tag:blogger.com,1999:blog-23729376926972410802024-02-19T10:04:36.752-08:00Jay's world of MusicDedicated to music lovers in general and to those who love old Hindi and Malayalam film songs, old radios, gramophones, gramophone records etc, in particular.JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.comBlogger103125tag:blogger.com,1999:blog-2372937692697241080.post-47529914853893025792020-06-03T23:43:00.004-07:002020-06-04T05:21:36.480-07:00ABOUT A FEW MORE OF HIS SONGS<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="color: #1f497d; font-size: 12pt; line-height: 115%;">I
am giving below a link to one of my old posts
on this site .The post was about Music Director O. P. Nayyar and his
penchant for rhythm and Tonga beats. I wrote based mainly on the gramophone
records in my possession and on my experience of listening to his songs on the
radio in my younger days.</span></b><br />
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<a href="https://jaysworldofmusic.blogspot.com/2009/06/o-p-nayyar-master-of-rythm.html">https://jaysworldofmusic.blo</a><a href="https://jaysworldofmusic.blogspot.com/2009/06/o-p-nayyar-master-of-rythm.html">gspot.com/2009/06/o-p-nayyar-master-of-rythm.html</a></div>
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<b><span style="color: #1f497d; font-size: 12pt; line-height: 115%;">I
was searching for old Hindi film songs, for a program I am handling on a local
FM Station. My search was mainly about
old Hindi film songs with thematic content like tonga songs, train songs, songs
picturised in motor cars, songs in Piano playing scenes,boatsongs, </span></b><b><span style="color: #1f497d; font-size: 12pt; line-height: 115%;">Jewellary(Jhumka) songs, songs with whistling
and so on. It was then that I came ocross, once again, a few O.P Nayyar
gems which had faded from my memory over the years. The songs are a Tonga beat song, a train song, a whistling song and a song in
a motor car scene.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKQK9HWKbF10YLAfw1CWTK9YsBilbTxOVPnHdxCJvZjDgE8WM8bMQEBN6i18OWCBykyi_0pXIzDctjxcw4m1VCRyP2tmjE1LitJnVxZDBRXFd1iFMQ-NzaKgNl9X62OQRxZP0ZLqHaiuRo/s1600/Do+dilon+ki+daastan.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKQK9HWKbF10YLAfw1CWTK9YsBilbTxOVPnHdxCJvZjDgE8WM8bMQEBN6i18OWCBykyi_0pXIzDctjxcw4m1VCRyP2tmjE1LitJnVxZDBRXFd1iFMQ-NzaKgNl9X62OQRxZP0ZLqHaiuRo/s200/Do+dilon+ki+daastan.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFJz1tZXcoPv5LFip1Nmd3iWOv_HI6BkdBz1otg1Skt24Cs3SVHLMSgJpMM_Lmb2D1ekgziCJF2H1N19ON39VIZ15U_H8yjsg3AyroVa7nlVh6FO-xD3YhMAP_FAh_nhSN5yd-edg3yXBk/s1600/dodilon++b%2526w.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="150" data-original-width="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFJz1tZXcoPv5LFip1Nmd3iWOv_HI6BkdBz1otg1Skt24Cs3SVHLMSgJpMM_Lmb2D1ekgziCJF2H1N19ON39VIZ15U_H8yjsg3AyroVa7nlVh6FO-xD3YhMAP_FAh_nhSN5yd-edg3yXBk/s1600/dodilon++b%2526w.jpg" /></a><b><span style="color: #1f497d; font-size: 12pt; line-height: 115%;"><br /></span></b></div>
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<b><span style="color: #1f497d; font-size: 12pt; line-height: 115%;">The
tonga beat song is from a 1966 film DO DILON KI DAASTAN with Pradeep Kumar, Vijayanthimala
and Rehman in lead roles. The song is , ‘Aji pehli mulaqat’, <span> </span>a duet by Asha Bhosle and Muhammed Rafi. I
wonder how I missed this song in my earlier post about O P Nayyar. The film was
directed by Pradeep Kumar himself. Not much information about this film<span> </span>is readily available . But the song has the
unmistakable stamp of OPN with the rhythm and tonga beats standing out
prominently; <span> </span>Rafi and Asha Bhosle, as
usual,at their best. <o:p></o:p></span></b></div>
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<a href="https://www.youtube.com/watch?v=N-pYAApK_tk">https://www.youtube.com/watch?v=N-pYAApK_tk</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirtagXYYmx38ChPTgpwMPUika5EZPM2Wv6wspSTnQcxKDEjc6QEBpuSUmMgOKYm8KSFNls2KtOvS3X5-mDMgnzAXOOG5McJe_ify7Nb8EVnozSCcYmFaWfJ7yOkRC29z5eRD-U_ktGH_U4/s1600/Kalpana+poster.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="270" data-original-width="186" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirtagXYYmx38ChPTgpwMPUika5EZPM2Wv6wspSTnQcxKDEjc6QEBpuSUmMgOKYm8KSFNls2KtOvS3X5-mDMgnzAXOOG5McJe_ify7Nb8EVnozSCcYmFaWfJ7yOkRC29z5eRD-U_ktGH_U4/s200/Kalpana+poster.jpg" width="137" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3ixI6bFGZBbbeHLq6YUbfy8qIFq6-Qarq1OxLlTwfQnb-Cus8N4z-U8jXWBsrq3fzlLuRYGVQvh1WoacFyovDaNpRyi6I-mS3RUyBifkAUEqbUoWPXau5Aw-Q-NL4AInyL73z7kpXbUxx/s1600/Kalpana+1.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="198" data-original-width="256" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3ixI6bFGZBbbeHLq6YUbfy8qIFq6-Qarq1OxLlTwfQnb-Cus8N4z-U8jXWBsrq3fzlLuRYGVQvh1WoacFyovDaNpRyi6I-mS3RUyBifkAUEqbUoWPXau5Aw-Q-NL4AInyL73z7kpXbUxx/s200/Kalpana+1.jpg" width="200" /></a><b><span style="color: #1f497d; font-size: 12pt; line-height: 115%;">The
train song of O P Nayyar is from the 1960 film KALPANA,<span> </span>an<span>
</span>Asok Kumar, Padmini, Ragini starrer. While there are several train songs
from S.D. Burman, R D Burman, Laxmikant Pyarelal etc, I could find only two
train songs of OP Nayyar, one, the famous<span>
</span>“Badal Jaaye Agar Mali”<span> </span>from film
Baharen Phir Bhi Aayengi and the other ‘ Humko samajh’ from KALPANA. This <span> </span>song is rhythmic as usual for an OPN song. But
what differentiates this song from other OPN songs is its simplicity and
softness. Asha Bhosle’s voice and singing gel with the mood of the situation.
The dance movements of Ragini in the limited space in the train cabin also make
the song enjoyable.<o:p></o:p></span></b></div>
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<a href="https://www.youtube.com/watch?v=_L9itxIYJso">https://www.youtube.com/watch?v=_L9itxIYJso</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUR5DUHHuD_ybI_yVSmTypO9J1oOyKbBSnriNx_3QwpVYm3YZJaop6HJGWgqTpGKqgLRhS0nYwtMt1jr3WFKTfecUvLxSHDPG_-I6Ckus7et-60lGzDSE4CoLanBOSc-n8m7CpbclvBy-Q/s1600/K+KI+KALI+2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="338" data-original-width="336" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUR5DUHHuD_ybI_yVSmTypO9J1oOyKbBSnriNx_3QwpVYm3YZJaop6HJGWgqTpGKqgLRhS0nYwtMt1jr3WFKTfecUvLxSHDPG_-I6Ckus7et-60lGzDSE4CoLanBOSc-n8m7CpbclvBy-Q/s200/K+KI+KALI+2.jpg" width="198" /></a><b><span style="color: #1f497d; font-size: 12pt; line-height: 115%;"><br /></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMoWsOUhWwiDaZhKGc0nfjVSUDM-whVNC2xhTmvRUOA0cIp-C-fu0ZrlaxRp60Rw3l2W5V_5aCsDkZGgU-IwSwzQshyphenhyphenynPbmQcY3SzXWy7s0q2c5Q4cccJO2sPZ2bZtGzxGCwje0C_-kd3/s1600/K+ki+Kali.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="336" data-original-width="336" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMoWsOUhWwiDaZhKGc0nfjVSUDM-whVNC2xhTmvRUOA0cIp-C-fu0ZrlaxRp60Rw3l2W5V_5aCsDkZGgU-IwSwzQshyphenhyphenynPbmQcY3SzXWy7s0q2c5Q4cccJO2sPZ2bZtGzxGCwje0C_-kd3/s200/K+ki+Kali.jpg" width="200" /></a><b><span style="color: #1f497d; font-size: 12pt; line-height: 115%;">It
was an<span> </span>oft-repeated feature those days
to shoot romantic songs in a motor car with the lead pair travelling in the
car<span> </span>singing to their hearts’ content. It
also gives scope for showing beautiful outdoor<span>
</span>locations .This is one such song from the 1964 film KASHMIR KI KALI, a
Shammi Kapur<span> </span>Sharmila Tagore starrer,
though in this scene only the hero is seen driving an old white Studebaker car
singing this OPN number and playing the Mouth Organ during interludes. OPN’s
rhythm, beautiful outdoor scenes, the mouth organ and Rafi’s<span> </span>singing to the antics of Shammi Kapur make
the song an audio visual delight. The words<span>
</span>“dil lagana padega” at the end of each stanza and the short beat along
with it fascinate me even now and I could repeatedly listen to the song just to
hear these words!<o:p></o:p></span></b></div>
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<a href="https://www.youtube.com/watch?v=LTCshRCT-6I">https://www.youtube.com/watch?v=LTCshRCT-6I</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvjeMKcAk6zjUBGIrJOEuuR29owx2JnPqnVwQw5ZocePtdjlJCG9WFDFy6p_cxi92-Lb8VkM2LcoKrZ3_PkaffWYDVvSWvA6LEtZa4mntv2NYwXCAvdYAHwBy3cZZkPqr6OVBzsoZilfjh/s1600/Basant+1960.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="244" data-original-width="206" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvjeMKcAk6zjUBGIrJOEuuR29owx2JnPqnVwQw5ZocePtdjlJCG9WFDFy6p_cxi92-Lb8VkM2LcoKrZ3_PkaffWYDVvSWvA6LEtZa4mntv2NYwXCAvdYAHwBy3cZZkPqr6OVBzsoZilfjh/s200/Basant+1960.jpg" width="168" /></a><b><span style="color: #1f497d; font-size: 12pt; line-height: 115%;">Songs
accompanied by/with whistling have been very popular even in recent films. O P
Nayyar used to be a master in “whitsle songs” just as he was known for Tonga
beat songs. In fact his many Tonga beat songs were a mixture of<span> </span>Tonga beats and Whistling. The<span> </span>‘Jara haule haule chalo’ song of film Sawan
ki Ghata,<span> </span>the ‘Dil par hua aisa jadoo’
song from film Mr. And Mrs. 55 and the ‘Kya kar daala tu ne’ from film Howrah
Bridge are examples. But there is a ‘not much heard of’ pure whistling song in
the 1960 <span> </span>Shammi Kapur /Nutan film
BASANT. The duet written<span> </span>by Qamar
Jalalabadi and sung by Asha Bhosle and Rafi is again an audio visual treat in
black and white. The simplicity of the<span>
</span>tune, the soft rhythm and beat, the breezy singing and the presence of
the graceful Nutan and the subdued yet youthful Shammi Kapur<span> </span>make the song different.<span> </span>Alas! The film and the song did not get the
popular support it richly deserved. The song just faded out whistling all the way.<o:p></o:p></span></b></div>
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JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com0tag:blogger.com,1999:blog-2372937692697241080.post-49544919530188585932020-02-22T02:44:00.000-08:002020-02-22T02:44:16.813-08:00GRAMOPHONE MUSEUM OF MUHAMMED SHAFI<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3eYa4va3Fr6V_187GxdSaliL2lKpHRwBD8WT9hSwQ8LRluVr2kQ2XLZpwFTp1FT7cwVsCoti2mFQU6gNyQorIX1pI_-dZATX72oxbWSw5md8ocdBz7_C6ViOYpmt1PFgkmUmCP7muK9j3/s1600/20200207_131806+GM6.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3eYa4va3Fr6V_187GxdSaliL2lKpHRwBD8WT9hSwQ8LRluVr2kQ2XLZpwFTp1FT7cwVsCoti2mFQU6gNyQorIX1pI_-dZATX72oxbWSw5md8ocdBz7_C6ViOYpmt1PFgkmUmCP7muK9j3/s200/20200207_131806+GM6.jpg" width="143" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib4VNSxbleHejJB_uPn4D8r0zlrmotJyMlL9giRmGnF84bUc218l-tWCGGA0CrnKVsnJgmTS5otLE83T3RnhUH2LuOqpW_809W3rCx7LlwlQQLgyl3D6FP-lIl5FyHFs-N_AVUSrz5XPjz/s1600/20200208_074045+Gm+Build.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib4VNSxbleHejJB_uPn4D8r0zlrmotJyMlL9giRmGnF84bUc218l-tWCGGA0CrnKVsnJgmTS5otLE83T3RnhUH2LuOqpW_809W3rCx7LlwlQQLgyl3D6FP-lIl5FyHFs-N_AVUSrz5XPjz/s200/20200208_074045+Gm+Build.jpg" width="150" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhth0jspJqg6pvxDkePtcXx9YMMhN3u9nrvACGJ3mCMlW2ZsmJeYRLxfUsxIRO-wWpBSbRfuyy33Vfc8PZ1aF6LWe_jRXXovU2Xa64SMTa3PxakGQ-iQopemA7yx0JxghnXxfOfXKYpBx5G/s1600/IMG-20200109-WA0029+GM8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhth0jspJqg6pvxDkePtcXx9YMMhN3u9nrvACGJ3mCMlW2ZsmJeYRLxfUsxIRO-wWpBSbRfuyy33Vfc8PZ1aF6LWe_jRXXovU2Xa64SMTa3PxakGQ-iQopemA7yx0JxghnXxfOfXKYpBx5G/s200/IMG-20200109-WA0029+GM8.jpg" width="130" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #0070c0; font-family: "bahnschrift semibold" , "sans-serif"; font-size: 14.0pt; line-height: 115%;">About 8 years back, on the 28<sup>th</sup> January 2012 to be
exact, I had posted about</span></b><br />
<b><span style="color: #0070c0; font-family: "bahnschrift semibold" , "sans-serif"; font-size: 14.0pt; line-height: 115%;">Sri Muhammed Shafi, The Gramophone Man, a collector,
seller, and service technician of old Gramophones, Valve Radios, Gramophone
records and other musical antiques. For your ready reference this is the link
to that post.</span></b></div>
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<a href="http://jaysworldofmusic.blogspot.com/2012/01/mohammed-shafi-gramophone-man.html">http://jaysworldofmusic.blogspot.com/2012/01/mohammed-shafi-gramophone-man.html</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtjesPCEFbm0E5n9C5yOqPpEIgYLxf1x3qvFHCOf5dm86r52Tle9Ma3KAHSqqPYTYMsZlBDz_Q2WaPYvYdGh5X3RrdQ_OPWtXNpTJNX7DFtAahkw6Cit2x08Jr1l96_4kgjJVqlMk25o5f/s1600/20200207_130720+GM4.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtjesPCEFbm0E5n9C5yOqPpEIgYLxf1x3qvFHCOf5dm86r52Tle9Ma3KAHSqqPYTYMsZlBDz_Q2WaPYvYdGh5X3RrdQ_OPWtXNpTJNX7DFtAahkw6Cit2x08Jr1l96_4kgjJVqlMk25o5f/s200/20200207_130720+GM4.jpg" width="200" /></a></div>
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<span style="color: #0070c0; font-family: "bahnschrift semibold" , sans-serif;"><span style="font-size: 18.6667px;"><b>My blog page has been inactive for quite sometime </b></span></span><b><span style="color: #0070c0; font-size: 14.0pt; line-height: 115%;">since my 101<sup>st</sup> post ,i.e., on Music director Madan Mohan. What
revived my interest in blogging and brought me back to pounding the keyboard of
my laptop is a recent happy event when Sri Muhammed Shafi enhaced his stature
to that of a Preserver and a Reference Centre for antique musical devices. Sri
Muhammed Shafi has on the 26<sup>th</sup> January 2020 opened his GRAMOPHONE
MUSEUM AND RESEARCH CENTRE at Lakkidi in Wayanad district of Kerala, a
picturesque hill station and tourist centre.The museum is situated near the
well known tourist spot, THE POOKODE LAKE.
