – perhaps Talat also needed the company of a female singer to break free of his image trap, in several duets.

For someone like Talat Mahmood, who is among my top favourites, I am quite late in doing a post on him (though his songs would have figured off and on). So to make up for my omission, let me present a different side of Talat Mahmood with his breezy duets as my tribute on his birth anniversary, February 24.

1. Chahe nain churaao chahe daman bachao by Talat and Lata from Aas (1953), lyrics Shailendra, music Shankar Jaikishan

Top of such duets in my list is this beautiful foot tapping number with Lata Mangeshkar Chahe nain milao chahe daman chhudaao. This is an idyllic setting in the midst of meadows , and river and mountain in the background. A group of villagers, apparently fishermen, are enjoying themselves when a man and a woman (not the lead actors) from the group get up and break into a dance. Then you see the lead pair Shekhar and Kamini Kaushal, emerging in the scene from behind and happening upon this group. The couple seems to be recently married, with the hero looking somewhat abashed and the heroine extremely coy. The song now acquires meaning as the hero’s tentative flirtations with the lady to open her up synchronises with चाहे नैन चुराओ चाहे दामन बचाओ प्यार हो के रहेगा (Whether you shift your gaze or evade my touch, we can not but fall in love)

2. Humein haal-e-dil unse kahna tha kahiye by Talat Mahmood and Asha Bhosle from 24 Ghante (1958), lyrics Raja Mehadi Ali Khan, music Bipin Babul

Talat-Asha combination had a good number of superb duets, both breezy and melodious. Here is a foot tapping number with a very pleasant beat. Premnath and Shakila seem to have just finished their picnic lunch. As Shakila washes the plates in the garden waterbody, you see Premnath reclining on the picnic durrie browsing a magazine (such an insensitive MCP !), but there was no doubt about gender roles those days. You would think now they should be heading back home, but Premnath breaks into this song while still reclining, then gradually rises. Having done with the dishes, Shakila also joins him, swirls around with the picnic basket (by now empty) in her hand, dancing to the beautiful beat. As they cavort around the bushes in what would soon become the most recognizable Bollywood cliché, the Director chooses to give it a quirky touch by highlighting the prop of the picnic basket, with the lead pair playing with it and tossing it to each other. The most remarkable thing about this song is the composer (duo?) Bipin Babul, about whom I know little and can not recall their any other famous song. I am always fascinated by everlasting songs composed by unknown music directors. So here is my big Talat-Asha favourite.

3. O dildar suno ek bar by Talat Mahmood and Lata Mangeshkar from School Master (1959), lyrics Pradeep, music Vasant Desai.

You see the pretty B Saroja Devi and this funny looking guy in a neta type dress and Chaplinesque moustache (he is surely not the hero Karan Dewan, then why did they make this beauty flirt with this clown?) on a horse carriage singing this racy duet. They stop by a pond in the wilderness, and in a similar gender stereotyping, Saroja Devi goes to fetch water from the pond. And what do you see here? A lavish picnic repast in a huge tiffin- carrier! They continue their frolicking around water, and now the pail of water becomes a prop in her hand to play with while they sing and dance. But alas, as they get lost in their revelry, they seem to forget about the spread-out food and the hungry horse, which is merrily helping himself to the spread. By the time they come back from their frolicking exhausted, I doubt if they would find any food left.

4. Teri nigahon mein teri hi bahon mein by TalatMahmood and Ash Bhosle from Bahana (1960), lyrics Rajendra Krishna, music Madan Mohan

Bahana starring Meena Kumari and Sajjan had several MM’s signature style melodious songs such as Talat Mahmood’s solo Beraham Asmaa and Lata Mangeshkar’s Ja re badra bairi ja. And you have this fabulous Talat-Asha contrast which would make your feet dance. The video is not available so you can only guess it might have been picturised on the lead pair

5. Chori chori dil ka lagana buri baat hai by Talat Mahmood and Asha Bhosle from Bada Bhai (1957), lyrics Raja Mehdi Ali Khan, music Nashad

Oh, I can not have enough of Talat Mahmood-Asha Bhosle duets. The actor (Anant Kumar?) is pulling the lady (Ameeta?) on a cycle rickshaw. But apparently he does it effortlessly as he frequently looks back to her and sings this breezy song. The music director Nashad (not Naushad), has created some everlasting music in a number of films. With such huge talent I wonder why he felt the need to change his name to one sounding like Naushad (his real name was Shaukat Ali Dehelvi and later took the name Nashad because, as the anecdote has it, he thought some of Naushad’s fame might rub on him).

6. Itna na mujhse tu pyar badha by Talat Mahmood and Lata Mangeshkar from Chhaya (1961), lyrics Rajendra Krishna, music Salil Choudhary

This is an iconic Talat-Lata duet with Salil Choudhry’s familiar foot tapping style. You only wonder what is holding back Sunil Dutt and Asha Parekh from breaking into a dance.  A great Talat-Lata duet composed by Salil Chaudhry,which is inspired by Motzart’s Symphony No. 40.

7. Aha rimjhim ke ye pyare pyare geet liye by Talat Mahmood and Lata Mangeshkar from Usne Kaha Tha (1960), lyrics Shailendra, music Salil Choudhry

Another iconic Talat-Lata-Salil Choudhry number. You again have Sunil Dutt, but now the lady is Nanda. And mercifully they are not as stiff as Sunil Dutt-Asha Parekh were in Itna na mujhse pyar badha. And what beautiful scenery of the night in a forest, raindrops falling and the lead pairs drenched, but no suggestion of any amorous thoughts crossing their mind, only pure bliss and joy (the rain drenched lovers stranded in a remote hut, getting into a situation where they would have to later remorsefully say Humein ye paap nahi karna chahiye tha, had not yet become the norm).

8.   Rahi matwale with Suraiya from Waris (1954), lyrics Qamar Jalalabadi, music Anil Biswas

Talat Mahmood, also the hero of the film, discovers the person on the adjacent seat in men’s dress is actually a woman, who has some reason to be in disguise, travel in the men’s compartment and tell a lie to the conductor.  In the beginning he disapproves of her, but it does not matter.  The setting is enough to prompt Talat to break into this beautiful song to the beat of the train.  The lovely Suraiya in reverie gives romantic glances, and later joins in the duet.  This song has at least three versions in the film, this one is a foot tapping duet and befitting addition to my list.

9. Ye nayi nayi preet hai with Lata Mangeshkar from Pocketmar (1956), lyrics Rajendra Krishna, music Madan Mohan

 Dev Anand, the eternal romantic and Geeta Bali, with a lovely pout make a great pair.  Madan Mohan, who created quintessential sad Talat songs like Humse aya na gaya and Meri yaad mein tum na ansoo bahana, changes tack and creates this breezy romantic duet.

10.  Ayi jhoomti bahar with Lata Mangeshkar from Insaniyat (1955), lyrics Rajendra Krishna, music C Ramchandra

Choosing the the last song of a post is always difficult, more so if my choice was between Dev Anand in moustache in this song and Shammi Kapoor in moustache in Kehta hai dil tum ho mere liye in Mem Sahib – both equally unappealing.  Frankly the romantic Dev Anand looks quite odd, more like a school masterly Abhi Bhattacharya, but I choose this song because of the beautiful Beena Rai and sweet C Ramchandra music.

A tribute on her death anniversary January 31

Aside from Lata Mangeshkar Suraiya is among my top favourite female singers. She debuted as a child artiste in 1942 (film Sharda). Within three years she rose to become one of the top singing stars acting opposite the greatest legend KL Saigal in 3 films. Within the next three years her beauty, singing and romantic pairing with Dev Anand both on-screen and off-screen became a national craze.

Her voice had none of the roughness and sharpness characteristic of the style of 40s. Her singing was rounded, smooth and extremely melodious. She belonged to the 40s, she belonged to 50s and 60s, and you hear her today, she does not sound dated. There is something timeless about her singing. Therefore, I was surprised to read many accounts that she was herself quite dismissive about her singing abilities – that it was her good looks that made her a star and it was great composers who created melodious and simple tunes which even an unaccomplished singer like her could sing. In early fifties she was also contemplating that Lata Mangeshkar could give playback for her, which the music directors wisely rejected. Whether she was a trained singer or not, for me she is one of the most melodious and delightful singers.