His laudable effort is to bring under one roof all his rare collections of the last 25years
and to preserve them for posterity and
to kindle the interest, especially of the young generation, about our glorious
musical past. What sets this museum apart is the fact that it is probably THE ONLY LIVING MUSEUM OF OUR TIME in the sense that all the devices on display are alive and in perfect working condition. Kudos to Sri Shafi for his tremendous efforts to maintain them as they are now. The dynamism these devices impart and the sheer pleasure of witnessing their performance are unbelievable and a lifetime experience.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWkh3OSGCAUE6HnLxY43rqQ7wALFtKfUo6FZJKmSgLbnqfc_5Rh8FLL5Cc-qtfSRhbrHf_sDtiKYY3G7NPH6EWScFuimGwA0V8K1T7CrHrET9t-pv2lJzh9yh3LeGwveXH4OlsdA7rkO1X/s1600/20200207_130453+gm2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWkh3OSGCAUE6HnLxY43rqQ7wALFtKfUo6FZJKmSgLbnqfc_5Rh8FLL5Cc-qtfSRhbrHf_sDtiKYY3G7NPH6EWScFuimGwA0V8K1T7CrHrET9t-pv2lJzh9yh3LeGwveXH4OlsdA7rkO1X/s200/20200207_130453+gm2.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM7Rx2WLH5Y7kvp9ETYlaYexnfHACI2FWOqirFVn3YOEfLLviv7ibRU7zBkrJBJYNoQaYogOETxJ8ApPYtVgn2Mgpt31hEFdtwHxojjdYZbYoRYZBcwSfA8gZBSOJHko0k9RtRwnapCTVO/s1600/20200207_131005++GM3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM7Rx2WLH5Y7kvp9ETYlaYexnfHACI2FWOqirFVn3YOEfLLviv7ibRU7zBkrJBJYNoQaYogOETxJ8ApPYtVgn2Mgpt31hEFdtwHxojjdYZbYoRYZBcwSfA8gZBSOJHko0k9RtRwnapCTVO/s200/20200207_131005++GM3.jpg" width="200" /></a><b><span style="color: #0070c0; font-size: 14.0pt; line-height: 115%;"> He has been working on this project for the
last four years using all the resources with him by purchasing a small plot of
land and constructing a two level building to display his wonderful awe
inspiring collection of antiques. This is the second of such museums in Kerala, the first being the DISCS AND
MACHINES museum at Plasenal,Pala, in Kottayam district of Kerala. This is owned by Sri Sunny Mathew, a well
known personality in the field.<o:p></o:p></span></b></div>
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Muhammed Shafi’s efforts and had seen his collections during the last 20 years, what I saw at the Museum was really mind blowing. A wonderful array of
old valve radios of all brands including the Marconi, G.E.C, Grundig, Philips,
and the favourite of our campus days , National-Echo are there in all their glory in perfect
working condition. Gramophones of all ages
and varieties, hand wound as well as power operated , are there to see
and wonder. The Micky Phone, The Symphonian, The Gypsy Phone, The Sound Box ,
the foot pedal Harmonium, Radiograms,
The Magic Lamp and the ancient Fan working on kerosene are there to see. A huge
collection of gramophone records also vets the appetite of enthusiasts. Yes,
this museum is going to be an important and must visit spot in the tourist map
of the state.<o:p></o:p></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC63ciUPi_xtkN_a76QWD5I5Iv706iS_FrBtxiYiP7skWM-kjOz0g4tRdd6VHkgO52SVZdaNGPNoWd0N1kxu6TwWM_2j6Pt7LyIj3ZwQy8GbkDJ__DgBeiJrQTurvWcO28I8_auaRmuA-w/s1600/20200207_130453+gm2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEias1ZceE8HO_bRiUh9HaIVi0MAsvmJDTvEYMnrPI8jEJGiBnPdxRdStjs6BkJv0YRaS1CDMUfBp0vYJasdPu7O_6-J5lYPKZY5Wkc7YNrAFzfW0Dp40-xTpyGFhR8H8re_9U3NDBepqFFG/s1600/20200207_133318+GM7.jpg" imageanchor="1" style="clear: right; display: inline !important; margin-bottom: 1em; margin-left: 1em;"><b style="text-align: left;"><span style="color: #0070c0; font-size: 14.0pt; line-height: 115%;">I am uploading a few
photographs taken by me during my visit to the museum. Myself and my wife had a
wonderful day at the Museum sharing
musical experiences with Sri
Shafi and a few of the like minded visiting music enthusiasts . We could also spend time at the Pookode Lake and enjoy the beauty of nature at Wynad. We
returned with everlasting memories after spending the night at the guest room
of the Museum</span></b></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAI_GZmp2KLAFDr391Z5mg5yzxeFxtQ5VhiSOkG2OVbV8q9knFdnJUDGE3cmt8eI9Rdf3is8ji2GNqYth7c2A4eFNS2dyxPJv3wMHxKS3qdSm5P0uujjs1Ngu-TUBlNOKufXu7NSYAZFa_/s1600/IMG-20200207-WA0012++gm11.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAI_GZmp2KLAFDr391Z5mg5yzxeFxtQ5VhiSOkG2OVbV8q9knFdnJUDGE3cmt8eI9Rdf3is8ji2GNqYth7c2A4eFNS2dyxPJv3wMHxKS3qdSm5P0uujjs1Ngu-TUBlNOKufXu7NSYAZFa_/s320/IMG-20200207-WA0012++gm11.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pookode Lake</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbr61-Vir650h4x5x4-mjCDQWLMMJBm5vfbFbyR7L5Nc3S7Y8uD-AYuw0Ihdumus2xTbu5XFDpCEUOIwZJDR-_vfPBJ_FDwSx8fhsgmgudwwdECQHpo3jqIJmR_3N9FfJHS9TOYFhMSok0/s1600/gm+10.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbr61-Vir650h4x5x4-mjCDQWLMMJBm5vfbFbyR7L5Nc3S7Y8uD-AYuw0Ihdumus2xTbu5XFDpCEUOIwZJDR-_vfPBJ_FDwSx8fhsgmgudwwdECQHpo3jqIJmR_3N9FfJHS9TOYFhMSok0/s200/gm+10.jpg" width="171" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Shafi with his wonderful Radiogram</td></tr>
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JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com1tag:blogger.com,1999:blog-2372937692697241080.post-6423237155690029482015-02-15T21:39:00.002-08:002015-02-15T22:15:37.727-08:00MUSIC DIRECTOR MADAN MOHAN, HIS MELODIES, HIS GHAZALS.<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjghC_5eElcsFiW2pn12Gtm2986nEZBMu-kaAZXlq10VhcEnj5VdLCAWHqN2vH5nQ3vqas4m0No-cTyUxy5tcjIh9LytC46u0vMqEEijqIY0Pq8xR5UKPprvlYzwFY3hVHAAitPqaM6DgQp/s1600/Blog+Madan+portrait.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjghC_5eElcsFiW2pn12Gtm2986nEZBMu-kaAZXlq10VhcEnj5VdLCAWHqN2vH5nQ3vqas4m0No-cTyUxy5tcjIh9LytC46u0vMqEEijqIY0Pq8xR5UKPprvlYzwFY3hVHAAitPqaM6DgQp/s1600/Blog+Madan+portrait.JPG" height="320" width="199" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiMHyLlVyBXmWiWo2BIv71TL3SGH58VOZp-FQEiBvu2N41J2ZDkP6DZW1r-LQ5ZbzlqZJb1rqfWPrr8UIPE2luQ1-fqj2NaSnm7YtGdeQXevOx-sPUbC4BhbdydU0Q93IddxBf_rc8yZLF/s1600/Blog+Madan+Veer+Zaara.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiMHyLlVyBXmWiWo2BIv71TL3SGH58VOZp-FQEiBvu2N41J2ZDkP6DZW1r-LQ5ZbzlqZJb1rqfWPrr8UIPE2luQ1-fqj2NaSnm7YtGdeQXevOx-sPUbC4BhbdydU0Q93IddxBf_rc8yZLF/s1600/Blog+Madan+Veer+Zaara.JPG" height="66" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOFGuxU8Zze2842LjCUUY_YypcIZQQQkB5U44QuleAGWic4UMVJMYcXuxd5Ku-GZUAQ3N2Cz3k2o8B7uWK7Fb-bHfqwyeIJGia76GIFux08lJVTOCfTqyc3dB5FWxx_omALT7ej6vpoAy8/s1600/Blog+Madan+madhosh.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOFGuxU8Zze2842LjCUUY_YypcIZQQQkB5U44QuleAGWic4UMVJMYcXuxd5Ku-GZUAQ3N2Cz3k2o8B7uWK7Fb-bHfqwyeIJGia76GIFux08lJVTOCfTqyc3dB5FWxx_omALT7ej6vpoAy8/s1600/Blog+Madan+madhosh.JPG" height="145" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #1f497d; font-size: 12.0pt; line-height: 115%; mso-themecolor: text2;">When
one thinks of old melodies, especially haunting melodies and ghazals of Hindi
films one name that always come up top in the mind is that of the highly
talented music director the late Madan Mohan (1924 – 1975).His career in Hindi
film music, <span style="mso-spacerun: yes;"> </span>beginning with the 1950 film
Ankhen , to the haunting melodies of film ‘Woh kaun thi’(1964), <span style="mso-spacerun: yes;"> </span>through his<span style="mso-spacerun: yes;">
</span>National Award winning music in film Dastak(1970), to the much acclaimed
music of ‘Mausam (1974) and to the films released posthumously including the
IIFF Award winning music of<span style="mso-spacerun: yes;"> </span>‘Veer –
Zaara’, had been a musical journey in the pursuit of <span style="mso-spacerun: yes;"> </span>excellence <span style="mso-spacerun: yes;"> </span>firmly rooted in Indian classical music where
no compromises with quality were allowed. <span style="mso-spacerun: yes;"> </span>There were innumerable films for which he had
composed music in which the Madan Mohan stamp was always there even in those
films which did not do well in<span style="mso-spacerun: yes;"> </span>the box
office.</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEejUJLZMG4pfkR2Etar34kjqve4nthYv241jm7p-1399azoIqP_aeDg3QHzQ34t4HUYJVo42Q-wzBzt7rknZXmorv7cf12fI5sQql0-Z0E4KWegtrHY12ZP2mM3DwFY5ctl4jBxvuvAhH/s1600/Blog+Madan+Dekh+kabira.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEejUJLZMG4pfkR2Etar34kjqve4nthYv241jm7p-1399azoIqP_aeDg3QHzQ34t4HUYJVo42Q-wzBzt7rknZXmorv7cf12fI5sQql0-Z0E4KWegtrHY12ZP2mM3DwFY5ctl4jBxvuvAhH/s1600/Blog+Madan+Dekh+kabira.JPG" height="200" width="186" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPoWM1eyjifav0FUlCm3Z4F9omN85GKpH8BZkiFW3T3Ay9ovSX9yrCcWESVxFdZbOcOKC1y1IXSxciFjoCaCZ7Z5_hr6wVo-2mnjS1d448oyamkb4fZ2kPPBEeZMSZUXG9Bm_ni4oAg07n/s1600/Blog+Madan+photos.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPoWM1eyjifav0FUlCm3Z4F9omN85GKpH8BZkiFW3T3Ay9ovSX9yrCcWESVxFdZbOcOKC1y1IXSxciFjoCaCZ7Z5_hr6wVo-2mnjS1d448oyamkb4fZ2kPPBEeZMSZUXG9Bm_ni4oAg07n/s1600/Blog+Madan+photos.JPG" height="200" width="190" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #1f497d; font-size: 12.0pt; line-height: 115%; mso-themecolor: text2;">One
notable feature of Madan Mohan’s music was his penchant for using ghazal style
for his compositions especially during his<span style="mso-spacerun: yes;">
</span>earlier years. It was Madan Mohan who best exploited Talat
Mahmood’s<span style="mso-spacerun: yes;"> </span>voice and talent for ghazals
beginning with MADHOSH(1951-Meena Kumari-Manhar Desai)).In this film Talat<span style="mso-spacerun: yes;"> </span>rendered the beautiful lyric penned by Rajah
Mehdi Ali khan,viz., ‘Meri yaad mein tumna aansoo bahana’ in his inimitable
trembling voice. This song <span style="mso-spacerun: yes;"> </span>remains a
much listened Talat ghazal even today. In film AASHIANA(1952-Raj Kapoor-
Nargis),<span style="mso-spacerun: yes;"> </span>Madan Mohan composed two
evergreen ghazals for Talat using the lyrics of Rajinder Kishen. One is, ‘Mera
qarar leja’ and the other is, ‘ Mein paagal mera manva paagal’ often aired by
Radio Ceylon and Vividh Bharati those days. <span style="mso-spacerun: yes;"> </span>In film CHHOTE BABU (1957-Nimmi-Sekhar), there
is this popular ghazal by Talat, viz., ‘Do din ki mohabat mein humne’ and<span style="mso-spacerun: yes;"> </span>a Lata-Talat duet, ‘Teri chhamak ke aankhon
mein’. In the highly popular<span style="mso-spacerun: yes;"> </span>film DEKH
KABIRA ROYA(1967) with lesser known actors like Anita guha and Annop Kumar,<span style="mso-spacerun: yes;"> </span>Madan Mohan<span style="mso-spacerun: yes;">
</span>again uses the voice of Talat Mahmood to create another great ghazal, ‘Hum
se aaya na gaya tum se bulaya’, the lyrics penned by Rajinder Kishen. In fact
this film was a big musical hit with a wide variety of songs composed by Madan
Mohan. There are two semiclassical numbers by Lata, the first being ‘Lagan tose
lagi balma’ and the sweet melodious ‘Meri veena tum bin roye’. Along with these
two there is also<span style="mso-spacerun: yes;"> </span>the soft, romantic
melody, ‘Tu pyar kare ya thukraye’<span style="mso-spacerun: yes;">
</span>indicating how best he uses Lata’s voice to embellish<span style="mso-spacerun: yes;"> </span>his<span style="mso-spacerun: yes;">
</span>rather difficult compositions. The film is also noted for one of the top
semi-classical melodies of Manna Dey,viz., ‘Kaun aaya mere man ke dware’. It is
a pity that the music of this film did not fetch a Filmfare Award for Madan
Mohan.</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTai97NDSAyDGW-NFNP58W11k9doSp1uBwf_lhi10RITR4KIP8WgOnHklweTpe58kUoGOs4xz8iISTog1DyZE5rLtcW9HL8vmxfaluiy_IusQ1b2OrMSjATRV-b4lWcbo1x21Y7sh93IC1/s1600/Blog+Madan+Jahan+Aara.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTai97NDSAyDGW-NFNP58W11k9doSp1uBwf_lhi10RITR4KIP8WgOnHklweTpe58kUoGOs4xz8iISTog1DyZE5rLtcW9HL8vmxfaluiy_IusQ1b2OrMSjATRV-b4lWcbo1x21Y7sh93IC1/s1600/Blog+Madan+Jahan+Aara.JPG" height="200" width="198" /></a><span id="goog_782138496"></span><span id="goog_782138497"></span><b style="mso-bidi-font-weight: normal;"><span style="color: #1f497d; font-size: 12.0pt; line-height: 115%; mso-themecolor: text2;">The
fruitful association of Madan Mohan with Talat continued in <span style="mso-spacerun: yes;"> </span>films like BAHANA(1960), with<span style="mso-spacerun: yes;"> </span>Meena Kumari<span style="mso-spacerun: yes;">
</span>in the lead. The lyrics penned by Rajinder Kishen, viz., ‘Barehen aasman
meri manzil bata’ was tuned soulfully for Talat to croon and again an Asha –
Talat ghazal was created with the lines beginning ‘Teri nighahen mein teri hi
baton mein’.<span style="mso-spacerun: yes;"> </span>Lata’s melodious
semi-classical number<span style="mso-spacerun: yes;"> </span>‘Ja re badra bairi
ja’ was also there. Sadly these songs are not often heard nowadays.The culmination
of the success of the duo of Madan and Talat was in <span style="mso-spacerun: yes;"> </span>the film JAHAN ARA(1962-Bharat Bhusha-Mala
Sinha)) . The three ghazals penned by Rajinder Kishen,’Phir wohi sham wohi
gham’, ‘Main teri nazar ka suroor hoon’ and ‘Teri aankh ke ansoo’were probably
the last of Talat’s fascinating ghazals for Hindi films as Talat Mahmood faded
away thereafter to the regret of music lovers.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFuz8yp161uAVTYICIeGff_IkMQAy2jH4NqaavgwRxsZBJMh3NdvEMPbjIp0KsxCmd5p2YFlXuK5LSbNysIiwVuP3UAoDWCq3x6p5wp41tlSYlMhlSjSw4e0T_X2uHbeRJ8_as9iDYhh5n/s1600/Blog+Madan+Dulhan+Ec+Raat+ki.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFuz8yp161uAVTYICIeGff_IkMQAy2jH4NqaavgwRxsZBJMh3NdvEMPbjIp0KsxCmd5p2YFlXuK5LSbNysIiwVuP3UAoDWCq3x6p5wp41tlSYlMhlSjSw4e0T_X2uHbeRJ8_as9iDYhh5n/s1600/Blog+Madan+Dulhan+Ec+Raat+ki.JPG" height="200" width="196" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #1f497d; font-size: 12.0pt; line-height: 115%; mso-themecolor: text2;">A
few of the best ever filmy ghazals of Rafi was also composed by Madan Mohan.The
one coming to my mind readily is, ‘Main nighahe tere chehre se’ and ‘Yah hi hai
tamanna’ from film AAP KI PARCHHAYIYAN (1964-Dharmendra-Sashikala) with lyrics
by Rajah Mehdi Ali Khan who along with Rajinder Kishen was the most favoured
lyrist of Madan Mohan. In film DULHAN EK RAAT KI(1967- Dharmendra-Nutan)we can
listen to Rafi at his melodious best with the song ‘Ek haseen sham ko dil mera
kho gaya’(Lyrics: Raja Mehdi Ali Khan).In film GATEWAY OF INDIA (1957-Bharat Bhushan-Pradeep
Kumar-Madhubala)the duet ‘Do ghadi woh to pass ho baithe’ has two versions, one
by Asha-Rafi and the other by Lata-Rafi,<span style="mso-spacerun: yes;">
</span>both versions equally captivating. In film AAKHRI
DAU(1958-Sekhar-Nutan)there is this popular Rafi ghazal.’Tujhe kya sunaon mein
dilruba’ and the melodious Rafi-Asha duet, ‘Humsafar saath apna chhod chale’.</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzkmlvCeAy3bwG-EebHSoCTcV3hbBaH7NEYYFxqEKTRkE7p7erud4ada1tcuQjJmPt_A3M0FjZpBuM6DfNH2C0dhVAPNy-WkttbaBujED8yV54dfbcLd5Q2vgLp5SUsmFF6GmKH5wmg-50/s1600/Blog+Madan+Sanjog.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzkmlvCeAy3bwG-EebHSoCTcV3hbBaH7NEYYFxqEKTRkE7p7erud4ada1tcuQjJmPt_A3M0FjZpBuM6DfNH2C0dhVAPNy-WkttbaBujED8yV54dfbcLd5Q2vgLp5SUsmFF6GmKH5wmg-50/s1600/Blog+Madan+Sanjog.JPG" height="200" width="197" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0BN2w-PLkJtfGuA246Y3cDLCUh_I6qOlY3wP2YthlEA3hbpq5Xgz6LJl3RtdjQV7cdsON0hUihyphenhyphenZv_FZ0wm6SdxTnFAz3hx0BF4sh_853FwdbNRZoUEdmUVHJPcZettYiUas2pyNmm2ma/s1600/Blog+Madan+Adalat.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0BN2w-PLkJtfGuA246Y3cDLCUh_I6qOlY3wP2YthlEA3hbpq5Xgz6LJl3RtdjQV7cdsON0hUihyphenhyphenZv_FZ0wm6SdxTnFAz3hx0BF4sh_853FwdbNRZoUEdmUVHJPcZettYiUas2pyNmm2ma/s1600/Blog+Madan+Adalat.JPG" height="200" width="193" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #1f497d; font-size: 12.0pt; line-height: 115%; mso-themecolor: text2;">Another
feature of Madan Mohan’s music was his preference for female voice and most of
his haunting melodies were <span style="mso-spacerun: yes;"> </span>in female
voice. In fact a perusal of the LP albums of films with his music will reveal
the dominance of female singers which, of course, <span style="mso-spacerun: yes;"> </span>in no way had affected the quality of his
songs. In film ADALAT (1958-Nargis-Pradeep Kumar) all the songs except a chorus
were in female voice<span style="mso-spacerun: yes;"> </span>with Lata’s ‘Yun
hasraton ke dagh’ and ‘Unko yeh shikayat hai’ topping the list.It was only in
his earlier films when he was using the voice of Talat Mahmood <span style="mso-spacerun: yes;"> </span>that we could see better use of male voice.
Still Madan Mohan had used the voice of Mukesh for two of his famous
melodies.One is the grief<span style="mso-spacerun: yes;"> </span>filled melody
from film DUNIYA <span style="mso-spacerun: yes;"> </span>NA MANE(1959-Mala
Sinha-Pradeep Kumar)viz., ‘Ham chal rahe hai, woh chal rahe hai, Magar
duniyawalo ke dil jal rahe hai’. There is also a happy version of this song, a
duet, by Lata -Mukesh. The other is a ghazal from SANJOG(1961-Anita
Guha-Pradeep Kumar),viz.,’Bhooli hui yadon’ which used to be heard frequently over
the radio. Film Sanjog is also noted for two of the most popular melodies of
Lata,viz.,’Woh bhooli dastan lo phir yaad a gayi’and<span style="mso-spacerun: yes;"> </span>‘Badli se nikla hai chaand’. The
strength,timbre and quality of Lata’s voice are in full evidence in these songs
as well as in the song ‘Ham pyar me jalne walo ko chaine kaha haaye aaram kahe’
from film JAILOR(1958- Raj Kumar-Gita Bali). No wonder Lata remained as the
most trusted singer of Madan Mohan and their personal rapport seemed to have
contributed much to the success of the duo. <span style="mso-spacerun: yes;"> </span>No wonder that Lata’s tribute to Madan Mohan
echos this .<span style="mso-spacerun: yes;"> </span>“Madan Mohan’s music will
prevail; for it embodied melody, the basis of Indian music. It was my privilege
to have sung for him.” </span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOAy5OeBM7eisWUQeV2GEZtTWxJLd5fOOoybMp_NIR3FjXNCduG9hgP1pKEXyS97ek3Ybtfrf7Fm-yWBYZEkjJqwl6Mklmr9uP9_UmNpBrB84Hgl29VmqTxztMr5OyOkcuko85aGqlAUFN/s1600/Blog+Madan+Woh+kaun+thi+001.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOAy5OeBM7eisWUQeV2GEZtTWxJLd5fOOoybMp_NIR3FjXNCduG9hgP1pKEXyS97ek3Ybtfrf7Fm-yWBYZEkjJqwl6Mklmr9uP9_UmNpBrB84Hgl29VmqTxztMr5OyOkcuko85aGqlAUFN/s1600/Blog+Madan+Woh+kaun+thi+001.jpg" height="140" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #1f497d; font-size: 12.0pt; line-height: 115%; mso-themecolor: text2;">The
songs of film WOH KAUN THI(1964-Sadhana-Manoj Kumar)’ was the crowning glory of
Madan Mohan’s<span style="mso-spacerun: yes;"> </span>musical success. The film
with supernatural incidents as its central theme, as in films like Madhumati
and Bees Saal Baad, had some of the top haunting melodies common for such
themes those days. The song “ Aajare pardesi(Madhumati-Lata- Music: Salil
Chaudhury) and<span style="mso-spacerun: yes;"> </span>‘Kahin deep jale kahi dil(
Bees Saal Baad-Lata-Hemant Kumar)were till then two of the top such songs.<span style="mso-spacerun: yes;"> </span>But Madan Mohan, with three songs by Lata,
viz., ‘Naina bharase rim jim rim jim’, ‘Jo hamne dastan apnee sunaaee aap kyon
roye’ and ‘Lag jaa gale se phir ye haseen raat ho na ho’ rewrote history. The
beautiful lyrics of these songs were by Raja Mehdi Ali Khan and no wonder why
he became one of Madan Mohan’s preferred lyricists. That reminds me about a
rare duet of Madan in this film, viz.,the<span style="mso-spacerun: yes;">
</span>breezy “Chhod kar tere pyar ka daman’ (Lata-Mahendra Kapoor)The
music<span style="mso-spacerun: yes;"> </span>of this film was nominated for
Filmfare Award for best music but to Madan Mohan’s eternal disappointment the
Award was given to Laxmikant Pyarelel for film DOSTI. Even prior to Woh Kaun
Thi, <span style="mso-spacerun: yes;"> </span>Madan Mohan in film
ANPADH(1962-Dharmendra-Mala Sinha) had composed<span style="mso-spacerun: yes;">
</span>a few beautiful melodies including the path breaking ‘Aap ki nazaron ne
samjha’ of Lata. There<span style="mso-spacerun: yes;"> </span>is also a rare
comic song in the film , Mahendra Kapoor’s ‘Sikandar ne porus se’. The success
of Woh kaun thi <span style="mso-spacerun: yes;"> </span>led director Raj Khosla
to make two more films with similar theme viz. Mera Saaya and Anita. For Mera
Saaya<span style="mso-spacerun: yes;"> </span>Madan Mohan composed yet another haunting
memody for Lata,viz., ‘Too jahan jahan chalega mera saaya sath hoga’ which was
a superhit.<span style="mso-spacerun: yes;"> </span>But for film ANITA<span style="mso-spacerun: yes;"> </span>Laxmikant Pyarelel was assigned to do the
job. Obviously, by then this musical duo had arrived on top. The decline of
Madan Mohan<span style="mso-spacerun: yes;"> </span>also started around this
period.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_ppDCi5Bsm0TqP4MlEXJ4a9d_rGM3BvMm6Q1tNOH9CJb-SaVJiGGKEvTwOLthru1VfYbEBvpmSZfoExHZhIWCJGOLj62vtmmbIGoQnMs2tm6xZ0gESErJp3R97AnaJ_BeQgVWs40yqQmF/s1600/Blog+Madan+Dastak.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_ppDCi5Bsm0TqP4MlEXJ4a9d_rGM3BvMm6Q1tNOH9CJb-SaVJiGGKEvTwOLthru1VfYbEBvpmSZfoExHZhIWCJGOLj62vtmmbIGoQnMs2tm6xZ0gESErJp3R97AnaJ_BeQgVWs40yqQmF/s1600/Blog+Madan+Dastak.JPG" height="200" width="188" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #1f497d; font-size: 12.0pt; line-height: 115%; mso-themecolor: text2;">Madan
Mohan continued to compose music for several films but the magic, somehow,
remained unnoticed. The films were not box office successes and top artists
were also not there in them. He tried to make a come back with HEER RANJHA
(1970) and DASTAK(1971-Sanjeev Kumar-Rehna Sultan) but it was not enough. The
highly acclaimed Dastak <span style="mso-spacerun: yes;"> </span>fetched the
National Award for Madan Mohan with <span style="mso-spacerun: yes;"> </span>Lata’s<span style="mso-spacerun: yes;">
</span>‘Baiyaan na bharo balma’ becoming highly popular. Again his music in
film MAUSAM( 1974-Sanjeev Kumar Sharmila Tagore) showed that he had not lost
his magic as the Lata-Bhupinder duet ‘Dil dhoondtha hai’ and <span style="mso-spacerun: yes;"> </span>Lata’s <span style="mso-spacerun: yes;"> </span>solo ‘Ruke ruke se qadam’ achieving tremendous
popularity.But alas! In spite of his enormous talent and success he could not
get the same prominence which Naushad, S.D.Burman, Shankar Jaikishen<span style="mso-spacerun: yes;"> </span>and <span style="mso-spacerun: yes;"> </span>even a Laxmikant Pyarelal could get. He was
more like the ‘Kabhi Kabhie’ Khayyam and the ‘Hum Dono Jaidev who also could
not achieve the celebrity status in spite of talent and success. Talat Mahmood,
Madan Mohan’s most trusted male voice, <span style="mso-spacerun: yes;"> </span>said
of Madan Mohan; ‘ Madan Mohan never made any compromises in his life and in
every tune he produced there was newness”. Probably his inability to make compromises
stood in the way.</span></b></div>
</div>
JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com3tag:blogger.com,1999:blog-2372937692697241080.post-66719778024246178242015-01-02T23:59:00.002-08:002015-01-03T20:23:18.716-08:00M U S I C D I R E C T O R R A V I - HIS CHAUDHVIN KA CHAND.<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfshW7yiYJT4LrU1lEb19AXpjNfRKH_oyjrnn-t2SLDSprKPeUSci_W_UCN0uccTVrIVpNKwewOPBjBGUmcFijNeXVbDj3bXe3VTu10TzIjxvkCLwCOrPFS8vRGwDvfrdkY7kOiMzEaBbv/s1600/Bog+Ravi-+Ravi.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfshW7yiYJT4LrU1lEb19AXpjNfRKH_oyjrnn-t2SLDSprKPeUSci_W_UCN0uccTVrIVpNKwewOPBjBGUmcFijNeXVbDj3bXe3VTu10TzIjxvkCLwCOrPFS8vRGwDvfrdkY7kOiMzEaBbv/s1600/Bog+Ravi-+Ravi.JPG" height="320" width="250" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm7RylbFOju3sPv0CUtxZHFKK1gevzwNLkA-49YF80gxyfLFNLbk8vzpORL7zqCiPg9y_yJ5biOBIAH0dcww9YzUXopqU9KuF73lJ8JPut7Zi34Vf8I6BzxTWjuw9jXQdyUaVFiq8CFZDH/s1600/Blog+Ravi+Gharana.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm7RylbFOju3sPv0CUtxZHFKK1gevzwNLkA-49YF80gxyfLFNLbk8vzpORL7zqCiPg9y_yJ5biOBIAH0dcww9YzUXopqU9KuF73lJ8JPut7Zi34Vf8I6BzxTWjuw9jXQdyUaVFiq8CFZDH/s1600/Blog+Ravi+Gharana.JPG" height="200" width="198" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpBtRFJCTXNjDuHIAnK6V1zgz4Io_xzwDn_FZHNVJuBw1kNUiZSJ7ifGaGCnaeRgLUt8pMHo84A4Jd6FCvI4E4eHk1-52k2DJkP7hnIjzhu_cjuRztR6jcrq3hvaxgnc-yZO296-6FsVVU/s1600/Blog+photos+Chaudwin+ka+chand.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpBtRFJCTXNjDuHIAnK6V1zgz4Io_xzwDn_FZHNVJuBw1kNUiZSJ7ifGaGCnaeRgLUt8pMHo84A4Jd6FCvI4E4eHk1-52k2DJkP7hnIjzhu_cjuRztR6jcrq3hvaxgnc-yZO296-6FsVVU/s1600/Blog+photos+Chaudwin+ka+chand.JPG" height="165" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaGA4-IEGxCpE4F49tAMYNy4bBEwTss01XBsfwJ7tpJDJsnYDNU2YRpeOypsuQkxbksaqxAN-uMzMtOYl9L-we3PZ0qqkAjjebeJyJdIW48NFV3ss-3RIY31FN9DBLFPwM-bzbIBpGjWbU/s1600/Blog+Ravi+Nazrana+gunghzt.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaGA4-IEGxCpE4F49tAMYNy4bBEwTss01XBsfwJ7tpJDJsnYDNU2YRpeOypsuQkxbksaqxAN-uMzMtOYl9L-we3PZ0qqkAjjebeJyJdIW48NFV3ss-3RIY31FN9DBLFPwM-bzbIBpGjWbU/s1600/Blog+Ravi+Nazrana+gunghzt.JPG" height="200" width="150" /></a><span style="color: #31849b; mso-themecolor: accent5; mso-themeshade: 191;">The years 1960 and 1961 were </span>years of great melody in<span style="mso-spacerun: yes;"> </span>Hindi films with the release of highy
successful, musically charged films like<span style="mso-spacerun: yes;">
</span>Mughal-E- Azam, Barsaat ki Raat, Kohinoor , Chaudvin ka Chaand, Junglee,
Gharana, Sasural,Hum Dono, Kala Bazar <span style="mso-spacerun: yes;"> </span>and so on. The decades <span style="mso-spacerun: yes;"> </span>of the 50s and the 60s were also the heydays
of great music directors like S.D.Burman, Shankar Jaikishen, Naushad,
O.P.Nayyar, <span style="mso-spacerun: yes;"> </span>Roshan and so on whose songs
were hitting the top of the chart<span style="mso-spacerun: yes;"> </span>on the
radio and figuring prominently<span style="mso-spacerun: yes;"> </span>in the
list of winners of the Filmfare Awards . In the early 60s two songs from two
films used to be heard several times daily<span style="mso-spacerun: yes;">
</span>on the radio be it the Radio Ceylon or Vividh Bharati of<span style="mso-spacerun: yes;"> </span>AIR. Both the songs are by Muhammed Rafi, the
title song ‘Chaudvin ka chaand ho’ from that film and ,‘ Husnewale tera jawab
nahin’ from film Gharana. They were two of the top songs of the period<span style="mso-spacerun: yes;"> </span>and both were composed by the redoubtable,
but less celebrated, music director Ravi ( Ravi Shankar Sharma-March 1926 –
March 2012).There are several common factors for the two songs; both were
penned by Shakeel Badayuni winning<span style="mso-spacerun: yes;">
</span>Filmfare awards for best lyricist for the songs in 1960 and 1961; the
song Chaudvin ka chaand<span style="mso-spacerun: yes;"> </span>won for Rafi the
Filmfare Award for the best male singer<span style="mso-spacerun: yes;">
</span>and the song<span style="mso-spacerun: yes;"> </span>Husnewale<span style="mso-spacerun: yes;"> </span>tera jawaabb nahin<span style="mso-spacerun: yes;"> </span>won for Ravi the Filmfare Award for the best
music director ; both are beautiful romantic melodies delightfully picturised
on the pairs of Guru Dutt-Waheeda Rahman and Rajinder Kumar - Asha Parekh
respectively ; the first is intense and the other<span style="mso-spacerun: yes;"> </span>happy and<span style="mso-spacerun: yes;">
</span>light hearted. Frequently heard on the radio and repeatedly featuring in
the weekly Binaca Geetmala programs the two songs<span style="mso-spacerun: yes;"> </span>were our favourites <span style="mso-spacerun: yes;"> </span>eventhough <span style="mso-spacerun: yes;"> </span>the top of the hit<span style="mso-spacerun: yes;"> </span>position in the Binaca Geetmala program for
the years 1960 and 1961 were won by Roshan’s<span style="mso-spacerun: yes;">
</span>‘Zindagi bhar nahin ‘ (Barsaat ki Raat) and S & J’s ‘Teri pyari pyari’
(Sasural) respectively.<span style="color: #31849b; mso-themecolor: accent5; mso-themeshade: 191;"></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK2rLeWgzcChosFpObMq2KmOWzPnVuCR2oYFD0X4a_ZwlIC8w06_e4PpaS8PrEkAoTRRmtJ4aeYMFfAlTPHmZsNO3z0Imdj1qSuzBu-Zxwv5IWwqlIxWiC-NSFRs3bxNUGDD6jR7-DIaqh/s1600/Blog+Ravi+Gumraah.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK2rLeWgzcChosFpObMq2KmOWzPnVuCR2oYFD0X4a_ZwlIC8w06_e4PpaS8PrEkAoTRRmtJ4aeYMFfAlTPHmZsNO3z0Imdj1qSuzBu-Zxwv5IWwqlIxWiC-NSFRs3bxNUGDD6jR7-DIaqh/s1600/Blog+Ravi+Gumraah.JPG" height="172" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5x0WWzLl_rFXjawALu-BHyQSnktqQTLUOlMi2VMOINtW54PQ_OLw9Tl2VApy5WCJcCqcfIWGP8_fFyezn1sLF9gDPXieY2BvS7Wp7rLkFMDgKpwttLsAtJ_4dG3-z0nOwm2qxe241F2fx/s1600/Blog+Ravi+Humraaz.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkXRC5hh4eWFrV7bZThuEH-HJZhcRDN79Iwuxx5gKhlC3pFTXTp_OwvzvasNwLTN4-mhkBS7d2AxAWcU4Rw5M2bZ_5-Oyk_LlQFKF7Uc0FfDixgHAmbDOg7Wy0xg-lGUOZUJNKrEDrPy9X/s1600/Blog+Ravi+Do+Baadan.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkXRC5hh4eWFrV7bZThuEH-HJZhcRDN79Iwuxx5gKhlC3pFTXTp_OwvzvasNwLTN4-mhkBS7d2AxAWcU4Rw5M2bZ_5-Oyk_LlQFKF7Uc0FfDixgHAmbDOg7Wy0xg-lGUOZUJNKrEDrPy9X/s1600/Blog+Ravi+Do+Baadan.JPG" height="194" width="200" /></a><span style="color: #31849b; mso-themecolor: accent5; mso-themeshade: 191;">Ravi’s<span style="mso-spacerun: yes;"> </span>earlier films
<span style="mso-spacerun: yes;"> </span>like Vachan, Ek Saal, Dilli ka thug,
Chirag Kahan Roshni kahan and so on also had several beautiful songs in them.
Film Dilli ka thug had a few popular songs by Kishore Kumar and Asha Bhosle
like ‘ Yeh ratein yeh mausam nadi ka kinare’ (Kishore -Asha), Yeh bahar yeh
shama(Asha) and<span style="mso-spacerun: yes;"> </span>the hilarious, ‘C.A.T., <span style="mso-spacerun: yes;"> </span>CAT<span style="mso-spacerun: yes;"> </span>Cat
mane billie’ (Kishore). In Chirag Kahan Roshni Kahan there is this children’s
song ‘Tim tim karke tare...’. In Ek Saal there is this immortal ghazal of Talat
Mahmood, ‘ Sub kuch luta ke hosh<span style="mso-spacerun: yes;"> </span>mein
aaye to kya hua’. <span style="mso-spacerun: yes;"> </span>But it was Ckaudvin ka
Chaand<span style="mso-spacerun: yes;"> </span>which gave Ravi the well deserved
recognition as a top music director of Hindi films. The song scene of the title
song Chaudvin ka chaand showed how best even black and white photography
(Cinematography- V.K.Murthy) can exploit the light and shade to glorify a
scene.The film has a few other wonderful<span style="mso-spacerun: yes;">
</span>songs like Rafi’s ‘Yeh Lucknow ki sar zameen’ and the Asha Bhosle –
Shamshad Begum qawwali, ‘Sharma ke kyun pardanashin’ (two parts). The song
‘Husnewale tera jawwaab nahin’ from film Gharana still remains as one of the
top romantic songs of Rafi.There was no looking back <span style="mso-spacerun: yes;"> </span>thereafter for Ravi in the 60s and early 70s when
he came out with<span style="mso-spacerun: yes;"> </span>musical hits<span style="mso-spacerun: yes;"> </span>for films after films like Khandan, Bharosa,
Kajal, Gahra Daag, Pyar ka Saagar, China town,Do Badan, Ankhen, Waqt, Neeel
Kamal, Tower House, Yeh raaste hai pyar ki, Aaj aur Kal <span style="mso-spacerun: yes;"> </span>and many more. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_SyxervY62Jsndncnw3gB4rUGKl-v2HeToaa0qDFJakXzfJIHnRg-aM8nHiWfXm59746WAIetTgLXgrURWvd4aAbhwIP4KUUwfkXZp9b-QnLvALe25YVgPmbZuiUiAREMTEoKk1hmihZC/s1600/Blog+Ravi+Kaajal.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_SyxervY62Jsndncnw3gB4rUGKl-v2HeToaa0qDFJakXzfJIHnRg-aM8nHiWfXm59746WAIetTgLXgrURWvd4aAbhwIP4KUUwfkXZp9b-QnLvALe25YVgPmbZuiUiAREMTEoKk1hmihZC/s1600/Blog+Ravi+Kaajal.JPG" height="195" width="200" /></a></div>
<span style="color: #31849b; mso-themecolor: accent5; mso-themeshade: 191;">The music of film Khandan (Sunil Dutt- Nutan)brought for
Ravi the Filmfare award for best music director in 1965; the song ‘Tuhmi meri
mandir’, one of the noted bhajans of Lata, brought<span style="mso-spacerun: yes;"> </span>her the Filmfare award for best female
playback singer and the best lyricist award for Rajinder Kishen. <span style="mso-spacerun: yes;"> </span>The Guru Dutt – Asha Parekh starrer Bharosa<span style="mso-spacerun: yes;"> </span>had a <span style="mso-spacerun: yes;"> </span>beautiful song by Rafi, ‘Is bhare duniya mein’
and a duet, ‘Aap ki mulakat <span style="mso-spacerun: yes;"> </span>bas itni’ by
Lata and the then new singer Mahendra Kapoor.For Ravi, Asha <span style="mso-spacerun: yes;"> </span>remained his favourite female voice with songs
like the bhajan, ‘Tora man darpan’ and the semiclassical number, ‘Chhun chhun gungharu
bole’ both from<span style="mso-spacerun: yes;"> </span>film Kaajal( Dharmendra-Hema
Malini),the<span style="mso-spacerun: yes;"> </span>‘Jab chali tandi hawa’number
from film Do Baaden (Asha Parekh- Manoj Kumar),<span style="mso-spacerun: yes;">
</span>the songs ‘ Chehre pe khushi chha jaati hai’ and ‘the haunting ‘Aage bhi
jane na<span style="mso-spacerun: yes;"> </span>tu’ from the star studded film
Waqt (Raj Kumar, Sadhana,Sashi Kapur, Sharmila Tagore, SunilDutt, Rahman and
Balraj Sahni) and many more from other films.But it is also a fact that some of
the best songs of Ravi in female voice were also by Lata like, e.g., the
melodious ‘Lo aagayi unki yaad’ from Do Baadan,’Lagi na mora jiya’ from film Gunghat,’
Ai mere dil-e-naadan’ from Tower House, ‘Milti hai zindagi’ from<span style="mso-spacerun: yes;"> </span>Ankhen and so on. In Yeh raaste hai payarki’,
a film based on a real life story and in which Ashoj Kumar gave a memorable
performance as the defence lawyer, there is<span style="mso-spacerun: yes;">
</span>the title song, ‘yeh raaste hai pyar ki’ by<span style="mso-spacerun: yes;"> </span>Asha and a duet of<span style="mso-spacerun: yes;"> </span>Asha with Rafi,’ Yeh kahmoshiyan yeh
Tanhaniyan’ boh very popular and frequently heard on the radio those days but
sadly missing nowadays. This applies to the rare songs of Mukesh for Ravi in
film Pyar ka Saagar, e.g. ‘the duets with Asha,‘Vafaa jin se ke bewafa ho
gaye’and the grief filled ‘Pyar ka saagar dekha hai’. That reminds me of the
songs of Mukesh for Raj kapur in film Nazrana, especially the beautiful inter
active duet with Lata,‘Bikhrake zulfein chaman mein' <span style="mso-spacerun: yes;"></span>and the sad Mukesh solo,‘Ek woh bhi Diwali thi.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT_7SRAAZWAXJqkQdiXB5Vq6ZiGv5-nv4plhuQ4SdCc0kZehW83FIDEuiOCSSKQMKGU3Ovx9nM0Q_AcKKHojWlp7fFfLjS9ArKUDyDMiEp6iY9-qq7ukwKGOlQaIqK5A-MmLt5lkQPdhbA/s1600/Blog+Ravi+Filmfare+cassette.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT_7SRAAZWAXJqkQdiXB5Vq6ZiGv5-nv4plhuQ4SdCc0kZehW83FIDEuiOCSSKQMKGU3Ovx9nM0Q_AcKKHojWlp7fFfLjS9ArKUDyDMiEp6iY9-qq7ukwKGOlQaIqK5A-MmLt5lkQPdhbA/s1600/Blog+Ravi+Filmfare+cassette.JPG" height="200" width="131" /></a><span style="color: #31849b; mso-themecolor: accent5; mso-themeshade: 191;">Film Gumrah( Sunil Dutt-Mala Sinha) marks the beginning of
a long and fruitful association of Ravi with singer Mahendra Kapoor . In fact
it was Ravi<span style="mso-spacerun: yes;"> </span>who lifted the singer,
reeling under the shadow of a Rafi at his peak,<span style="mso-spacerun: yes;">
</span>to the centre stage with this film. In fact there was no song for Rafi
in this film and the three solos rendered by Mahendra Kap oor, viz., ‘Aap
aayen’, ‘Aa bhi ja’ and Chalo ek bar’ earned for him an identity of his own and
listeners <span style="mso-spacerun: yes;"> </span>could<span style="mso-spacerun: yes;"> </span>connect to his voice and style separate from
that of Rafi. The songs were super hits on the radio and Mahendra kapoor won
the Filmfare Award for the best male playback singer for the song ‘Chalo ek
baar’. The duet, ‘aaja aaja re’ with Asha also was hugely popular. Film Gumraah
was followed by Waqt in which<span style="mso-spacerun: yes;"> </span>Mahendra
Kapoor had three duets with Asha the top being ,’Maine ek khwab sa dekha hai’
and, ’Din hain bahar ke ‘ a close second. Of course the most popular song of
the film<span style="mso-spacerun: yes;"> </span>is by Rafi,viz., ‘Waqt se din
aur raat’<span style="mso-spacerun: yes;"> </span>followed closely by the
evergreen Manna Dey hit, ‘Ae mere Zohra Jabeen’.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5x0WWzLl_rFXjawALu-BHyQSnktqQTLUOlMi2VMOINtW54PQ_OLw9Tl2VApy5WCJcCqcfIWGP8_fFyezn1sLF9gDPXieY2BvS7Wp7rLkFMDgKpwttLsAtJ_4dG3-z0nOwm2qxe241F2fx/s1600/Blog+Ravi+Humraaz.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5x0WWzLl_rFXjawALu-BHyQSnktqQTLUOlMi2VMOINtW54PQ_OLw9Tl2VApy5WCJcCqcfIWGP8_fFyezn1sLF9gDPXieY2BvS7Wp7rLkFMDgKpwttLsAtJ_4dG3-z0nOwm2qxe241F2fx/s1600/Blog+Ravi+Humraaz.JPG" height="195" width="200" /></a><span style="color: #31849b; mso-themecolor: accent5; mso-themeshade: 191;">The success of the team of Ravi-Sahir Ludianvi(lyrics) and
Mahendra Kapoor<span style="mso-spacerun: yes;"> </span>in film Gumraah and Waqt
was repeated in the super hit film Hamraaz(Sunil Dutt-Vimi- Raaj Kumar). In
fact it was Mahendra Kapoor all the way in this film with four super hit solos
including , ‘ Yeh<span style="mso-spacerun: yes;"> </span>neele gagan ke tale’
which won him the Filmfare Award for the best male playback singer for 1967.