The end of her relationship with Dev Anand because of family pressure and Lata Mangeshkar emerging as the dominant voice made her gradually withdraw from films; from mid-60s she became a complete recluse and out of public sight. Dev Anand even at the age of 80 remembered the unfulfilled love affair with deep sadness. But he moved on with life, raised a family and remained active til the very end. Suraiya suffered her pain within herself and died a lonely death on January 31, 2004. My last post was on KL Saigal whose death anniversary falls on January 18. Suraiya was his last heroine, and the last and one of the greatest singing stars of Hindi films. I pay my tribute to her with my favourite songs of her second phase -50s and 60s. I would write about her vintage period sometime later.

1. Manmor hua matwala from Afsar (1950), lyrics Narendra Sharma, music SD Burman

Based on Gogol’s Inspector General, this Dev Anand-Suraiya starrer had two great Suraiya songs composed by SDB. It is difficult choice between two outstanding songs Nain diwane and Manmor. Manmor hua matwala has a haunting feel about it with elongated Manmor sounding like an echo and beautiful flute piece.

2. Ae shama tu bata from Dastan (1950), lyrics Shakeel Badayuni music Naushad

AR Kardar – Naushad combination is unusual for Raj Kapoor. This film has great music with 9 songs by Suraiya (solos and duets). With such a treasure it is difficult to choose one, but Ae shama tu bata is incredibly beautiful and has excellent picturisation. The story seems to be a replay of Andaz (1949), with now Suraiya on the piano, with ambiguity between the two lovers Suresh and Raj Kapoor. I find that aside from his Charlie Chaplin act, Raj Kapoor is master of such scenes of ambiguous relationships.

3. Koi dil mein samaya chupke chupke from Kamal Ke Phool (1950), lyrics Rajendra Krishna, music Shyam Sundar

This is a virtually unknown film, the other cast being names like Amarnath, Raj Mehra etc. But Shyam Sundar was a highly respected composer of his time. And with Suraiya he creates a masterpiece, though not so well known.

4. Majboor hun main nashad hun main from Shaan (1950), lyrics Rajendra Krishna, music Hansraj Bahal

Does this song reflect the anguish in her personal life? A beautiful, but less heard song.

5. Raste pe hum khade hain dil beqarar lekar from Rajput (1951), lyrics Kaif Irfani, music Hansraj Bahal

Suraiya again in her sweet voice expressing pathos, composed by one of the great composers of early 50’s.

6. Raton ki neend chheen li ankhon ke intezaar ne from Shokhiyan (1951), lyrics Kidar Sharma, music Jamal Sen

An unhard melody by a virtually unknown composer, but this song can easily rank among Siraiya’s sweetest song.

7. Meri zindagi mein tum kyun aye from Goonj (1952), lyrics DN Madhok, music Shardul Qwatra

Many songs of the period have become poignant because of the sadness in her personal life.  As this extremely beautiful song carrying Punjabi folk style shows, Shardul Qwatra, one of the forgotten composers, deserves greater recognition.  I hope to write a post on him on my blog at an opportune time.

8. Mora nazuk badan from Deewana (1952), lyrics Shakeel Badayuni, music Naushad

Suraiya in a tantalising bath towel.

9. Nigahein kyun milayi thi agar yun hi chhod jana tha from Laal Kunwar (1952), lyrics Sahir Ludhiyanvi, music SD Burman

We keep on getting poignant songs as if she was expressing her inner feelings.

10. Parwanon se preet seekh le from Bilwamangal (1954), lyrics DN Madhok, music Bulo C Rani

One of all time favourites of Suraiya.

11. Rahiye ab aisi jagah chalkar jahan koi na ho from Mirza Ghalib (1954), lyrics Ghalib, music Ghulam Mohammad

Mirza Ghalib was a landmark film of her career for her sensitive acting and beautiful singing. The film won National Award for the best film. After KL Saigal, her rendering of Ghalib was recognised as a masterpiece. When she gave good songs in a movie, it did not come in one or two’s, the songs poured. Mirza Ghalib was one such movie. Among her many outstanding songs the poignant Rahiye ab aisi jagah chalkar jahan koi na ho also refleceted her own personal life in which she had withdrawn from the outside world.

12. Mera dildar na milaya from Shama Parwana (1954), lyrics Majrooh Sultanpuri, music, Husnlal Bhagatram

This is a twin song, its twin version sung by Mohammad Rafi. Suraiya is so sweet that this is one of the exceptions to my rule that male versions are better in twin songs. Shama Parwana has Shammi Kapoor in the lead role in one of his earlier films as a staid hero in moustache, before his transformation into the rebel hero we know.