The song ‘Na moonh chupake jiyo’ and ‘Tum agar saath dene ka wada karo’ were
also super hits along with the high pitched,<span style="mso-spacerun: yes;">
</span>melodious ‘Kisi pather ke murat se’. These songs were<span style="mso-spacerun: yes;"> </span>a fitting reply to the critics, many of them perhaps
motivated, who sidelined Mahendra Kapoor<span style="mso-spacerun: yes;">
</span>as a singer who adopted Rafi’s style. The singer’s own style was, of
course, obvious<span style="mso-spacerun: yes;"> </span>to the discerning listeners.</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidlQ9IXjbVVuuBJ3rp0iRgUWhmz8NqxTiBgsUTozWlVMHKE-aX4nIIkrkPhK8EwNb8TPfsemea1HQyIx2b173HAJ6cobUdxOj5Bjl1V4s4iG7DULiO3v7GhjiBoEj-gwmZxKP4SLA6KsOG/s1600/Blog+Ravi+China+town.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidlQ9IXjbVVuuBJ3rp0iRgUWhmz8NqxTiBgsUTozWlVMHKE-aX4nIIkrkPhK8EwNb8TPfsemea1HQyIx2b173HAJ6cobUdxOj5Bjl1V4s4iG7DULiO3v7GhjiBoEj-gwmZxKP4SLA6KsOG/s1600/Blog+Ravi+China+town.JPG" height="195" width="200" /></a></div>
<div class="MsoNormal">
<span style="color: #31849b; mso-themecolor: accent5; mso-themeshade: 191;">There are two films the music of which showed Ravi’s talent
and range in different types <span style="mso-spacerun: yes;"> </span>of music.
One is film China Town, (1962-Shammi Kapoor-Shakila) in which all the songs
were by Rafi and Asha. The film offered ample scope for dance songs,
Rock-n-roll and club dance songs etc. and Ravi showed that he could do justice
to the need. Though the film was not a huge hit<span style="mso-spacerun: yes;">
</span>the songs were very popular , the ‘Bar bar dekho ‘ in particular, with
Rafi sizzling.<span style="mso-spacerun: yes;"> </span>The songs ‘Yumma yumma
yumma’ and the title song ‘China town’ shows Asha in her elements . The duets
of Rafi and Asha, ‘Bada quatil hai’ and ‘Humse na poochho’, were also pleasing.
Ravi with these vibrant foot tapping songs showed that he can give even O.P.
Nayyar<span style="mso-spacerun: yes;"> </span>a run for his money as far rhythm
is concerned.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpt__R3qAASiplkLlzwcj1qRDDIm04K-oJ0XYN6T-u7rbY4igkEQNkyW8FgqD8mOb8GdtE8Ekzcp97XLkrDW8_pCsCgdUDf7ZCuCz1-0-GjZdUoHVPKILV88OZtuawspZzUIcreq7ozFYk/s1600/Blog+Ravi+Nikaah.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpt__R3qAASiplkLlzwcj1qRDDIm04K-oJ0XYN6T-u7rbY4igkEQNkyW8FgqD8mOb8GdtE8Ekzcp97XLkrDW8_pCsCgdUDf7ZCuCz1-0-GjZdUoHVPKILV88OZtuawspZzUIcreq7ozFYk/s1600/Blog+Ravi+Nikaah.JPG" height="136" width="200" /></a><span style="color: #31849b; mso-themecolor: accent5; mso-themeshade: 191;">The other film which tested Ravi’s talent is the 1982 film
Nikaah with Raj Babbar, Deepak Parashar and Salma Agha in the lead.<span style="mso-spacerun: yes;"> </span>All the songs of the film were Ghazal based
ones as demanded by the theme<span style="mso-spacerun: yes;"> </span>and all of
them were rendered by Mahendra kapoor and the leading lady Salma Agha
herself.The ghazals were appreciated by the discerning listeners and it was
Salma Agha who got the Filmfare award for the best playback singer of the year
for her song ‘Dil ke armaan ansuon mein bah gaye’, the special nasal timbre of
her voice helping her to do justice to the composition. This is true in the
case of ‘Fiza bhi hai jawab bhi (in two parts) also. Mahendra kapoor shows his
range in the ghazal, <span style="mso-spacerun: yes;"> </span>‘Bete hue lamhon ki
kasak saath to hogi’ and also in the duet with Salma, ‘Dil ki yeh arzoo thi’
with<span style="mso-spacerun: yes;"> </span>clear, emphatic delivery of words.
The qawwali,’ Chehra chhupa liya hai kisi ne nagar<span style="mso-spacerun: yes;"> </span>mein’<span style="mso-spacerun: yes;">
</span>by Kapoor, Asha and Salma is an added attraction.<span style="mso-spacerun: yes;"> </span>The LP album of the film also contains Ghulam
Ali’s famous composition ‘Chupke chupke raat din’ making it a collectors’ item.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm77C-JBZQA_aso1MehDCQzv7HAAl-VnuljLcPS1GEBzjVQJaRfn6yHXsJKYcwi-qvL77Z4KkKqgDOb4OwZ6JWWhELmru641PpYkktshbfyXuqD3H5Wa0GL5pIeECNH-hmIV5kka6xweVH/s1600/Blog+Ravi+Panchangni+etc.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm77C-JBZQA_aso1MehDCQzv7HAAl-VnuljLcPS1GEBzjVQJaRfn6yHXsJKYcwi-qvL77Z4KkKqgDOb4OwZ6JWWhELmru641PpYkktshbfyXuqD3H5Wa0GL5pIeECNH-hmIV5kka6xweVH/s1600/Blog+Ravi+Panchangni+etc.JPG" height="143" width="200" /></a><span style="color: #31849b; mso-themecolor: accent5; mso-themeshade: 191;">Music director Ravi who was very busy in Hindi film music
till the early years of the 70s<span style="mso-spacerun: yes;"> </span>was
seen less and less thereafter and during the 80s and 90s became very busy in
Malayalam films<span style="mso-spacerun: yes;"> </span>especially in
association with director Hariharan and poet/lyricist O.N.V. Kurup<span style="mso-spacerun: yes;"> </span>and came out with award winning music in<span style="mso-spacerun: yes;"> </span>films like Panchagni, Nakhashatangal, Sargam
,Vaisali, Parinayam, Srukretam, Ghazal and so on. He won National award for
best music Director <span style="mso-spacerun: yes;"> </span>for films<span style="mso-spacerun: yes;"> </span>Parinayam and Sukrutam and Kerala State Award
for <span style="mso-spacerun: yes;"> </span>Nakhakshatangal and<span style="mso-spacerun: yes;"> </span>Sargam. Singer K.S.Chitra won her third
National Award for the song ‘Indupushpam choodi’ from film Vaisali.</span></div>
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<span style="color: #31849b; mso-themecolor: accent5; mso-themeshade: 191;"><span style="mso-spacerun: yes;"> </span>Though Ravi came
back into<span style="mso-spacerun: yes;"> </span>Hindi film music strongly with
Nikaah in 1982, he was unable to weave his former magic as by then the trend
had changed with the ascendancy of Kishore Kumar, Lakshmikant Pyarelal and so
on<span style="mso-spacerun: yes;"> </span>and<span style="mso-spacerun: yes;">
</span>had to remain content with working in Malayalam films with
Mayookham(2005) being his last Malayalam film. Music Director Ravi, Known as
Bombay Ravi in Malayalam film world continues to be remembered and respected in
Kerala as a king of melodies.</span></div>
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<span style="color: #31849b; font-size: 10.0pt; line-height: 115%; mso-themecolor: accent5; mso-themeshade: 191;">Tail piece:-There was a successful
Palmolive ad featuring Kapil Dev and the jingle ‘ Pamolive da jawab nahin’
seemed to have been inspired by the Gharana song,’Husnewale tera jawab nahin’.https://www.youtube.com/watch?v=TQ9uo-7_aeE</span><br />
<br /></div>
</div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;"><br /></span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsx7g8D64DE5j360DPcx6oiukb801uQle1-YAwgzWiSz9TkyvZBRccIe8YOurgb7LH34cx6gptzeattlEWHOwRmnsuXiRTdS71xXQUtT0wR0BveXBez7NZQWG9vTgwAn2Ir3wbEVtdfu5K/s1600/Morris+minor+FB+photo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsx7g8D64DE5j360DPcx6oiukb801uQle1-YAwgzWiSz9TkyvZBRccIe8YOurgb7LH34cx6gptzeattlEWHOwRmnsuXiRTdS71xXQUtT0wR0BveXBez7NZQWG9vTgwAn2Ir3wbEVtdfu5K/s1600/Morris+minor+FB+photo.jpg" height="274" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Meeting <span style="mso-spacerun: yes;"> </span>an old friend and colleague <span style="mso-spacerun: yes;"></span>a couple of days back rekindled in me fond <span style="mso-spacerun: yes;"> </span>nostalgic memories about a ‘minor’ motor car owned
by him for about 45 years from the late 60s; <span style="mso-spacerun: yes;"> </span>a Morris Minor 1951 four<span style="mso-spacerun: yes;"> </span>seater four door sedan made in England. The
car is<span style="mso-spacerun: yes;"> </span>KLE 7488 in its original <span style="mso-spacerun: yes;"> </span>greenish shade<span style="mso-spacerun: yes;">
</span>common for Morris Minor cars of the period. The car with a side valve
engine<span style="mso-spacerun: yes;"> </span>had its head lights mounted on
the wings instead of down in the grill console <span style="mso-spacerun: yes;"> </span>as in the earlier models. Morris Minor cars
were common on <span style="mso-spacerun: yes;"> </span>Kerala roads<span style="mso-spacerun: yes;"> </span>in the 50s and the 60s especially in bigger
towns like Kozhikode, Cochin, Trivandrum and so on.This rather slow moving car,
compared to the present day cars , <span style="mso-spacerun: yes;"> </span>was
but very convenient to drive in the crowded city roads as well as through
narrow<span style="mso-spacerun: yes;"> </span>by lanes of<span style="mso-spacerun: yes;"> </span>residential areas owing to its compact size
and easy manoeuvrability.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKDp0oGwYpSARDkp8PS6HMnX4YhU_Cupr2Ohfo9rzSo5C-F2YOgB1JbAsuxpVDA83go9E6sypwBc6p4pFUzpI-FsHFnFvt9ma6IeS2Ekipai_9V6P8yVZjLaZLsPR_yoPwUSHfZ3Px2Qko/s1600/Morris+Minor+2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKDp0oGwYpSARDkp8PS6HMnX4YhU_Cupr2Ohfo9rzSo5C-F2YOgB1JbAsuxpVDA83go9E6sypwBc6p4pFUzpI-FsHFnFvt9ma6IeS2Ekipai_9V6P8yVZjLaZLsPR_yoPwUSHfZ3Px2Qko/s1600/Morris+Minor+2.jpg" height="150" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>I have been seeing this car of my friend ever
since he bought it. In the early 70s he was<span style="mso-spacerun: yes;">
</span>transferred to Bangaluru<span style="mso-spacerun: yes;"> </span>and
posted<span style="mso-spacerun: yes;"> </span>in the same office in which I was
working and took up a house on rent next to the house where I was staying with
my family. <span style="mso-spacerun: yes;"> </span>I still remember his arrival
in Bangalore<span style="mso-spacerun: yes;"> </span>in the Morris Minor driven
all the way from a northern centre of Kerala. He stayed in this house for a few
months with his family before shifting to a house near to the office. During
this<span style="mso-spacerun: yes;"> </span>period in particular and thereafter
till I was transferred out of Bangaluru<span style="mso-spacerun: yes;"> </span>in
1975, the two families had travelled in this car extensively to every nook and
corner of Bangaluru<span style="mso-spacerun: yes;"> </span>be it the Cubbon
Park , the Lal Bagh, Vidhan soudha, residential colonies like JayaNgar , Rajai
Nagar, Wilson Gardens , restaurants like the MTR, Brindavan, Nilgiris etc and
so on. My friend, like me, was fond of <span style="mso-spacerun: yes;"> </span>films and it was mostly in his car that the
two families went for films except on those<span style="mso-spacerun: yes;">
</span>occasions when my<span style="mso-spacerun: yes;"> </span>1967 Standard
Herald<span style="mso-spacerun: yes;"> </span>was taken out.<span style="mso-spacerun: yes;"> </span>Our rides through the long roads of Indira
Nagar, Double Road, <span style="mso-spacerun: yes;"> </span>M.G.Road, <span style="mso-spacerun: yes;"> </span>walks on the Brigade Road and Commercial
Street after parking the car are all still fresh in memory.</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">The car was well maintained<span style="mso-spacerun: yes;"> </span>with every problem attended to promptly. Even
in<span style="mso-spacerun: yes;"> </span>the 70s spare parts were not easily
available. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;"><!--[if gte mso 9]><xml>
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</xml><![endif]--></span><span style="font-size: 12.0pt; line-height: 115%;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-IN; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Once we had to go <span style="mso-spacerun: yes;"> </span>around the whole of<span style="mso-spacerun: yes;"> </span>Bangalore to get a set of special screw type
wheel bolts. I also remember a complete overhaul<span style="mso-spacerun: yes;"> </span>including a fresh coat of paint done to the
car at<span style="mso-spacerun: yes;"> </span>Bangalore.</span></b> My friend who<span style="mso-spacerun: yes;"> </span>wore only white clothes had always kept the
car clean and tidy with the seats covered with white Turkish cloth! He
drove<span style="mso-spacerun: yes;"> </span>the car with effortless ease and
we used to marvel at his ability to reverse the<span style="mso-spacerun: yes;">
</span>car through narrow<span style="mso-spacerun: yes;"> </span>curving <span style="mso-spacerun: yes;"> </span>roads! During the 80s also when we were
working at Thiruvananthapuram <span style="mso-spacerun: yes;"> </span>and
Ernakulam<span style="mso-spacerun: yes;"> </span>I had travelled in the car
frequently.</span></b></div>
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<br /></div>
<br />
<br />
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">While I had changed my car several
times by buying<span style="mso-spacerun: yes;"> </span>‘new’ second hand ones,
my friend continued to keep the Morris Minor<span style="mso-spacerun: yes;">
</span>and <span style="mso-spacerun: yes;"> </span>after his retirement<span style="mso-spacerun: yes;"> </span>towards the end of the 80s he settled down in
Trivandrum. We continued our contact and the car used to come up in our
conversations often. A few years after my retirement in the year 2000 I had
visited him at Thiruvananthapuram<span style="mso-spacerun: yes;"> </span>and he
dropped me back at the Rly.station in his Morris Minor . Years passed by and
when I went to his house again two years back the car was very much there and I
had taken a couple of casual <span style="mso-spacerun: yes;"> </span>photos on
my mobile.</span></b></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6hdwbV8nD2gUiNTq082yW1ePLgkaCwCwkelVqTEhTYvhMwgTWfoQAx8UvOY5LyQmzxm-I6Ue2IZNBPkBShoQSCBwEHUwHGTNFA2zEBJRmXiELpuZhIlEnQrvYb6eA3fh9YPP21qGGMqOE/s1600/Morris+MSQ+2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6hdwbV8nD2gUiNTq082yW1ePLgkaCwCwkelVqTEhTYvhMwgTWfoQAx8UvOY5LyQmzxm-I6Ue2IZNBPkBShoQSCBwEHUwHGTNFA2zEBJRmXiELpuZhIlEnQrvYb6eA3fh9YPP21qGGMqOE/s1600/Morris+MSQ+2.jpg" height="200" width="150" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">When I met him at Kozhikode on the 5<sup>th</sup>
of this month, I enquired about the car assuming that it was still with him. To
my utter surprise and disbelief he told me that he had sold it off a few months
back. A sudden thought that I could have purchased it instead of it falling
into some other hands entered my mind. But it vanished faster than it came when
it was revealed that it was sold for a fancy price to a vintage car collector<span style="mso-spacerun: yes;"> </span>who had been pestering my friend to sell it
to him for <span style="mso-spacerun: yes;"> </span>several years. The reasons
for selling off the car which was close to his heart for so long ,<span style="mso-spacerun: yes;"> </span>after refusing to do so for years, were
strong <span style="mso-spacerun: yes;"> </span>enough. The ophthalmologist <span style="mso-spacerun: yes;"> </span>had declined to give a certificate for
renewing the driving licence; getting the driving licence of an 85 year old
renewed is next to impossible; the re-registration and insurance were falling
due; practical difficulties for future maintenance are many; above all his
son’s advice to sell it off for a good price <span style="mso-spacerun: yes;"> </span>coupled with the thought<span style="mso-spacerun: yes;"> </span>that it was going into safe hands clinched
it. Yes, a vintage car collector’s <span style="mso-spacerun: yes;"> </span>garage is the best destination an old car can
hope for. <span style="mso-spacerun: yes;"> </span>Old cars seem to be better
placed than old people for whom the mythical heaven is the only, though futile,
destination to hope for.</span></b></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 10.0pt;">Tail piece:-How I wish I had retained my
first car, the Standard Herald 1967 Model<span style="mso-spacerun: yes;">
</span>two door Sedan<span style="mso-spacerun: yes;"> </span>MSQ 84 which I
sold off in 1978!!</span></b></div>
</div>
JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com1tag:blogger.com,1999:blog-2372937692697241080.post-9513327981128662162014-11-22T22:14:00.001-08:002014-11-25T20:43:13.599-08:00K I S H O R E K U M A R - SINGER PERFORMER WITHOUT PAR.<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjCBDRGrcK91Jv8o6IieyqSMFXU8rA0fQPV0grbKDG4prOn0SoWeX_vlRq1mq-y7oAhbyTELHYGHWfjivhmMVLVSm34-eQmxn1FbsZ5v-MpIaKhkaffWrpt8nqaeNt657kxkBNooDIa4Y8/s1600/Blog+Kishore.+Stamps+001.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjCBDRGrcK91Jv8o6IieyqSMFXU8rA0fQPV0grbKDG4prOn0SoWeX_vlRq1mq-y7oAhbyTELHYGHWfjivhmMVLVSm34-eQmxn1FbsZ5v-MpIaKhkaffWrpt8nqaeNt657kxkBNooDIa4Y8/s1600/Blog+Kishore.+Stamps+001.jpg" height="133" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 12.0pt; line-height: 115%; mso-themecolor: text1;">It
has always been fascinating for lovers of old Hindi films and songs to marvel
at the genius of Kishore Kumar, the producer, director,writer, music director, actor
and, above all, singer, who ruled <span style="mso-spacerun: yes;"> </span>the Indian
film scene on his terms during about <span style="mso-spacerun: yes;"> </span>four decades from the 1950s.Even now the young
and the old adore him for the wonderful songs he had composed for himself<span style="mso-spacerun: yes;"> </span>as well as for other singers and for the
innumerable songs of different genre he rendered for all the other acclaimed music
directors of the period. For me, what makes Kishore Kumar’s contribution to
film music different is the fact that almost all his songs upto the middle of
the 70s, were popular and there would never be a dull moment when we listen to
these songs be it a melody, a semi classical, a grief filled, a hilarious or
even an ‘non sensical’one. His unique voice, open throated style of singing,
adaptability to the mood and situation of the song, his very successful stage
shows which probably<span style="mso-spacerun: yes;"> </span>started the trend
of audience participation all made him a darling of the masses.</span></b></div>
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has been written about his contribution to film music, his eccentricity, his
hilarious ways at recording studios and sets, his idiosyncrasy, his playing
pranks with co singers and co-stars which are all part of the folklore of Hindi
film world and even after about three decades of his passing away the channels
are coming up with special programs on him. But still what prompted me to throw
my fingers on this old key board is a song, from Hrishikesh Mukherji’s film
BUDDHA MIL GAYA(1971)<span style="mso-spacerun: yes;"> </span>with<span style="mso-spacerun: yes;"> </span>Navin Nischal and Archana in the lead which,
to my huge delight, I heard this morning over<span style="mso-spacerun: yes;">
</span>Radio Ceylon on my tiny old Keltron radio! The song,’Raat kali ek qwaab
me aaye’, composed by R.D.Burman and<span style="mso-spacerun: yes;">
</span>rendered by Kishore Kumar in his sweet melodious style is one of my