13. Taron ki nagri se chanda ne from Waris (1954), lyrics Qamar Jalalabadi, music Anil Biswas

The most famous song from this film is Rahi matwale which has many versions. But this less heard lullaby should rank among the sweetest.

14. Mast ankhon mein shararat kabhi aisi to na thi from Shama (1961), lyrics Kaifi Azmi, music Ghulam Mohammad

While doing this post I felt like breaking my rule of taking not more than one song from a film,several times. Shama presents the same dilemma. How do you choose between this and Apse pyar hua jata hai or Dhadakte dil ki tamannaon mera pyar ho tum? . There is just no rule to choose one from so many equally beautiful songs.  Do we care that she was untrained in music?

15. Ye kaisi ajab dastan ho gayi hai from Rustam Sohrab (1963), lyrics Qamar Jalalabadi, music Sajjad Hussain

Rustam Sohrab was her last film composed by the maverick and temperamental genius Sajjad Hussain.  He was known for not being able to maintain good relations with anyone in the industry. This also affected his output, but not his quality. And what stunning music he creates with Suraiya in her swan song.  One feels sad just to imagine how much talent was left in her when she decided to withdraw from scene.

A tribute on his death anniversary January 18

If you grew up in the radio era and had an ear for music, Saigal-song-a day was a daily ritual – Radio Ceylon would end their programme of old film songs with a Saigal song every morning at 7.57 AM. So by the time I reached college I had fully soaked in Saigal magic. Later when I came across my first Saigal LP, all its iconic songs from films like Devdas, Street Singer, Chandidas, President etc I knew by heart. Yet the song which kept me spellbound and moved me like never before was a non-film song Jhulna jhulao ri. Soon after a friend lent me a whole cassette of his non-film songs. Its anchor song Main baithi thi in two parts mesmerised me. One after the other a whole new world of non-film songs of Saigal opened before me, some of which sounded quite like his film-songs, some others were very different, but they seemed to reach where his film songs could not.

Later I came to know many of these songs were composed and written by him. Saigal was an immensely talented person beyond his acting and singing for which he had become a legend in his life time. Non-film songs gave him a further avenue of expression of his creative energy beyond the confines of a film scene. When I think of Saigal (as also of Pankaj Mullick), I cannot think of his best without including several of his non-film songs.

Saigal sang only 185 songs (142 in films, 43 non-films) out of which Hindi songs are only 147 (110 films and 37 non-films). Later singers sang in thousands, but he remains the pole star. He was the idol of everyone. Every great singer copied his style in the beginning. The pathos in his voice, sweetness, effortless singing of classical Ragas without any formal training make him an unparalleled genius.  (Sudhir Kapur/Atul have done great service to Saigal lovers by putting all his non-film songs on Atul’s site with lyrics, excellent write-ups and translation of several songs).

Here are my 10 favourite non-film songs of KL Saigal as my tribute on his death anniversary, January 18.

1. Jhulna jhulao ri

This is Saigal’s first recorded song in 1932. Thus it precedes all his known songs, yet I came across this song much later than his famous film songs. And I have become enchanted with this song, set in Raga Asavari, ever since. When he repeats नन्हीं नन्हीं बूंदनियां his voice sounds like powerful plucking of a string instrument like the sitar. Then his aakaar taan towards the end makes you feel it went on forever. Here is Saigal’s earliest song which is unmatched after 80 years.

2. Main baithi thi, lyrics KL Saigal, music KL Saigal

Saigal’s creative urge finds the fullest expression in this song which is not only sung by him, but also written and composed by him. The song is about twice the normal length of a song which reflects his unhurried creation. As a matter of fact, each word and each syllable is pronounced in a deliberate and stretched manner; e.g. when he sings Main baithi thi you imagine a lady sitting in a garden in a pensive mood, when her sakhi comes upon her and asks her what is bothering her. The final stanza gives the profound message that you have to close your external eyes, and look inside you where you would find the one you are seeking.

मैं बैठी थी फुलवारी में
एक सखी आ गयी और बोली
क्या सोच है तुमको बोलो तो, हूं बहन तुम्हारी मुंहबोली
कुछ कह ना सकी मुंह तकत रही, नैनों से चली अंसुवन टोली
चलते चलते वो ही बोल गयी
सखी कौन देस राजे पियरा

वो सुनते ही खामोश हुई और नैन भए बौरान सखी
मैं चाहा उसको चेत करूं था जाने उसको मान सखी
जब होश हुई तब कहने लगी यही था मुझको भी ध्यान सखी
और ये ही मैं कहनेवाली थी
कौन देस राजे पियरा
सखी कौन देस राजे पियरा

कुछ ना समझी क्या कहे सखी, बिन जाने ढूंढ़न चल निकली
जंगल उपवन त्रिभुवन ढूंढ़ा, पर कहीं ना उसकी टेर मिली
आखिर थककर मैं बैठ गई और लगी पूछने कहो कोई
सुंदर छवि जिसकी कहते हैं, वो कौन देस राजे पियरा
सखी कौन देस राजे पियरा

तब मन ने मीठी बात कही, क्यों तूने इतनी बात गढ़ी
घर बैठे ही पा सकती थी, मैं विधि बताऊं वो क्या थी
बाहर के नैना मूंद सखी और नैन हृदय के खोल सखी
अब अपने मुंह से बोल सखी
सखी कौन देस राजे पियरा

3. Suno suno hey Krishna kala

This classic Krishna bhajan belongs to the strand of Bhakti tradition in which the poet imagines himself as a female lover. You find similar form of expression in Sufi tradition, such as songs of Amir Khusro (मैं तो पिया से नैना लड़ा आई रे, आज रंग है etc). The female lover surrenders herself unquestioningly and demands nothing in return. But there are societal mores which cast aspersion on such love. This bhajan depicts the pain and dilemma of such love. Only Saigal could sing with such profound emotion with effortless ease.

सुनो सुनो हे कृष्ण काला
आई तुम्हरे द्वार सुनो मेरी पुकार अब सुन ले बंसीवाला
सुनो सुनो हे कृष्ण काला
तुम जानते हुए जो ना जानो नाथ, अब का से कहूं दुःख सारा
सुनो सुनो हे कृष्ण काला

मेरे पाँव तो हों और मैं आ ना सकूं, हूं अधीन मैं हे दीनानाथ
जो मैं छल से आऊं, कहूं जल ले आऊं तो लोग करें बदनाम
जैसी जो चाहे बात उड़ाए, बात उड़ाए जैसी जो चाहे बात उड़ाए
कहे राधा जी मोहे कलंकिनी
राधा जी मोहे कलंकिनी तोसे चोरी जो मिलने आऊं
जैसी जो चाहे बात उड़ाए
मैं तो बोल सकूं मुंह ना खोल सकूं प्रभु जब ही तो अबला नाम
मोरा जीवन जाए ना दरस दिखाए, ना दिखाए दरस घनश्याम
ना दिखाए दरस, मोपे देखो सखी नाही खाये तरस
मोरे मन की रही मन में हाय
हाय मोरे नैनन ने देखा नहीं अभी श्याम

अबला का दुःख हे दीनानाथ मन का रहे है मन में
चण्डीदास कहे सखी हे
चण्डीदास कहे जिस तन लगे वही तन ये दुखड़ा जाने
वही तन ये दुखड़ा जाने

4. Hori ho Brajraj dulare

I have heard several Holi songs in the light classical Kafi Raga. In the folk tradition, Holi songs border on frivolity and stretch the boundaries of decency. Saigal lifts it to a higher plane and conveys a profound feeling of bliss while sticking to the purity of Kafi.

5. Jin jao ri gori paniya bharan

Saigal has sung a couple of more Holi’s in Kafi. Kafi is relegated to light classical genre and you do not normally hear it in classical concerts. Nevertheless for a lay listener it is an extremely delightful Raga. This is a traditional composition advising the gori (or gopi) not to go to the well for filling her pitcher because naughty Krishna would drench her in colours. Again Saigal gives his own interpretation to this Kafi and sings in a somewhat sombre style which creates a very profound impact.

6. Kaun bujhave tapat more man ki

This is Saigal’s forte – conveying deep pathos with his heavenly voice. You are reminded of Tadpat beete din rain from the film Chandidas.

7. Panchhi kahe hot udas, lyrics Kidar Sharma, music Pankaj Mullick

Saigal again at his best at pathos.