favourite Kishore songs besides being the first I recorded on my tape recorder
bought in 1971 at Bangalore! It also reminded me with nostalgia this song from
Dev Aanand’s <span style="mso-spacerun: yes;"> </span>film GAMBLER (1971-Music
S.D.Burman), Viz., ‘Choodi nahin mera dil’ by Kishore which was there on the
demonstration tape supplied along with the cassette recorder. </span></b><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 12.0pt; line-height: 115%; mso-themecolor: text1;">http://search.yahoo.com/search?p=rAAT+KALI+EK+KWAAB&ei=UTF-8&fr=moz35</span></b>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfjI1FJb78M3EPhUiOcM-GTdeN_FXI3PS4Qt1qLbTpg2fX2Pa3F60pxmBLfNC7PPzG64qfu85KOie5fQLlrPR64kXgl-LTg3ZTKs1FaYtFOCfgIIX0oR13KsuY4RCpWqu2SnzU9J2GNTlw/s1600/Blog+Kishor+Kumar.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfjI1FJb78M3EPhUiOcM-GTdeN_FXI3PS4Qt1qLbTpg2fX2Pa3F60pxmBLfNC7PPzG64qfu85KOie5fQLlrPR64kXgl-LTg3ZTKs1FaYtFOCfgIIX0oR13KsuY4RCpWqu2SnzU9J2GNTlw/s1600/Blog+Kishor+Kumar.JPG" height="196" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE8Qbz97n4k_aQSYDPemj_az6r2Gqh0wroY_nZ2igZ-ymPbdNEZHNZQ5yUGsLX_R_jxylCgOURI88QLUliY5bTMfPenlCEozCXiD-3i-lzHEGCO6-9fBXUIiTwLT1UK_IpnEwtpGkrQK1z/s1600/Blog+Kishore+9++2++11.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE8Qbz97n4k_aQSYDPemj_az6r2Gqh0wroY_nZ2igZ-ymPbdNEZHNZQ5yUGsLX_R_jxylCgOURI88QLUliY5bTMfPenlCEozCXiD-3i-lzHEGCO6-9fBXUIiTwLT1UK_IpnEwtpGkrQK1z/s1600/Blog+Kishore+9++2++11.JPG" height="180" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK6sXUgZM8ewjfkNDsjkAZq9fg7nhPiofHqWgQGdIWrT5X3Fxp3apTYGruFAXg5sv5u3SijwE2SNK7t_CWL_PGaF7IZ0pwU-iEkIiftYOUOmFlheMEelP0bZBiMNk8vHF9H6WEXFPl4xEa/s1600/Blog+Kishore+Paying+guest.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK6sXUgZM8ewjfkNDsjkAZq9fg7nhPiofHqWgQGdIWrT5X3Fxp3apTYGruFAXg5sv5u3SijwE2SNK7t_CWL_PGaF7IZ0pwU-iEkIiftYOUOmFlheMEelP0bZBiMNk8vHF9H6WEXFPl4xEa/s1600/Blog+Kishore+Paying+guest.JPG" height="200" width="195" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJtXElN-y9UUvm1xyoAd6Nx89F-5KCfX2ZrFxATgcgqdGxMCcoAU9T05DLOPyNh7mMWh0UbSEBzbZEb9aaMPlDeLmLv-P4FOvWUdOIf8mFtLgBDN1EuTjSTlEDek4tKUutgPBfDR7QVb-1/s1600/Blog+Kishore+Kati+Patanh.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJtXElN-y9UUvm1xyoAd6Nx89F-5KCfX2ZrFxATgcgqdGxMCcoAU9T05DLOPyNh7mMWh0UbSEBzbZEb9aaMPlDeLmLv-P4FOvWUdOIf8mFtLgBDN1EuTjSTlEDek4tKUutgPBfDR7QVb-1/s1600/Blog+Kishore+Kati+Patanh.jpg" height="200" width="150" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2OWLFGSAd4-TI1v6cluWNnXFHyIV8pTRCribCF3sMSiCs7tv-GltmP408ymt5Lxl6b1epbsdlpt9JH2KRLleeeRaaY2BwYYVAEN07Jvze_ZWPz6qR5A2wCxDBndO7mkurRbwWs8ZP4T_e/s1600/Blog+Kishore+Aaradhana.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2OWLFGSAd4-TI1v6cluWNnXFHyIV8pTRCribCF3sMSiCs7tv-GltmP408ymt5Lxl6b1epbsdlpt9JH2KRLleeeRaaY2BwYYVAEN07Jvze_ZWPz6qR5A2wCxDBndO7mkurRbwWs8ZP4T_e/s1600/Blog+Kishore+Aaradhana.JPG" height="191" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 12.0pt; line-height: 115%; mso-themecolor: text1;">This made me remember many of the hit songs of this trio of Kishore, Dev
Aanand and S.D.Burman especially of the 1950s during the first phase of
Kishore’s singing career. As mentioned in my earlier posts there were a few
such successful trios like Rafi, S&J and Shammi kapur, Rafi, Naushad and
Dilip Kumar, KIshore, RDB and Rajesh Khanna<span style="mso-spacerun: yes;">
</span>in the late 70s and so on. The beauty of the songs of these trios is
that one can think of them only together as the thought of one necessarily
brings the other two to mind. One such song of the trio of<span style="mso-spacerun: yes;"> </span>Kishore, SDB and Dev Annand is this soft ’Mana
janaab ne pukara nahi’ from film PAYING GUEST<span style="mso-spacerun: yes;">
</span>with Nutan in the lead. Another is the one ‘Hum hai raahi pyar ki’ from
film NAU DO GYARAH(1957),<span style="mso-spacerun: yes;"> </span>a Dev
Anand-Kalpana Karthik film. A rare duet of Kishore with Asha, viz.,’Aankhon
mein kya ji’ is also there in the film. In film MUNIMJI(1955), a Dev Aanand
Nalini Jaiwant film, the soft, flowing ‘Jeevan ki safar mein rahi’ was very
popular. Film FANTOOSH (1956- Shiela Ramani) is remembered for Kishore’s sombre
<span style="mso-spacerun: yes;"> </span>‘Dukhi man mera’.</span></b><br />
<br />
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 12.0pt; line-height: 115%; mso-themecolor: text1;">While Dev Aanand
continued his success pairing with several of the leading female artists of
Hindi film world, for S.D. Burman,<span style="mso-spacerun: yes;">
</span>Kishore remained <span style="mso-spacerun: yes;"> </span>a favourite voice
for Dev Aanand even<span style="mso-spacerun: yes;"> </span>in the 60s ,
but<span style="mso-spacerun: yes;"> </span>in a limited way, with songs like ‘Yeh
dil na hota bechaara’and the duet with Lata,viz., ‘Aasman ke neeche’ from film
JEWEL THIEF (1967) wth Vyjayanthimala in the lead. In TEEN DEVIAN(1965), with
Simi Garewal, Nanda and Kalpana in the female lead, there is this haunting
melody of Kishore,<span style="mso-spacerun: yes;"> </span>in two versions, viz.
‘Khawab ho tum ya koi haqueeqat’ reminding us of SDB’s own superhit ‘Pyar
dewaana hota hai mastana hota hai’ by Kishore from the epoch-making musical
film AARADHANA. In the superhit film GUIDE(1965) the music of which had earned
huge popularity for SDB, there was only one song , that too a duet with Lata,
for Kishore, viz., Gaata rahe mera dil’ which is a departure from the past. In
fact Rafi was given the pride of place<span style="mso-spacerun: yes;">
</span>with two haunting melodies,’Kya se kya ho gaye’ and ‘Tere mere sapne’.
Again there was no song for Kishore in film MANZIL(1960), a Dev Aanand Nutan
starrer in which SDB preferred Manna Dey, <span style="mso-spacerun: yes;"> </span>Hemant Kumar<span style="mso-spacerun: yes;">
</span>and Rafi<span style="mso-spacerun: yes;"> </span>instead of Dev Aanand’s
usual voice Kishore. It happened in Dev Aanand’s <span style="mso-spacerun: yes;"> </span>other musical hits like BOMBAI KA BABU(1960-Suchitra
Sen) , KALA BAZAR(1960 Waheeda Rahman) <span style="mso-spacerun: yes;"> </span>and KALA PANI(1959- Madhubala). In all of them
it was Muhammed Rafi all the way. The fact that this had happened in films of
Dev Aanand’s own production house, Navketan, speaks for itself. Yes, by 1960
and for the next decade Rafi had emerged as the top male voice in Hindi films. But,
still, SDB used the voice of Kishore in yet another Dev Aanand film<span style="mso-spacerun: yes;"> </span>PREM PUJARI(1970-Sharmila Tagore) for this
soft melodious song,’Phoolon ke rang se dil ki kalam se’ to the utter delight
of Dev-SDB-Kishore fans.</span></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5yi2CKavVGP9dDbKdgH5e3KBqs2xwg3BMmEC7vEBNb44gzidcHK_SdTjrv04JrWEhoK70DEARnzwyfe18Iq-XArUncG9nvOkdHCMH0W3PfyFdhMko4_1iiX7WMMdtV8sP4tGcpgv9Hb4x/s1600/Blog+Kishor+SDB++RDB.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5yi2CKavVGP9dDbKdgH5e3KBqs2xwg3BMmEC7vEBNb44gzidcHK_SdTjrv04JrWEhoK70DEARnzwyfe18Iq-XArUncG9nvOkdHCMH0W3PfyFdhMko4_1iiX7WMMdtV8sP4tGcpgv9Hb4x/s1600/Blog+Kishor+SDB++RDB.JPG" height="129" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">SDB-RDB</td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw3nSuZME9s8Gu8roslsjivtYk1XXg1zTqo1v21j98jsbwpgRatQcegMgYfdW42oljmg_v6tm1-BxUqKjSwhTWBul0glsTZkxMhvAZlgeUOThuZOk5xwNhTbpf_z-cc4D8369WzQRD3jJg/s1600/Blog+Kishore++Choicest.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw3nSuZME9s8Gu8roslsjivtYk1XXg1zTqo1v21j98jsbwpgRatQcegMgYfdW42oljmg_v6tm1-BxUqKjSwhTWBul0glsTZkxMhvAZlgeUOThuZOk5xwNhTbpf_z-cc4D8369WzQRD3jJg/s1600/Blog+Kishore++Choicest.JPG" height="200" width="195" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYAAqrdBuLuQpSJAJ5UBWiVT2jwYRoF4Z878ZyB_ovvnM2YOCEaO3kYw8UvRcPkiTAY4WesyUpHAn2G6G80D02seBW2He_J_UQ1uLg-M0KWGFzOMVncaR3sEp5VkXCfqJLY-ov7QTw_xoi/s1600/Blog+Kishore+Amar+Prem.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYAAqrdBuLuQpSJAJ5UBWiVT2jwYRoF4Z878ZyB_ovvnM2YOCEaO3kYw8UvRcPkiTAY4WesyUpHAn2G6G80D02seBW2He_J_UQ1uLg-M0KWGFzOMVncaR3sEp5VkXCfqJLY-ov7QTw_xoi/s1600/Blog+Kishore+Amar+Prem.jpg" height="106" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 12.0pt; line-height: 115%; mso-themecolor: text1;">With the rise of Rajesh Khanna as the first super star of Hindi cinema
with the release of the two hugely successful romantic musical hits
AARADHANA(1969- S.D.B)<span style="mso-spacerun: yes;"> </span>and KATI
PATANG(1970- R.D.B) Kishore Kumar re-emerged as the No.1 play back singer and
continued to be so till the end in 1987.The song ‘Roop tera mastana’<span style="mso-spacerun: yes;"> </span>rendered in his inimitable style which won him
the Filmfare Award for the best singer and the romantic song ‘Mere<span style="mso-spacerun: yes;"> </span>sapnon ki rani’ from Aaradhana were the rage
of the period especially on the campuses. The captivating songs like ‘Yeh shaam
mastani’ and ‘Yeh jo mohabat hai, composed by R.D.Burman for film<span style="mso-spacerun: yes;"> </span>Kati Patang marked the beginning of the trio
of Rajesh Khanna-Kishore - RDB with a large number of hit songs to follow. In
fact Rajesh Khanna’s rise to super stardom owes a lot to the music of SDB, RDB
and Kishore whose voice suited best for him, the romantic hero he was! Besides,
it was under SDB and RDB that Kishore gave most of his memorable songs.Two
songs readily coming to mind are the super sweet, ‘Deewana leke aaya hai dil ka
tarana’ and ‘Oh mere dil ki chain’ from film MERE JEEVAN SAATHI (1972- Rajesh
Khanna –Tanuja). In film AMAR PREM(1972-</span></b><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 12.0pt; line-height: 115%; mso-themecolor: text1;">Sharmila Tagore) there are three songs
of Kishore, viz., ‘Kuch toh log kahenge’, ‘Chingari koi badke’ and the soft
persuasive ‘Yeh kya hua kaise hua’. In Rajesh Khanna’s <span style="mso-spacerun: yes;"> </span>super hit film NAMAK HARAM(1973-Rekha- Amitab
Bachhan) again there are three songs of Kishore of which the one ‘Diya Jalte
hain’was the most popular. </span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimKhP8ZcGaATog53-qazPbXb-TKrimkb5SpwYOBGSiEEoVJl5kD8tfknBX0ACiiraz2Qccj-XtqkFZ5-A3mF8p9nEs9TjGeIhR5CKV3-ApVzQoV-IdyDK1IWDJofSmaGWEeYsM9uFZ8ZE5/s1600/Blog+Kishore+on+balcony.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimKhP8ZcGaATog53-qazPbXb-TKrimkb5SpwYOBGSiEEoVJl5kD8tfknBX0ACiiraz2Qccj-XtqkFZ5-A3mF8p9nEs9TjGeIhR5CKV3-ApVzQoV-IdyDK1IWDJofSmaGWEeYsM9uFZ8ZE5/s1600/Blog+Kishore+on+balcony.jpg" height="200" width="139" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 12.0pt; line-height: 115%; mso-themecolor: text1;">The outstanding performance of Amitab Bachhan<span style="mso-spacerun: yes;"> </span>in film Namak Haram propelled him into
stardom and two very successful films followed with S.D.Burman’s music and
Kishore rendering some of his top romantic songs for Amitab Bachan. The first
is film ABHIMAN(1973-Jaya Bahduri)with the song, ‘Meet na mila re man ka’ and
the duet with Lata, ‘Tere mere Milan ki yeh raina’. The other film is<span style="mso-spacerun: yes;"> </span>MILI(1975-Jaya Bahduri) with two songs by
Kishore,viz., ‘Badi sooni sooni hai’ and the soulful<span style="mso-spacerun: yes;"> </span>‘Aaye tum yaad mujhe’. Two other notable
RDB-Amitab-Kishore films are Hare Rama Hare Krishna(1971-Zeenat Aman)and<span style="mso-spacerun: yes;"> </span>Manzil(1971-Mousumi Chatterjee). The ‘rain’
song ‘Rim jim gire saaawan’ from film Manzil is remembered even today for the beauty
of the composition and the picturisation of the scene. Two out of the eight
Filmfare Awards for best singer were won by Kishore for his songs for Amitab,
viz., for film DON (Music by Kalyanji Aanandji) ‘Khaike pan Banarasiwala’, and
for NAMAK HALAL(Music Bappi Lahri-1982-Smita patil)the beautiful and one of the
rare semi classical numbers of Kishore, ‘Pag ghunguroo bandh Meera <span style="mso-spacerun: yes;"> </span>naachi thi’.That reminds me of RDB’s song for
film SAAGAR(1986-Rishi Kapoor-Dimple),viz., ‘Saagar kinare’ which gave Kishoren
another Filmfare Award for the best singer.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkRyG1Ph4qBB1s__naTMkq3Bxw1M831RN4NboXhnw5VRa4LDH-XDVmzqdfHg-VvPxSDs8gHrWUIP2gGFVrG7MlH3IbcAOt34KCOcQ-GVglktuD36acjLOY0YO563cncY0FPEUUPg-21dQq/s1600/Blog+kishore+Melodies.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkRyG1Ph4qBB1s__naTMkq3Bxw1M831RN4NboXhnw5VRa4LDH-XDVmzqdfHg-VvPxSDs8gHrWUIP2gGFVrG7MlH3IbcAOt34KCOcQ-GVglktuD36acjLOY0YO563cncY0FPEUUPg-21dQq/s1600/Blog+kishore+Melodies.JPG" height="200" width="197" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSofzV4wKygiVYtftg2rbuyoJ3JmXMftYOJ395Tm2Gb21Ayj7Jzhlo2qgR7i8Sj4-qcZAnHy94gtgvjDMn5xUtod6eeV_ouAlTPr9ohwMBsvFK4_lUS6XMeCsdfu-b8rYSCMU6xAMtB_D1/s1600/Blog+kishore+Aandhi+TYeen+devian.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSofzV4wKygiVYtftg2rbuyoJ3JmXMftYOJ395Tm2Gb21Ayj7Jzhlo2qgR7i8Sj4-qcZAnHy94gtgvjDMn5xUtod6eeV_ouAlTPr9ohwMBsvFK4_lUS6XMeCsdfu-b8rYSCMU6xAMtB_D1/s1600/Blog+kishore+Aandhi+TYeen+devian.JPG" height="90" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 12.0pt; line-height: 115%; mso-themecolor: text1;">Kishore and RDB had also created a few wonderful songs, especially duets
with Lata for<span style="mso-spacerun: yes;"> </span>Sanjeev Kumar. Film
AANDHI(1975) is noted for three of the best ever duets of Hindi films, viz.,’Is
mod pe jaate hain’, ‘Tum aa gaye ho noor aa gaya’ and the immortal ‘Tere<span style="mso-spacerun: yes;"> </span>bina zindagi’. There is another haunting duet
in film AAP KI KASAM, viz., ‘Karvten badalte rahen’.In film ANAMIKA(1973)there
is this evergreen solo ‘Mere bheegi bheegi si’ and in film
PARICHAY(1972-Sanjeev-Jaya Bahduri-Jitendra)the melodious ‘Musaafir hoon na
yaro’ <span style="mso-spacerun: yes;"> </span>picturised on Jitendra. I also
remember a glorious O.P.Nayyar duet of Kishore and Asha<span style="mso-spacerun: yes;"> </span>in film BAAP RE BAAP, ‘Piya piya piya mera
jiya pukare’ with the typical ‘tonga beats’ making the song energetic and
pleasing. http://search.yahoo.com/search?p=PIYA+PIYA++PIYA&ei=UTF-8&fr=moz35</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 12.0pt; line-height: 115%; mso-themecolor: text1;">Music directors Laxmikant Pyarelal had composed some of the evergreen
melodies for Kishore Kumar.In Mr.X IN BOMBAY the song. ‘Mere mehboob khayamat
hogi’;for film DAAG the song , ‘Mere dil mein aaj kya hai’; in filmDO RAASTE the
song ‘Mere nazeeb mere dost’ and for film HUM SUB USTAD HAI the song ‘Ajnabi
tum jane pehchane se’ come readily to mind.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmL7EceomcFhf6BaEJKsIWZdU-0TRRUhfiu3LL69ZF-n-9ap_gCD1aIv3Z_OZzYFNLcmVhT3lNaheL9QZXsJI7VgMxz9IaGTIl6PqozWdXdPjM42ukZ2B9gASiwsA1QKnK-Rlc9W0MBS9N/s1600/Blog+Kishore+Memories.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmL7EceomcFhf6BaEJKsIWZdU-0TRRUhfiu3LL69ZF-n-9ap_gCD1aIv3Z_OZzYFNLcmVhT3lNaheL9QZXsJI7VgMxz9IaGTIl6PqozWdXdPjM42ukZ2B9gASiwsA1QKnK-Rlc9W0MBS9N/s1600/Blog+Kishore+Memories.JPG" height="196" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 12.0pt; line-height: 115%; mso-themecolor: text1;">I also remember a few popular songs of Shankar Jaikishen for Kishore
Kumar. One is ‘Nakhre wale’ from film NEW DELHI; another is ‘Hum matwale
naujaawan’ from film<span style="mso-spacerun: yes;"> </span>SHARARAT;two from
film RANGOLI,’Rangoli sajaore’ and ‘Chhoti se yeh duniya’. Kishore’s ability to
‘yodel’ has been used with great effect by S&J for some of these songs. Kishore’s
song ‘Zindagi ek safar ek suhana’ of<span style="mso-spacerun: yes;">
</span>film ANDAZ(1971) was the top of the chart song<span style="mso-spacerun: yes;"> </span>of the popular Binaca Geetmala program of
Radio Ceylon in 1971.</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 12.0pt; line-height: 115%; mso-themecolor: text1;">Composer Ravindra Jain’s ‘Ghungaroo ki tarah’ (Film Chor Machaaye Shor-1974),Hermant
Kumar’s ‘Woh Shaam kuch ajeeb thi’(Film-Khamoshi),and lyricist turned music
director Prem Dhavan’s, ‘Teri duniya se hoke majboor chala’(Film Pavitra Papi)are
some of the other songs which passed through my mind.The last named used to be
heard repeatedly over the radio during early 70s but, regrettably it appears,
the song has gone into oblivion.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbq5XEJ7NDVkla6dkDSfPBsqulywoGlGF2i3rZWRBXwu-fYWYXny7OPAPCtdg4njz_vzhbMpiG8S2HRNtIWD31nuA2vJoGs64-L-TOa51koS3v5lvg6iV3uDQ0k1G5TngHiL-g9rMvm5Tq/s1600/Blog+Kishore+casette.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbq5XEJ7NDVkla6dkDSfPBsqulywoGlGF2i3rZWRBXwu-fYWYXny7OPAPCtdg4njz_vzhbMpiG8S2HRNtIWD31nuA2vJoGs64-L-TOa51koS3v5lvg6iV3uDQ0k1G5TngHiL-g9rMvm5Tq/s1600/Blog+Kishore+casette.JPG" height="200" width="121" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp4oca11G7wWSvbzp_AyrSP0Nj0RgtbazNr0sTm1BqqEz0ZDGesVDRWs-IM0WEnGCe3NwjCcP-id9uovvbA-E5CzDir0XVEe2_Cr4SFt0SB8X5O8Fp9KB-6NSVpK0pK7pu-BxEXDGjHdVe/s1600/Blog+Kishore+Enchanting.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp4oca11G7wWSvbzp_AyrSP0Nj0RgtbazNr0sTm1BqqEz0ZDGesVDRWs-IM0WEnGCe3NwjCcP-id9uovvbA-E5CzDir0XVEe2_Cr4SFt0SB8X5O8Fp9KB-6NSVpK0pK7pu-BxEXDGjHdVe/s1600/Blog+Kishore+Enchanting.JPG" height="198" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitDLS0TNOqWMAkm6c4NoPHzTPX9j6N5Qmu3-qBOOovZ7gA3R0Y97mBH_oXaWxzjQthD6zSWvrIoU6tJiJP88-ELczvj1MgK387xhrLNJD9qJC3IJsIPmZi1tIFyQystKDaRMZpMbU1RRt5/s1600/Blog+Kishore++Hits.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitDLS0TNOqWMAkm6c4NoPHzTPX9j6N5Qmu3-qBOOovZ7gA3R0Y97mBH_oXaWxzjQthD6zSWvrIoU6tJiJP88-ELczvj1MgK387xhrLNJD9qJC3IJsIPmZi1tIFyQystKDaRMZpMbU1RRt5/s1600/Blog+Kishore++Hits.JPG" height="191" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD5D5DV7HPhKTtEf-7AJI4A48SGwn6LOSsPQ1UzinHcJc-wW_DiieKW5_U2Ou3U5ujF7Ic_IxXC0csA_3_TsZ_kSOvdXNspGQFP-tJrMQ1YijCRXQCw8xQ_p4zkBoe5Ip2VQYyOwzxo_bJ/s1600/Blog+Kishore+chalti+ki+naam+car.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD5D5DV7HPhKTtEf-7AJI4A48SGwn6LOSsPQ1UzinHcJc-wW_DiieKW5_U2Ou3U5ujF7Ic_IxXC0csA_3_TsZ_kSOvdXNspGQFP-tJrMQ1YijCRXQCw8xQ_p4zkBoe5Ip2VQYyOwzxo_bJ/s1600/Blog+Kishore+chalti+ki+naam+car.jpg" height="148" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLZ2wgewsnzJChXKSRHguH61bhyphenhyphenMfZaaQ1V49fUuZk0JFC4amAhDmP7nGe3O_SarRQkQ_VLCzDMjqJAAPxTU1Um6yb-hobLjOnaGnGpQs2mlfkbRG1gHZJlROx-zaSYqttibOiKD01Wdnh/s1600/Blog+kishore+Jhumroo.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLZ2wgewsnzJChXKSRHguH61bhyphenhyphenMfZaaQ1V49fUuZk0JFC4amAhDmP7nGe3O_SarRQkQ_VLCzDMjqJAAPxTU1Um6yb-hobLjOnaGnGpQs2mlfkbRG1gHZJlROx-zaSYqttibOiKD01Wdnh/s1600/Blog+kishore+Jhumroo.JPG" height="121" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 12.0pt; line-height: 115%; mso-themecolor: text1;">Kishore Kumar, the eternal comedian on the screen and the best and the
last ‘yodeller’of Hindi film music, had used his talent for both to great
effect especially in films in which he himself had acted and composed music.