8. Duniya mein hun duniya ka talabgaar nahi hun, lyrics Seemab Akbarabadi, music KL Saigal

Saigal was the original ghazal king. Later stalwarts like Talat Mahmood, Mehadi Hasan have acknowledged their inspiration from him. When he sings ghazals you get an entirely different feeling from his classical or semi-classical songs an bhajans. A blasé detachment from this world in which the poet admits he lives, but proclaims he does not seek anything from it; and further he is passing by the bazaar but does not care for its goodies – this feeling is beautifully expressed by Saigal. Different sites mention variously Akbar Alahabadi and Seemab Akbarabadi as its lyricist. Saigal’s official website mentions the former as its lyricist. But confirmation from various authentic sources indicate the lyricist is Seemab Akbarabadi (Please see the string of comments at the end of the post).

9. Phir mujhe deed-e-tar yaad aya, lyrics Ghalib

Saigal almost worshipped Ghalib, and this shows in his loving rendition of his ghazals both in films and non-films. Readers would be more familiar with Talat Mahmood’s later rendition in the film Mirza Ghalib (1954). But the original Saigal version is a class apart.

10. Layi hayat aye kaza le chali chale, lyrics Zauq

Zauq was a contemporary of Ghalib and another great Urdu poet of the earliest era. This ghazal has such profound poetry – Life brought me here, death will take me away and I would leave.  I neither came of my free will nor I would leave on my will. Saigal gives perfect expression to the underlying philosophy and emotions.

Double tribute on their birth anniversaries

Mohammad Rafi’s birth anniversary falls on December 24 (b 1924) and Naushad’s on December 25 (b 1919). This close proximity also extended to their music. Rafi was to playback singing what Naushad was to music composing – both at the commanding heights of their profession for over two decades. Their collaboration produced some of the best and most memorable music of the Golden Era.

Both had childhood passion for music. But Naushad’s father regarded his passion as decadent and wasteful, which forced him to flee home in Lucknow and finally reach Bombay. Rafi’s family on the other hand was supportive. His talent was recognised very early. There is a story that at a music concert in Lahore, his idol KL Saigal was to perform. Suddenly lights went out causing a lot of chaos. Then a 13-year old Rafi was called upon the stage to bring order by his singing. His family shifted to Bombay, Mecca of all dreams for someone like Rafi.

Naushad was by now an established composer. Rafi’s first break was by Pandit Shyam Sundar, but soon after, his association with Naushad started. He also got a chance to sing with his idol Saigal as a voice in chorus in the song Roohi meri roohi (from film Shanjehan); coincidentally the music director was Naushad. Rafi’s solo Suhani raat dhal chuki which first marked him as one of the top singers was composed by Naushad. It was Naushad again who with Baiju Bawra established Rafi as the topmost playback singer.

Rafi was a singer of enormous talents. He could sing for Dilip Kumar and he could sing for Johnny Walker, he could sing for Guru Dutt and he could sing for Shammi Kapoor – and his voice would become one with the actor on the screen. He could sing a qawwali, he could sing bhajans, he could sing soulful, romantic songs and he could sing rock and roll, breezy and comic songs. His talent could not remain confined to just the classicism of Naushad. Many talented composers such as OP Nayyar, SD Burman, Shankar Jaikishan, Roshan, Ravi and numerous others gave their the best with Rafi and presented him in myriad colours. There would always be different views on who gave best Rafi songs. But Naushad – Rafi combination has a unique place and is my special favourite.

Here is my selection of best of Naushad – Rafi as my double tribute to the two legends on their birth anniversaries (Rafi passed away on July 31, 1980 and Naushad on May 5, 2006).

1. Suhani raat dhal chuki from Dulai (1949), lyrics Shakeel Badayuni

There were several hit songs of Rafi before this, both solos and some duets in Sajan, Nadiya Ke Paar and Jugnu. But to my mind this was the first song that hinted here was a singer who was destined to reach great heights. Picturised on yesteryear’s actor Suresh, this early song in his career remains one of the greatest and eternal songs.

2.  Hue hum jinke liye barbaad from Deedar (1951), lyrics Shakeel Badayuni

Naushad had great success with Mukesh and Talat Mahmood for Dilip Kumar, but surprisingly he did not repeat them and now settled for Rafi as the voice for Dilip Kumar. Under Naushad, Rafi gave several immortal songs in a number of films. This song from Deedar picturised on Dilip Kumar playing the harmonium in the street again has a peculiar sadness so characteristic of him during this period. Shakeel Badayuni has now become the main lyricist for Naushad replacing Majrooh Sultanpuri.