Film CHALTI KA NAAM GADI ( music SDB) was a full length hilarious comedy where
an old motor car was the real hero.<span style="mso-spacerun: yes;"> </span>Film
JHUMROO, for which he himself composed music has a few of the top melodious
songs <span style="mso-spacerun: yes;"> </span>in which he freely yodelled to the
delight of the discerning listeners. The title song, ‘Main hoon jhoom jhoom’,
‘Thandi hawa’ and ‘Matwale hum’ are examples. The grief filled ‘Koi hum du</span></b><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 12.0pt; line-height: 115%; mso-themecolor: text1;">m na
raha’ is, probably, <span style="mso-spacerun: yes;"> </span>the best song
composed by Kishore in which his voice comes out in all its glory to create the
mood of the song. In the famous ‘Mere samnewale kidki’ song of film PADOSAN, in
the ‘zaroorat hai zaroorat hai’ song from film Manmouji( Madan Mohan), and in
the ‘Priye praneswari’ song from film HUM TUM AUR WOH(Kalyanji Aanandji),’ his
ability as a comedian comes to the fore. Two of the most ‘nonsensical’<span style="mso-spacerun: yes;"> </span>but highy pleasing songs<span style="mso-spacerun: yes;"> </span>ever were also by Kishore,viz., ‘Ina mina
dika, dai dama nika’(Film-Aasha-C.Ramachandra) and ‘C. A. T. cat mane billie’
(Film Dilli ka Thug-Ravi). The muti pronged talent of Kishore could be seen in
the films ‘DOOR KA RAHI and DOOR GAGAN KI CHAAON MEIN’, both films written,
produced, directed and<span style="mso-spacerun: yes;"> </span>ted by him
besides composing music and singing a few songs.’ Aa chal ke tujhe’ and ‘ Koi
lauta de mere’<span style="mso-spacerun: yes;"> </span>from Door Gagan and
‘Jeevan se nahar’ and ‘Panth hoon mein is path’<span style="mso-spacerun: yes;">
</span>from Door ka Rahi were comparable with any of the top songs he sang for
SDB and RDB. Who can forget his duet with the newcomer Sulakshna Pandit,viz.,
‘Bequarar dil’ for Door ka Rahi? http://search.yahoo.com/search?p=Bequarar+dil&ei=UTF-8&fr=moz35</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjnzPmPYRJtkjP61n17qJ90hyphenhyphenjCDDnlUfmHbZsi4kGV-Lhx7fJftR63pSXC29UxzPbeekQDZEzT9lmrz5bhQSIGkLvaaNl2Dccb0-4aQ9kIiNGeoobew1neUMr7JVGxRcNW6JehZjI9wOd/s1600/Blog+Kishore+5+cassettes.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjnzPmPYRJtkjP61n17qJ90hyphenhyphenjCDDnlUfmHbZsi4kGV-Lhx7fJftR63pSXC29UxzPbeekQDZEzT9lmrz5bhQSIGkLvaaNl2Dccb0-4aQ9kIiNGeoobew1neUMr7JVGxRcNW6JehZjI9wOd/s1600/Blog+Kishore+5+cassettes.JPG" height="186" width="200" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpUtbr-7EkzI4CnsCS5YSS5Y4N-0FxBwL2jimdZJvdLGE63qDiNEBiIAuKk6toukeS0oJlnNZBJqM63xeOmaI-bfr9TDi00fOTmvtIvU3q4NBiu9DccqyR6J2qfqdiCKQX-7EGgtBrcY1K/s1600/Blog+KishoreBadhti_Ka_Naam_Dadhi.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpUtbr-7EkzI4CnsCS5YSS5Y4N-0FxBwL2jimdZJvdLGE63qDiNEBiIAuKk6toukeS0oJlnNZBJqM63xeOmaI-bfr9TDi00fOTmvtIvU3q4NBiu9DccqyR6J2qfqdiCKQX-7EGgtBrcY1K/s1600/Blog+KishoreBadhti_Ka_Naam_Dadhi.jpg" height="200" width="150" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 12.0pt; line-height: 115%; mso-themecolor: text1;">Kishore Kumar, the genius, always wore a mask of eccentricity probably
to guard his privacy and led a life away from the limelight towards the end of
his career. His tiff with the Income Tax authorities were well known<span style="mso-spacerun: yes;"> </span>reflected in this hilarious song ‘Guni jano
bhakth jano’with words coined<span style="mso-spacerun: yes;"> </span>by the
names of film stars and films and the song ending with words ‘Peeche pad gaya
income taxum’!( Film Ansu aur Muskan-Kalyanji Aanandji).</span></b> <b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Many still remember the out and out comedy film CHALTI KA NAAM GADI. Who
else but Kishore could direct a full length parody film BADDTHI KA NAAM DADHI?</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 10.0pt; line-height: 115%; mso-themecolor: text1;">Tail piece:-Unbelievable that Kishore did not sing a song for composer
Naushad!</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #00b0f0; font-size: 12.0pt; line-height: 115%;">Collectors of gramophone
records of Hindi films find it extremely difficult to get the records of
composer O.P.Nayyar . What we get are mostly overused ones with a lot of
scratches. Recently I could get a LP record, in fairly good condition, of film
HONGKONG(1962),starring Ashok Kumar, B.Saroja Devi,K.N.Singh and Helan for
which music was composed by O.P. Nayyar. The film got the attention of
film goers because of the presence of Ashok Kumar, the leading southern artist
B. Saroja Devi and the music of O.P. Nayyar.<span style="mso-spacerun: yes;">
</span>Dance music and dance scenes were popular <span style="mso-spacerun: yes;"> </span>those days and the music of the film catered
to this trend.<span style="mso-spacerun: yes;"> </span>The song, ‘Honolulu’ and
‘Kenya Uganda Tanganika’, ‘Hong Kong China meena’ and ‘Muhabbat karne wale muft
mein’ by Asha Bhosle are catchy numbers of the film. In fact out of the eight
songs <span style="mso-spacerun: yes;"> </span>seven are by Asha and the eighth a
duet with Rafi. Though one of<span style="mso-spacerun: yes;"> </span>the lesser
known albums of O.P. Nayyar, <span style="mso-spacerun: yes;"> </span>Hong Kong
has still a<span style="mso-spacerun: yes;"> </span>place of its own on the
shelf of the collector.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvrmzJE2IBxKSGrrcn0ZY7hX_3x4st1N9Ru4Sg7gZUjsrO0QbXiKPymXGw57Rfzt_5xseEGXceCi-W43q0O07OsDVyhqUkkCMy9z59QF0T0M665jRj_HV_ERGDOWWu6_T1ZJHXc6KpiNno/s1600/Blog++Hong+kong+singapore.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvrmzJE2IBxKSGrrcn0ZY7hX_3x4st1N9Ru4Sg7gZUjsrO0QbXiKPymXGw57Rfzt_5xseEGXceCi-W43q0O07OsDVyhqUkkCMy9z59QF0T0M665jRj_HV_ERGDOWWu6_T1ZJHXc6KpiNno/s1600/Blog++Hong+kong+singapore.jpg" height="200" width="138" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #00b0f0; font-size: 12.0pt; line-height: 115%;"> </span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: #00b0f0; font-size: 12.0pt; line-height: 115%;">In fact the LP record
of Hongkong<span style="mso-spacerun: yes;"> </span>is a duel album as on one
side of it is the music of film<span style="mso-spacerun: yes;">
</span>SINGAPORE (1960) starring Shammi Kapur and the Southern leading lady
Padmini . The film, shot in part in Singapore, with the story about a treasure
hunt was a big hit . Beautiful music by Shankar jaikishen was an added
attraction. The most popular songs of the film were the rare Mukesh song for
Shammi Kapur, ‘ Yeh shahar bada albela’ and the typical Helen song, ‘Dekhoji
dekho’by Lata. The song ‘Rassa sayung re’ in Malay language<span style="mso-spacerun: yes;"> </span>by Lata was also very popular on the campus.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggunzjTt1qJz2fEsjHewE3m2O7VaP4FOheAlG3oivW1K0nZZRKPkvC7lmKe0d76joPHvqs8Pl7_ieU0ymkESJhZZxCiYrLGQfDpbvRTW4tRkhUwoWCi00pvtyZHWVQJKPYxevNcB80zU5l/s1600/Blog+Hong+kong+Love+in+Tokyo.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggunzjTt1qJz2fEsjHewE3m2O7VaP4FOheAlG3oivW1K0nZZRKPkvC7lmKe0d76joPHvqs8Pl7_ieU0ymkESJhZZxCiYrLGQfDpbvRTW4tRkhUwoWCi00pvtyZHWVQJKPYxevNcB80zU5l/s1600/Blog+Hong+kong+Love+in+Tokyo.JPG" height="143" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #00b0f0; font-size: 12.0pt; line-height: 115%;">While listening to this
album my mind strayed<span style="mso-spacerun: yes;"> </span>towards a few
films with titles of foreign locations/cities. Naming films like that was
common to catch the imagination of viewers of the period fond of watching
scenes from foreign locations and the films offered a rich feast of such
scenes. Films Singapore and Hong Kong fell into this category. Two other films
coming to mind are the Joy Mukherjee-Asha Parekh film LOVE IN TOKYO(1966) and
the Shammi Kapur –Sharmila Tagore film AN EVENING IN PARIS(1967). Both films
had lilting and rocking music by Shankar Jaikishen. The most popular song of
the first film especially among college students <span style="mso-spacerun: yes;"> </span>was<span style="mso-spacerun: yes;"> </span>the
sentiment filled ‘Sayonara’by Lata Mangeshkar. The semi classical number ‘Koi
matwala’ by Lata was also a hit on the radio. Rafi’s<span style="mso-spacerun: yes;"> </span>‘Oh mere shahe -khuban (There is also a
version by Lata)was a typical Rafi song. The fast and energetic Rafi number
‘Aaja re aa zara’ was a huge hit. <span style="mso-spacerun: yes;"> </span>‘Main
tere pyar men’was also a very popular Manna Dey song.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYZw07RaKucJyE1Xg8ICdGYmIXq6nOvKRXASngb_ul9kUrTJeT_6rDvLj5RZwYlnecrkz5MI1PZIb8DuUFPMU1F4SelH5GVV4dC7SEITGqorlwIW17fN1llhP8pE8PIBucIsAKq54vjHvE/s1600/BLOG+HONGKON+EVENG+IN+PARIS.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYZw07RaKucJyE1Xg8ICdGYmIXq6nOvKRXASngb_ul9kUrTJeT_6rDvLj5RZwYlnecrkz5MI1PZIb8DuUFPMU1F4SelH5GVV4dC7SEITGqorlwIW17fN1llhP8pE8PIBucIsAKq54vjHvE/s1600/BLOG+HONGKON+EVENG+IN+PARIS.jpg" height="200" width="194" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #00b0f0; font-size: 12.0pt; line-height: 115%;">The film AN EVENING IN
PARIS<span style="mso-spacerun: yes;"> </span>has the team of Shankar-jaikishen,
Muhammed Rafi and Shammi Kapur at their sizzling best.The chemistry among this
trio is as well acknowleged<span style="mso-spacerun: yes;"> </span>and accepted
by film lovers as the team of Dilip Kumar, Rafi and Naushad and/or Dev
Anand,<span style="mso-spacerun: yes;"> </span>S.D.Burman and Kishore Kumar.The
fast paced and melodious title song, ‘An evening in Paris’ , the rollicking ‘
Akele akele kahan jaa rahe ho’ and ‘Aasman se aaya farista’prove the point. In
fact Shammi Kapur was probably the best for song situations with his delightful
antics and flexibility! Shankar-Jaikishen and O.P.Nayyar had exploited<span style="mso-spacerun: yes;"> </span>this for <span style="mso-spacerun: yes;"> </span>many of their songs.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNfbz6uLRBmQ6GGHGM7m332ZAy5NrETpoFeEr8ezUA3hx3eIvqfkLLp_NJ60X8UY9ssW-lcrzebl_0IDHo8lNytfbZhCNmzz6HqJwr7sQQlKqqf5tyQq2fIeVUPFDQCygqAjMF55g2f7wD/s1600/Blog+Hongkong+China+Town.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNfbz6uLRBmQ6GGHGM7m332ZAy5NrETpoFeEr8ezUA3hx3eIvqfkLLp_NJ60X8UY9ssW-lcrzebl_0IDHo8lNytfbZhCNmzz6HqJwr7sQQlKqqf5tyQq2fIeVUPFDQCygqAjMF55g2f7wD/s1600/Blog+Hongkong+China+Town.jpg" height="200" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #00b0f0; font-size: 12.0pt; line-height: 115%;">That again reminds me
about the Shammi kapur-Shakila- Helen film CHINA TOWN (1962) having a similar
theme with <span style="mso-spacerun: yes;"> </span>visuals of foreign locations.
The film had outstanding music by Ravi. The song for Shammi Kapur’s club dance
scene ‘Bar bar dekho’ was the most popular. The sweet and nostalgic title song
‘China town’ by Asha Bhosle for Helen remains as sweet as ever. There is also
this song, ‘Yamma yamma yamma’ and the Rafi-Asha duet ‘Bada qatil hai’ both <span style="mso-spacerun: yes;"> </span>typical of films in this genre like Singapore.
The pleasant, breezy duet ‘Hamsena poochho hum’ by Rafi and Asha is an added
attraction.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1ag-dksFLmTQNotcnVCvS_1aF2enqDJ268HjybTXS0LDYXYWLIEL4L8PZursbD0ktiQ0q6zSe5-oJ5ABZ-q8SZwpO5yxHDMhcPOOiTZjA0M5K6YJKhLA2IHeRuYcQGccvI3gvY8ybuNKj/s1600/Blog+Hong+kong+S+&+J.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1ag-dksFLmTQNotcnVCvS_1aF2enqDJ268HjybTXS0LDYXYWLIEL4L8PZursbD0ktiQ0q6zSe5-oJ5ABZ-q8SZwpO5yxHDMhcPOOiTZjA0M5K6YJKhLA2IHeRuYcQGccvI3gvY8ybuNKj/s1600/Blog+Hong+kong+S+&+J.jpg" height="148" width="200" /></a></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS1OaIzSW0ENbY4MAX8w0LlNwzOixczcF4lttqeTm_JWvfgMGPC9ai5XKDxGekPO2Y2h0-n8OI9iOaul8pU_sGIsyVPaJVW_dGjhk64q3H7aYH-pXMKXIwDTIG8XZD0M-g5_VNUxwJTafm/s1600/Blog+Hong+kong+sharada.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS1OaIzSW0ENbY4MAX8w0LlNwzOixczcF4lttqeTm_JWvfgMGPC9ai5XKDxGekPO2Y2h0-n8OI9iOaul8pU_sGIsyVPaJVW_dGjhk64q3H7aYH-pXMKXIwDTIG8XZD0M-g5_VNUxwJTafm/s1600/Blog+Hong+kong+sharada.jpg" height="200" width="156" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sharda</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkFYGYu9tNqxdWIzEUf5bgcQKrNXcrom1TNBcTRuhl1Q1XfzfQ88QBIYnS5lUlA0VDXMPww7Vo0csBLUGhoaGyaheK3rH-9XXffLlP19olBWKcrHXn45R23TByBqA1ChZEZB4O0pJE31_N/s1600/Blog+Hongkong+Around+the+world.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkFYGYu9tNqxdWIzEUf5bgcQKrNXcrom1TNBcTRuhl1Q1XfzfQ88QBIYnS5lUlA0VDXMPww7Vo0csBLUGhoaGyaheK3rH-9XXffLlP19olBWKcrHXn45R23TByBqA1ChZEZB4O0pJE31_N/s1600/Blog+Hongkong+Around+the+world.jpg" height="200" width="149" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #00b0f0; font-size: 12.0pt; line-height: 115%;">The showman Raj
Kapur’s<span style="mso-spacerun: yes;"> </span>mega film AROUND THE WORLD(1967)
with Raj Kapur<span style="mso-spacerun: yes;"> </span>and Rajshree in the lead
is another film coming to my mind.The picture was shot extensively on foreign
locations including London, New York, Washington, Disneyland and so on offering
a visual treat to the viewers. Music by Shankar jaikishen is another attraction
of the film. The long title song<span style="mso-spacerun: yes;"> </span>‘Duniya
ki zair kar lo.....around the world in 8 Dollars’ by Mukesh and the then new
singer Sharda was very popular. Sharda ,had <span style="mso-spacerun: yes;"> </span>made her debut<span style="mso-spacerun: yes;">
</span>as a whiff of fresh air in the Hindi film playback scene for Shankar
Jaikishen,in film SURAJ (1966) with the super hit song ‘Titli udi ud jo chale’
and ‘ Dekho mera dil machal gaya’. In Around the world she rendered<span style="mso-spacerun: yes;"> </span>two more notable songs<span style="mso-spacerun: yes;"> </span>like ‘Chale jaana zara thehro’ and ‘Jaane bhi
de sanam’ . Sharda with a distinctly soft voice and style of crooning was<span style="mso-spacerun: yes;"> </span>heard mainly<span style="mso-spacerun: yes;">
</span>for Shankar Jaikishens’ films like Duniya, Gumnaam and so on and soon
disappeared from the scene<span style="mso-spacerun: yes;"> </span>in spite of
the huge promise she showed in the beginning. It was said that <span style="mso-spacerun: yes;"> </span>Shankar’s preference for her voice <span style="mso-spacerun: yes;"> </span>led to the split of the great musical duo.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5hW4mhzDlXduZNq8KFS6uX6Uh1u-4M8tEPXIT3nkZMZzpjKhDeOrLpduulUlKjKFAF0EAynNWIUIz0EDd8qccLHUtJ2v7WJ21rBpWWLtz8Rkn0Z5GBy6jH-Rqop28WTgxu2hEnS9Fd6FW/s1600/Blog+Hong+kong+Patanga.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5hW4mhzDlXduZNq8KFS6uX6Uh1u-4M8tEPXIT3nkZMZzpjKhDeOrLpduulUlKjKFAF0EAynNWIUIz0EDd8qccLHUtJ2v7WJ21rBpWWLtz8Rkn0Z5GBy6jH-Rqop28WTgxu2hEnS9Fd6FW/s1600/Blog+Hong+kong+Patanga.JPG" height="137" width="200" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #00b0f0; font-size: 12.0pt; line-height: 115%;">While typing these
lines memories of two highly successful adventure films passed through my mind.
One is PANIC IN BANKOK(1966) starring<span style="mso-spacerun: yes;">
</span>Kevin Mathews and Robert Hossen. The other is THAT MAN IN ISTAMBUL(1965) starring Horst Bucholz and Sylvia Koscina. My record player is playing the
sweet nostalgic song “Mere piya gaye Rangoon’ by Shamshad Begum in her
inimitable voice along with Chitalkar from film PATANGA with music by
C.Ramachandra.</span></b></div>
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JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com0tag:blogger.com,1999:blog-2372937692697241080.post-52478423649322286062014-08-26T02:16:00.001-07:002014-09-01T22:38:08.116-07:00Sri K NATWAR SINGH, HIS BOOK 'ONE LIFE IS NOT ENOUGH' AND FILM ACHHUT KANYA.<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC8RjTM3Y_Tb05HdqK2OjC0JCXMKkP-UEHyIO7UjHzsJ3ZMI-_0VI4NHr-1N8NMQPBtxnqEe0s802JRh53Z-G8D43NOspVy9LxA8jqn8pJvidoRR7DSb7wYNNBDtJqJKMViI6KpvIf8Htp/s1600/Natwar+Singh+-One+Life+001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC8RjTM3Y_Tb05HdqK2OjC0JCXMKkP-UEHyIO7UjHzsJ3ZMI-_0VI4NHr-1N8NMQPBtxnqEe0s802JRh53Z-G8D43NOspVy9LxA8jqn8pJvidoRR7DSb7wYNNBDtJqJKMViI6KpvIf8Htp/s1600/Natwar+Singh+-One+Life+001.jpg" height="320" width="212" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;">I just finished reading
Sri Natwar Singh’s recently published book, ONE LIFE IS NOT ENOUGH<span style="mso-spacerun: yes;"> </span>which had stirred up a lot of political controversies,
arguments and debates especially on the English news channels. These
discussions had, regrettably, <span style="mso-spacerun: yes;"> </span>centred
mainly on those portions of the book dealing with Smt Sonia Gandhi’s role in
Indian politics and her stranglehold on the UPA 1 and UPA 2. The reasons as
exposed by Sri Natwar Singh for her not accepting the country’s prime
ministership which was offered to her on a platter<span style="mso-spacerun: yes;">
</span>received more attention than anything else. </span></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu6kejK47l1UpJ-Bvk456W1WX6hi-riY_wdjWMADgSXOe45QN8YldNq7r2K4eFzRbxx0pnW2fWjOvLKJfsT3rjFcmP1fuzln2gY-_96gvv-vQqyJJnEpGMqAiwFENYpkFBPdqh2GamHdV5/s1600/Blog+Natwar+EMForster.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu6kejK47l1UpJ-Bvk456W1WX6hi-riY_wdjWMADgSXOe45QN8YldNq7r2K4eFzRbxx0pnW2fWjOvLKJfsT3rjFcmP1fuzln2gY-_96gvv-vQqyJJnEpGMqAiwFENYpkFBPdqh2GamHdV5/s1600/Blog+Natwar+EMForster.jpg" height="120" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">E.M.Forster</td><td class="tr-caption" style="text-align: center;"></td></tr>
</tbody></table>
<b style="mso-bidi-font-weight: normal;"><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;">Sri Natwar Singh a well
known editor, author, successful bureaucrat and influential diplomat <span style="mso-spacerun: yes;"> </span>entered politics at his option and went on to
become the Minister of <span style="mso-spacerun: yes;"> </span>External Affairs of
the country. An ardent admirer and friend of British writer and author
E.M.Forster , Sri Natwar Singh gives interesting details of his association and
meetings with the author.<span style="mso-spacerun: yes;"> </span>So also about
his association with R.K. Narayan, Kenneth Kaunda the first President of
Zambia,<span style="mso-spacerun: yes;"> </span>rulers, diplomats and world
leaders. Closely associated with the Nehru-Indira Gandhi family right from the
days of India’s independence as revealed by him in his book he was privy to and
had first hand information on<span style="mso-spacerun: yes;"> </span>several of
the course changing decisions taken by successive Congress governments at the
Centre.The partition of India, invasion of Kashmir by Pakistan, the handing
over of the issue to the U.N.,<span style="mso-spacerun: yes;"> </span>the
Indo-Chinese engagements and the war with China in which India was defeated,
the nationalisation of banks, Operation Blue star, the two wars with Pakistan
and the forming of Bangladesh, declaration of emergency, the Sri Lankan expedition
of the IPKF, Shah Banu case,the deeds and misdeeds of UPA 1 and UPA 2 and so on
have all been discussed from a diplomat’s point of view as well as that of an
insider who had a ring side view of the happenings. In fact the book helps the
reader to know how the country’s foreign policy evolved over the years, its
nuances, its high as well as low points, how the foreign offices worked and so
on <span style="mso-spacerun: yes;"> </span>coming as it is from the author who
was an officer of the foreign service, a diplomat and a minister of external
affairs. Sadly these aspects did not<span style="mso-spacerun: yes;">
</span>find a place in the discussions on the book.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIQJoKdgsvM5PEyYV4GMH0PA9AVYndjtVFKNg8y54Q9dzqjEwn2T0OQWkeVGAVMB9C0egir7RcheguXR_lxl0H4yuRF3_V7rzEDi5gbAsmjKPFa6MiKf2nu0ZDye6XjpSqbRzD1mnn5nFT/s1600/Blog+Natwar+with+Lions.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIQJoKdgsvM5PEyYV4GMH0PA9AVYndjtVFKNg8y54Q9dzqjEwn2T0OQWkeVGAVMB9C0egir7RcheguXR_lxl0H4yuRF3_V7rzEDi5gbAsmjKPFa6MiKf2nu0ZDye6XjpSqbRzD1mnn5nFT/s1600/Blog+Natwar+with+Lions.JPG" height="143" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDCAhQ6oGMSgn-i_hU7ByxEOZhqaYGNFIQ2FCdTKiVDfJ-hSsNeM7gul5h-gpcVRPGXCpavKMH2wQZZNrgwcAvRMCKRJIkaFjvT-3nCTTBjOaGKeY8Ggw3P6GPG6Mi6mI4YT7-_hB9DElx/s1600/Blog+Natwar+with+Indiea+Gandhi.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDCAhQ6oGMSgn-i_hU7ByxEOZhqaYGNFIQ2FCdTKiVDfJ-hSsNeM7gul5h-gpcVRPGXCpavKMH2wQZZNrgwcAvRMCKRJIkaFjvT-3nCTTBjOaGKeY8Ggw3P6GPG6Mi6mI4YT7-_hB9DElx/s1600/Blog+Natwar+with+Indiea+Gandhi.JPG" height="150" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;">The book is
interestingly written, is easy<span style="mso-spacerun: yes;"> </span>on the
reader and succeeds in giving the impression that the author is nearer to the
actual than otherwise.<span style="mso-spacerun: yes;"> </span>He does not seem
to allow his closeness to the ruling family to cloud his vision. He does not
mince words while pointing out the blunders of Nehru, Indira Gandhi, Rajiv
Gandhi and Sonia Gandhi at the same time highlighting the contributions of the
first three. He is highly critical of the UPA1 and UPA 2 regimes, Sonia
Gandhi<span style="mso-spacerun: yes;"> </span>and the former Prime Minister
Manmohan<span style="mso-spacerun: yes;"> </span>Singh. It is in this context
that the reader gets the impression that the<span style="mso-spacerun: yes;">
</span>frustration and bitterness, in connection with the circumstances that
made him<span style="mso-spacerun: yes;"> </span>resign from the cabinet and the
Congress party, get the better of him. But he had the last laugh when the people of India gave a resounding slap to the UPA and the Congress when the results of the parliamentary elections were announced on the 16th May 2014. </span></b><br />
<br />
<b style="mso-bidi-font-weight: normal;"><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;">The book also contains a number of
nostalgic photographs<span style="mso-spacerun: yes;"> </span>including<span style="mso-spacerun: yes;"> </span>a photo of Natwar Singh and wife with Lata
Mangheshkar and another showing Natwar Singh with the pet lion of Emperor Haile Selassie of Ethopia.</span></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKWrH3YLc1Aq82c2C8F2bHvCHf2na4Ld6SD2JSf-TAbQvw9ISJdX5U46PTklmQgRwfS9s2hzemKFVNsA6SyXoQU9-Az9jTNwUCJqArcR84wuhXcZ2FwxgmZ1Dl3sy0umULJnwG3TBQ07Lx/s1600/Blog+Natwar+Achhu+EP+001.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKWrH3YLc1Aq82c2C8F2bHvCHf2na4Ld6SD2JSf-TAbQvw9ISJdX5U46PTklmQgRwfS9s2hzemKFVNsA6SyXoQU9-Az9jTNwUCJqArcR84wuhXcZ2FwxgmZ1Dl3sy0umULJnwG3TBQ07Lx/s1600/Blog+Natwar+Achhu+EP+001.jpg" height="176" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">EP Record</td></tr>
</tbody></table>
<b style="mso-bidi-font-weight: normal;"><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;">One paragraph<span style="mso-spacerun: yes;"> </span>on page 35 of the book touched a chord
somewhere. The picture of a young Natwar Singh visiting a movie house in
Bharatpur with his parents to see the<span style="mso-spacerun: yes;">
</span>Bombay<span style="mso-spacerun: yes;"> </span>Talkies film Achhut Kanya,
an Ashok Kumar-Devika Rani<span style="mso-spacerun: yes;"> </span>film, evoked
memories of my going to see films with my parents though the circumstances were
not comparable. It also made me take out and play the EP record of the film’s
songs rendered by Ashok<span style="mso-spacerun: yes;"> </span>kumar and Devika
Rani! The 1936 film directed by Franz Osten and produced by Himanshu Rai was
one of the first super hit movies of Hindi films and one of the earliest Indian
movies with a social reformist theme. I also liked a sentence in another part
of the book, “I knew too well the fate of the retired officers- the doers of
yesteryears become the drifters of today.”</span></b></div>
</div>
JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com0tag:blogger.com,1999:blog-2372937692697241080.post-36407858075294450362014-08-03T05:27:00.001-07:002014-08-04T07:19:22.467-07:00FILM MADHUMATI, SALIL CHOUDHURY, HIS MUSIC.<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>Walking down <span style="mso-spacerun: yes;"> </span>the memory lane, there are several <span style="mso-spacerun: yes;"> </span>films that evoked plenty of nostalgic memories
of our younger days. One such film is Bimal Roy Productions, MADHUMATI (1958) directed<span style="mso-spacerun: yes;"> </span>by<span style="mso-spacerun: yes;">
</span>Bimal Roy with Dilip Kumar and Vijayantimala in the lead. The novelty of
the story and theme, viz. reincarnation and life after death, beautiful
picturisation, pleasing performance by the lead and supporting actors, the way
the story<span style="mso-spacerun: yes;"> </span>was handled retaining the
suspense till the end and above all,<span style="mso-spacerun: yes;"> </span>the
fascinating songs and music by Salil Choudhury made lasting impressions especially
on the younger viewers.The fact that the film bagged six National Awards and
nine Filmfare Awards for all the major categories added to its aura. Bimal Roy,
who had earlier made such wonderful films like PARINEETA, DO BHIGA ZAMIN,
DEVDAS, NAUKRI, BIRAJ BAHU etc.<span style="mso-spacerun: yes;"> </span>acquired
cult status with Madhumati and went on to make highly acclaimed films like
SUJATA, BANDINI, PARAKH<span style="mso-spacerun: yes;"> </span>and so on.</span></b></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_MD7vLCdx8WvU2Y22u3caJAq95hfX_u8y3dzGYbfscvatybIxG1M8Vn80Rg1gheA5iQDWAjXFmZGACJj4QoLRtTMQIz7OUgCZbvPCWYh-Wyi6sln9as6-p8ccPvCpWWnPoWpkpBHTvAoe/s1600/Blog+Salil+Madhumati.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_MD7vLCdx8WvU2Y22u3caJAq95hfX_u8y3dzGYbfscvatybIxG1M8Vn80Rg1gheA5iQDWAjXFmZGACJj4QoLRtTMQIz7OUgCZbvPCWYh-Wyi6sln9as6-p8ccPvCpWWnPoWpkpBHTvAoe/s1600/Blog+Salil+Madhumati.JPG" height="200" width="182" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">While listening to the LP record of
Madhumati on<span style="mso-spacerun: yes;"> </span>my record player, I
realised that the most important factor for the success of the film was the
music of Salil Chowdhury . The<span style="mso-spacerun: yes;"> </span>LP record
holds 12 songs of the film and most of them are even today hugely popular with
Lata’s Filmfare Award winning<span style="mso-spacerun: yes;"> </span>‘Aaja re
pardesi’ topping the list. The Lata-Mukesh duet<span style="mso-spacerun: yes;">
</span>“Dil tadap tadap’ is regarded as one of the top duets ever of Hindi
films. The<span style="mso-spacerun: yes;"> </span>Mukesh-Salil-Dilip Kumar
song, ‘Suhana safar aur mausam’ happens to be a rare song of Salil Chowdhury
filmed on Dilip Kumar. Two lively group<span style="mso-spacerun: yes;">
</span>songs, viz., ‘chad gayo papi bichhua’ and ‘Zulmi sang aankh ladi’adds
variety and displays Salil’s penchant for folk music. Mubarak Begum’s sweet and
soulful ‘Ham hal-e-dil sunnaaeenge’was a hit over the radio those days. Not in
the least is one of Rafi’s best ever ‘Toote hue khwabon mein’ making the LP
record of the film one of the most sought after one even now.</span></b></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn9U6kfZ9nTQ2h2Wwqp6D8brcQvBlW29xTW_g1Cli-DgmwcEz0WyfcN7TZ6BmRqvmoO9LQ9U0SkEV-pEGmSYoVvMIYpUx0_EbSp3sjiBbxx7GXz8ZeaNwavQABZ2TOZSrW9yl9lqNHu1hD/s1600/Blog+Salil+Nellu+001.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn9U6kfZ9nTQ2h2Wwqp6D8brcQvBlW29xTW_g1Cli-DgmwcEz0WyfcN7TZ6BmRqvmoO9LQ9U0SkEV-pEGmSYoVvMIYpUx0_EbSp3sjiBbxx7GXz8ZeaNwavQABZ2TOZSrW9yl9lqNHu1hD/s1600/Blog+Salil+Nellu+001.jpg" height="200" width="192" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxqEYSLgOnp3vG6_e_27xN5PHWpsV5tw6dW4aVDEqBrg7EDXr7JecYaY5olwvhqm-R4v9SSRmvT0L9eyZDELEebJEzMmDpB6Zg6yB4OAAlkhpdJ8i0P4VR7hfFV9jToUO4l9DmDby4Qb7c/s1600/BlogSalil+Kabuliwallah.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxqEYSLgOnp3vG6_e_27xN5PHWpsV5tw6dW4aVDEqBrg7EDXr7JecYaY5olwvhqm-R4v9SSRmvT0L9eyZDELEebJEzMmDpB6Zg6yB4OAAlkhpdJ8i0P4VR7hfFV9jToUO4l9DmDby4Qb7c/s1600/BlogSalil+Kabuliwallah.JPG" height="196" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Kabuliwallah</td><td class="tr-caption" style="text-align: center;"></td></tr>
</tbody></table>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxSvUQ_THWpFqJhYS7R_-QY_jwL4JdCESiDHcuZUsf1roAPI97Q_MZAculPsylNSsjXhK9mhTyhQzQCoqtiTR_ZLfxnwq8SJlPb9yvaCph1t553ECv1gAoa9R8EjbRk0ptImgox9rx9Smp/s1600/blog+Salil+chemmeen.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxSvUQ_THWpFqJhYS7R_-QY_jwL4JdCESiDHcuZUsf1roAPI97Q_MZAculPsylNSsjXhK9mhTyhQzQCoqtiTR_ZLfxnwq8SJlPb9yvaCph1t553ECv1gAoa9R8EjbRk0ptImgox9rx9Smp/s1600/blog+Salil+chemmeen.jpg" height="182" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Some of the evergreen songs of Salil
Chpidhury also flashed through my mind while listening. Manna Dey remained one
of his favourite male voices right from the 1953 film ‘DO BIGHA ZAMIN’, the
chorus ‘Dharti kare pukar ke’( with Lata) being very popular.The song<span style="mso-spacerun: yes;"> </span>‘Hariyaala saawan dhol bajata aaya’, again a
chorus with Lata, revealed Salil’s mastery over folk style of music. In film USNE
KAHA THA there is ‘Janewale sipahi se poochho’, a highly patriotic song by
Manna Dey. Two very popular and melodious songs of Manna Dey for Salil
Choudhury coming readily to mind are ‘Zindagi kaisee hai paheli’ from Aanand
and the sweet ‘Ek samay par do barsati’ from JHOOLA. For me, the second is the
favourite for his softness of voice in the Talat Mahmood style. And for voice
modulation and style of singing<span style="mso-spacerun: yes;"> </span>there is
this beautiful song from Bimal Roy’s KABULIWALLAH ,viz.,’Yeh mere pyare vatan’.