3.  O duniya ke rakhwale from Baiju Bawra (1952), lyrics Shakeel Badayuni

Baiju Bawra is a great Naushad landmark. Long back Rattan had established his mastery over the folk, this film marked him as the best for composing songs on classical Ragas. Rafi’s singing is divine, every stanza is sung in a different tune. He shows amazing control over high pitch. One of the greatest not only of Rafi but the Golden Era.

4.  Tasweer banata hun teri khoone jigar se from Deewana (1952), lyrics Shakeel Badayuni

A great song need not be picturised on a great actor. I reckon this song in the same class as Talat Mahmood’s non-film song Tasweer teri dil mera bahla na sakegi. Here Suresh is drawing a portrait of his beloved while singing this song which has incredibly beautiful lyrics:

तस्वीर बनाता हूं तेरी खूने जिगर से अरे खूने जिगर से
देखा है तुझे मैंने मोहब्बत की नज़र से अरे मोहब्बत की नज़र से

जितने भी मिले रंग वो सब भर दिये तुझमें हाये भर दिये तुझमें
एक रंग-ए-वफा और है लाऊं मैं किधर से अरे लाऊं मैं किधर से

सावन तेरी ज़ुल्फों से घटा मांग के लाया हाये मांग के लाया
बिजली ने चुरायी है तड़प तेरी नज़र से अरे तेरी नज़र से

मैं दिल में बुलाकर तुझे रुखसत ना करूंगा हाये रुखसत ना करूंगा
मुश्किल है तेरा लौट के जाना मेरे घर से अरे जाना मेरे घर से

5.  Aye na balam wada kar ke from Shabab (1954), lyrics Shakeel Badayuni

Naushad, Shakeel Badayun and Rafi again create this masterpiece on classical Raga for Bharat Bhushan.

6.  O door ke musafir humko bhi saath le le from Udan Khatola (1955), lyrics Shakeel Badayuni

One of the lasting memories of this song is when I was travelling in a city bus several years ago. An itinerant mendicant entered and started the alaap style  Chale aaj tum jahan se and flowing into O door ke musafir in perfect tune. The effect was mesmerising.  One of my greatest Naushad – Rafi favourites.

7.  Dhal chuki sham-e-gham from Kohinoor (1960), lyrics Shakeel Badayuni

What is most enchanting about this song? Kumkum’s dance or Dilip Kumar’s playing the sitar, Rafi’s beautifully modulating voice or Naushad’s music or picturisation of the court celebration? Everything about this song is just perfect. One of my later discoveries, but now my great favourite.

8.  Mere mehboob tujhe meri mohabbat ki kasam from Mere Mehboob (1963), lyrics Shakeel Badayuni

Rafi’s greatness you see in nazms which is more of a recital without much musical accompaniment. This is one of the best in this genre so what if it is picturised on Rajendra Kumar.

9.  Dil ki mehfil hai saji hai chale ayiye from Saaz Aur Awaz (1966), lyrics Khumar Barabankvi

At last we are getting a lyricist other than Shakeel Badayuni. Khumar Barabankvi was a renowned Urdu poet. Though small in number he has given some outstanding songs for films. And Joy Mukherjee? If you thought he had good songs only by OP Nayyar or Shankar Jaikishan, Naushad gives his own touch and creates an unforgettable masterpiece.

10.  Ishq diwana husn bhi ghayal from Sangharsh (1968), lyrics Shakeel Badayuni

I started with one of the Naushad-Rafi’s earliest.  Now I end with their last great song.   By 1968 Naushad’s best was over, soon the Golden Era era would irretrievably give way to RD Burman–Kishore Kumar style of music.  Befittingly it is picturised on Dilip Kumar, Vyjayantimala being the heroine with whom he had a number of stupendous successes including Naya Daur and Ganga Jamna.  This song has all the old world charm of Naushad–Rafi style.

I have come to the end of my best ten Naushad–Rafi songs. Then I came across this beautiful video on YouTube where Naushad describes his recording of Rafi’s last ghazal with him for an unreleased film Habba Khatoon.  Naushad in his elegant style describes how Rafi was on verge of tears at the kind of songs he was made to sing.  This video is a befitting tribute to the two legends.