My search for a gramophone record of this song fructified only a couple of days
back when I got a well maintained 78 r.p.m record! The credit for using Manna
Dey’s voice for a Malayalam film and making him a much loved singer of
Keralites also goes to Salil Choudhury<span style="mso-spacerun: yes;"> </span>with
Manna Dey’s song ‘ Manasa maine varoo’ from the President’s gold medal winning Malayalam
film<span style="mso-spacerun: yes;"> </span>CHEMMEEN. That reminds me about
Lata Mangeshkar’s only song in Malayalam ,viz., ‘Kadali thenkadali’ in the much
accclaimed film<span style="mso-spacerun: yes;"> </span>NELLU <span style="mso-spacerun: yes;"> </span>which was also composed by Salil Choudhury.The
film also has a chorus. ‘Chemba chemba’, sung by Manna Dey and Jayachandran .
The rhythmic, vibrant and catchy folk/tribal songs of the film, as the story
demanded, were very popular those days.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNuSFqOdLhXuP3CZhSv4u9Pnu0lktI6vomFtVajZSyNhdO-sEmYr5LouMk96GXMqmJhV3F9OQamUMnDS_jtTU0mdyXuJ5DYn-I9xVVZnwpE_FbpFg86wkSgTDt7is32jZfixw3rc2_l_Ek/s1600/Blog+Salil+Chhaya.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNuSFqOdLhXuP3CZhSv4u9Pnu0lktI6vomFtVajZSyNhdO-sEmYr5LouMk96GXMqmJhV3F9OQamUMnDS_jtTU0mdyXuJ5DYn-I9xVVZnwpE_FbpFg86wkSgTDt7is32jZfixw3rc2_l_Ek/s1600/Blog+Salil+Chhaya.JPG" height="191" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Many of the well known and popular
songs of Talat Mahmood were composed by Salil Choudhury and the songs of film
CHHAYA , a Sunil Dutt – Asha Parekh starrer, come readily to mind.The song ,
‘Ankhon mein masti sharaab ki’, is a rare, but beautiful and pleasant, romantic
song of Talat as against his usual ghazals. So also is the song, ‘Itna na
mujhse to pyar badha, sung solo<span style="mso-spacerun: yes;"> </span>by Talat
as weIl as as a duet with Lata. Talat is at his ‘ghazali best’ in the song
‘Aansoo samajh ke kyon mujhe’ from this film. The duet of Talat with Lata, ‘Aha
rim jim ki ye pyare pyare’ from film USNE KAHA THA and the song,’Raat ne kya
kya’ from film EK GAON KI KAHANI<span style="mso-spacerun: yes;"> </span>are
Salil Choudhury’s gems with Talat. And for me Lata’s best song for Salil Chudhury
after ‘Aaja re pardesi’ is the melodious lilting song from film PARAKH, viz.,
‘Oh sajana barkha bahar ayi’.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHHHg_q_0FrJQShDfQABzJG5I5B2yhaljxgGiIBGSwsQkF20kgUEdvHKdgQMAnGe36ii925pLAM9WQzJoWJKKCMW65nlr0dNL6wPNQ391e7EfaP62m5leI-Q_M3NoZgNCc7Ln3faC1SVYG/s1600/Blog+Salil+Chhoti+si+baat+001.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHHHg_q_0FrJQShDfQABzJG5I5B2yhaljxgGiIBGSwsQkF20kgUEdvHKdgQMAnGe36ii925pLAM9WQzJoWJKKCMW65nlr0dNL6wPNQ391e7EfaP62m5leI-Q_M3NoZgNCc7Ln3faC1SVYG/s1600/Blog+Salil+Chhoti+si+baat+001.jpg" height="200" width="190" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Two songs of Mukesh for Salail
Coudhury,<span style="mso-spacerun: yes;"> </span>I just remembered, are<span style="mso-spacerun: yes;"> </span>the one from the superhit Rajesh Khanna film
AANAND,viz., ‘Kahin door jab din dhal jaye’ and the immortal song from the Raj
Kapur film JAGTE RAHO, viz., ‘Zindagi kwab mein’ which haunts listeners even
today. I also remember two songs of Jesudas for Salil, a popular duet with Asha
in film CHHOTI SI BAAT,viz.,’Jan-e-man jane-e-man’, an example as to how a duet
is to be sung with the singers trying to excel each other at the same time
retaining the mood and tempo of the song. The other is the semi-classical song,
‘Ni sa ga ma pa ni.’ from film ANAND MAHAL. It is also a fact that only Salil
Choudhury and music director Ravindra Jain could exploit fruitfully the talent
and voice of Jesudas at his prime for Hindi films.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcrOLa1SOHYF6mRs2pt7tX3uJe0ilcVoDoa5a90bYFKFPq6nf6sbUF9XNBA6WJHgZWSbRO80erpTYQJ0wagYF2mf2Pj12r2Yr0X7to1mvg6IW7HXsgxz7HslTZtdDhUNXUcMcBjTkF6PNd/s1600/Blog+Salil+Maya.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcrOLa1SOHYF6mRs2pt7tX3uJe0ilcVoDoa5a90bYFKFPq6nf6sbUF9XNBA6WJHgZWSbRO80erpTYQJ0wagYF2mf2Pj12r2Yr0X7to1mvg6IW7HXsgxz7HslTZtdDhUNXUcMcBjTkF6PNd/s1600/Blog+Salil+Maya.JPG" height="200" width="190" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Any discussion of Salil
Choudhury’s music without mentioning his fine compositions in film MAYA could
be termed incomplete. Lata Mangeshkar’s lilting ‘ Ja re ja re ud ja re panchi’
and Rafi’s fast paced ‘Koi sone ke dilwala’ are outstanding numbers. But, to
me, what makes the music of the film noteworthy are the two duets. In fact
Salil Choudhury could be credited with some of the best duets of Hindi films
with ‘Dil tadap tadap’(Lata Mukesh), ‘Itna na mujhko’ and ‘Ah ha rim jim’ (both
by Lata-Talat), ‘Chhota sa ghar hoga’(Film Naukari- Kishore–Usha Mangeshkar)and
so on proving the point.The two duets from film Maya are also equally
fascinating. One is the lilting melody by Lata-Rafi, ‘Tasveer teri dil mein’
which is even now often heard on the radio. But the top of the chart is the two
part duet , ‘Ae dil kahan teri manzil’ by Lata and the inimitable, but sadly foregotten,
Dwijen Mukherjee. The tune of the song, meaningful lyrics, the beauty of the
two sweet voices matching and complementing each other make this song a top
favourite. Dwijen Mukheri, with a voice and singing style of Hemant Kumar, Aas
ka Panchi Subir Sen and Hoke Majbhoor Bhupinder , was not heard much in Hindi
films in spite of the<span style="mso-spacerun: yes;"> </span>success of this
song and soon vanished from the scene to the utter disappointment of discerning
listeners! But the song is still as refreshing as ever.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqh4L9sfkoSrnLbuvvE71VrsYdyUgdHPQk7Pk7f7faBg3ayKMpEcUG1r03G4l2HQasgdSIbEkVJYVXeHM-VimgyCtX0zfzqXjlFWr3sDNJXBhISvCxmTgfZL2UshnWR0OnWHZpNXJIgW-d/s1600/Blog+Salil+Eetho+oru+swapnam+001.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqh4L9sfkoSrnLbuvvE71VrsYdyUgdHPQk7Pk7f7faBg3ayKMpEcUG1r03G4l2HQasgdSIbEkVJYVXeHM-VimgyCtX0zfzqXjlFWr3sDNJXBhISvCxmTgfZL2UshnWR0OnWHZpNXJIgW-d/s1600/Blog+Salil+Eetho+oru+swapnam+001.jpg" height="200" width="193" /></a></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; height: 237px; margin-right: 1em; text-align: left; width: 206px;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqDQvEZDaR6rxOrGKQI6WbsHvXxoOE_c17rGy0FNWcYTogPy8EF5ZzZ5mqC1uP_vNZRtodKehJsp7NJGrkBZONdnyvlZI6cqfI0nrjyzVFV5rqIbFGg7QSvo3pXc8w_9N2dzG6ONAm0qmt/s1600/Blog+salil+Raasaleela+Vayalar+001.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqDQvEZDaR6rxOrGKQI6WbsHvXxoOE_c17rGy0FNWcYTogPy8EF5ZzZ5mqC1uP_vNZRtodKehJsp7NJGrkBZONdnyvlZI6cqfI0nrjyzVFV5rqIbFGg7QSvo3pXc8w_9N2dzG6ONAm0qmt/s1600/Blog+salil+Raasaleela+Vayalar+001.jpg" height="200" width="194" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Vayalar-Salil</td><td class="tr-caption" style="text-align: center;"></td></tr>
</tbody></table>
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Salil Choudhury’s
presence in Malayalam film music did not end with CHEMMEEN and NELLU. In fact
he had composed music for about 25 Malayalam films besides providing background
music for ABHAYAM,DWEEP and the award
winning film VASTUHARA etc. In association with noted Malayalam poets like
Vayalar, O.N.V. Kurup and Srikumaran Thampi he gave a large number<span style="mso-spacerun: yes;"> </span>of highly popular songs for Malayalam films
and achieved a high level of success in Malayalam film music which no other
Hindi music director except Ravi could achieve. With Srikumaran Thambi he
created the songs for film ETHO ORU SWAPNAM.<span style="mso-spacerun: yes;">
</span>With Vayalar he tuned songs for several films like RAAGAM, RAASALEELA,
THULAVARSHAM, EZHU RAATHRIKAL and so on apart from the songs of CHEMMEEN
and<span style="mso-spacerun: yes;"> </span>NELLU. The song ‘Kaadaru masam’ from
film Ezhu Raathrikal and ‘Kelee nalinam’ from Thulavarsham were super hits of
the period.</span></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqCry8W1jtha0FxVqYyU2Rq460O99pqU2f7Nv1KiYVjlI7oRqzcebVextZnrT0sRtsTHrZShwJ0uHFPeidA9gZvmfpFLB0mQEN1TQOnojhmQDIOoch_pLLZSmSeuDCSPuZTKWreVPvjCsG/s1600/Blog+Salil++Pratheeksha+001.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqCry8W1jtha0FxVqYyU2Rq460O99pqU2f7Nv1KiYVjlI7oRqzcebVextZnrT0sRtsTHrZShwJ0uHFPeidA9gZvmfpFLB0mQEN1TQOnojhmQDIOoch_pLLZSmSeuDCSPuZTKWreVPvjCsG/s1600/Blog+Salil++Pratheeksha+001.jpg" height="200" width="195" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pratheeksha</td><td class="tr-caption" style="text-align: center;"></td></tr>
</tbody></table>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQWqYhOPl8KckLJSSHsiSZgQQ2pC4Rqc19u1UnYQYHtA77WK-Uig3EZ9tp1EbadcB94xk8yhn2z4U-bdKA9KNV5aU4Sni2WXoke35vVBhnkrOWv_dkMNGRQhnWakTz6jMDonC7sztpOSat/s1600/Blog+Salil+ONV++&++Salil+001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQWqYhOPl8KckLJSSHsiSZgQQ2pC4Rqc19u1UnYQYHtA77WK-Uig3EZ9tp1EbadcB94xk8yhn2z4U-bdKA9KNV5aU4Sni2WXoke35vVBhnkrOWv_dkMNGRQhnWakTz6jMDonC7sztpOSat/s1600/Blog+Salil+ONV++&++Salil+001.jpg" height="168" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">It was with O.N.V.
Kurup that Salil Choudhury created a large number of popular songs which are
even today a rage among singers and listeners. In film PAREEKSHA<span style="mso-spacerun: yes;"> </span>there is this soulful song rendered by
Jesudas, viz., ‘Oormakale’ and the rare EP record of this song is one of my
proud collections.In film SWAPNAM the song ‘Saarikee’ by S.janaki; in
MADNOTSAVAM the song ‘Sagarame santha maaku nee’ by Jesudas, in film SAMAYAMAYILLAPOLUM<span style="mso-spacerun: yes;"> </span>the song ‘Shyama meghame’ by Jesudas and
several other films <span style="mso-spacerun: yes;"> </span>and songs bear
testimony to Sali’s prowess as a music director even in a language which was
alien to him. In THUMBOLIKADAPPURAM (1995), probably the last film of Salil in
Malayalam, singer Chitra rendered this immortal song ‘Kaathil thenmazhayay
paadoo’ which remains as<span style="mso-spacerun: yes;"> </span>sweet as ever.</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Salil Choudhury had
used the tunes of his successful Hindi songs in Malayalam either for songs as
such or in the background. For example, the tune of this beautiful song
‘Chhotta sa ghar hoga badalon ki chhaomen’ from film NAUKARI<span style="mso-spacerun: yes;"> </span>rendered by Kishore and Usha<span style="mso-spacerun: yes;"> </span>Mangeshkar has been beautifully used for
O.N.V’s lyrics in film AIR HOSTESS for the song ‘Onnaanam kunninmel.’http://search.yahoo.com/search?p=chhotta+sa+ghar+hoga&ei=UTF-8&fr=moz35 In film
CHEMMEEN<span style="mso-spacerun: yes;"> </span>the tune of the song ‘Baag mein
kali khili’ from<span style="mso-spacerun: yes;"> </span>film CHAND AUR SURAJ
has been fruitfully used in the background of the chaakara song ‘Pennale
kannale’.https://www.youtube.com/watch?v=TwAvatrW3XA</span></b><br />
<br />
<br />
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melody was based on Indian Classical music and folk music with orchestration
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JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com1tag:blogger.com,1999:blog-2372937692697241080.post-25925560079744829462014-03-01T22:25:00.000-08:002014-03-08T07:31:26.729-08:00GRUNDIG REEL TO REEL TAPE RECORDER. TK141.<div dir="ltr" style="text-align: left;" trbidi="on">
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<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidJcNcqM6OEoWAOAdcFchR-stFrFNIbq8J3BIi_XymfrwBWk2U5hZeh4F1M3Ogrbf_Nwx1-lIXAvfRK_coWHVYICYUDwM-WIWYxEvCS5t5vyFycO2W2DtaVsDe5NgdKrjsQTqQm7G-Zw1P/s1600/Blog+grundif+UMS+2.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidJcNcqM6OEoWAOAdcFchR-stFrFNIbq8J3BIi_XymfrwBWk2U5hZeh4F1M3Ogrbf_Nwx1-lIXAvfRK_coWHVYICYUDwM-WIWYxEvCS5t5vyFycO2W2DtaVsDe5NgdKrjsQTqQm7G-Zw1P/s1600/Blog+grundif+UMS+2.JPG" height="71" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">In the </span></b>1950s and the 60s no voice
recording devices were available to us and music for us meant music from the
radio and the records played on the gramophones /record players. Reel to reel
tape recorders also known as spool type recorders were the only familiar
recording device which were not freely available in the market though.<span style="mso-spacerun: yes;"> </span>Rare imported sets of brands like
Phillips,Akai, Grundig, Pioneer, Panasonic etc., could be seen in some
affluent/fortunate households. <span style="mso-spacerun: yes;"> </span>Out of
this, the Grundig spool tape recorders were the most seen. Despite various
sizes of the spools and the cumbersome procedure to play them and record on
them they were still coveted objects of music lovers. As youngsters, who could
ill afford to buy even gramophone records and record players, they remained as
one more item in our long list of gadgets to be acquired as and when our purse could
oblige. The U.M.S. Radio factory at Coimbatore who used to manufacture the popular
brand of UMS Radios under technical collaboration with Grundig, Germany, we thought,
would bring out the Grundig model recorders in the local market at affordable
prices. But our hopes were belied when the UMS-Grundig tie-up was terminated in
1970.</span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN65wGW6FKB6YHHiXL40OwkSUWofQcK0EGRsNEf7R1OnhZ0tK-FnrLUvTkoDyorjCbkbFaH4sS7gOx508EFIHcQr_Z_zEGvtXCd7UIPhC9cMf8oclBIRAHKnkN9Cef3QvIkQolcybGBZ-2/s1600/Blog+Grundig+compact+castt.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN65wGW6FKB6YHHiXL40OwkSUWofQcK0EGRsNEf7R1OnhZ0tK-FnrLUvTkoDyorjCbkbFaH4sS7gOx508EFIHcQr_Z_zEGvtXCd7UIPhC9cMf8oclBIRAHKnkN9Cef3QvIkQolcybGBZ-2/s1600/Blog+Grundig+compact+castt.jpg" height="78" width="200" /></a></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjeYEYHpXBC1sV14cwml6Wc3OtruQ2HRCwrViTcsbcteCHsLAYjxLggBFD9kGn2HFS8wBOSxCIPKd8ygR09a71xGHi8SrXCcI3UPzVRxAukWLLhixko3CcfP4-OjdsL1pVEcrjYrjsUxwg/s1600/Blog+Grundig+Sharp+cassette+001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjeYEYHpXBC1sV14cwml6Wc3OtruQ2HRCwrViTcsbcteCHsLAYjxLggBFD9kGn2HFS8wBOSxCIPKd8ygR09a71xGHi8SrXCcI3UPzVRxAukWLLhixko3CcfP4-OjdsL1pVEcrjYrjsUxwg/s1600/Blog+Grundig+Sharp+cassette+001.jpg" height="131" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">The position remained so till the
beginning of the 70s<span style="mso-spacerun: yes;"> </span>when there was a
revolution in the Indian music scene with the arrival of compact cassette
recorders. The portability of the device, affordable price, operational
convenience and availability of choice made cassette recorders a huge hit.<span style="mso-spacerun: yes;"> </span>Panasonic, Sharp, Akai, Bush, Philips and
similar brands made in India were available to the consumers.<span style="mso-spacerun: yes;"> </span>Soon they totally replaced records and record
players. Since then there has been a sea change in the way people recorded
their music and voice and the recording industry has gained dizzying heights
with the explosion of digital technology.</span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-5qsq_fR0JW6g_QYil8Cx5w-05eEcgqXMDu9PrSo49MmY4IwB1lfbt7ICcz6t7TJwVfNI_omeOgsqxsbSS8Ogghyphenhyphen8AGQ5VyBRCsdEyisyBh1SyToZxB3thSxXBj69mAY0YK5HhO2lDuTv/s1600/Blog+Grundig+Logo.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-5qsq_fR0JW6g_QYil8Cx5w-05eEcgqXMDu9PrSo49MmY4IwB1lfbt7ICcz6t7TJwVfNI_omeOgsqxsbSS8Ogghyphenhyphen8AGQ5VyBRCsdEyisyBh1SyToZxB3thSxXBj69mAY0YK5HhO2lDuTv/s1600/Blog+Grundig+Logo.jpg" height="151" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">But the desire to acquire a spool
tape recorder, though latent, remained strong within. Years later it was with
great thrill that I could<span style="mso-spacerun: yes;"> </span>get an antique
Grundig Reel to Reel tape recorder, the 1970 Model TK.141 made in Germany,<span style="mso-spacerun: yes;"> </span>in very good working condition. It has a
spool size of 6 inches with four track recording facility. Even after almost
half a century the set looks beautiful without any noticeable scratches inside
or outside the box. Of course thorough cleaning and a bit of polishing along
with servicing by<span style="mso-spacerun: yes;"> </span>an expert old hand
helped. The<span style="mso-spacerun: yes;"> </span>famous Grundig logo is very
much there on the box in all its glory. Yes, the Grundig TK 141 is a proud item
on my shelf of old music systems.</span></b></div>
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<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0FTT466Jjgqq5NYeLY_yriq9HpyhCAEt0G2U3AlaTHDeSN52SEsMC7pVHWSwi2SbWqoVdY8CfMe-Sl20prhKpoE5IjhaPEXge2Z8k25XwSCIu-7-0OZTx-rg4jEhVzkmWFoXqjT9kGjQF/s1600/Blog+Grundig1.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0FTT466Jjgqq5NYeLY_yriq9HpyhCAEt0G2U3AlaTHDeSN52SEsMC7pVHWSwi2SbWqoVdY8CfMe-Sl20prhKpoE5IjhaPEXge2Z8k25XwSCIu-7-0OZTx-rg4jEhVzkmWFoXqjT9kGjQF/s1600/Blog+Grundig1.JPG" height="112" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixA1VK7jRy8yIE4fs8wBGzO_okFqENN9iYbkZaCb2jtJnAu0-NtQvlxwJL87lxHtpmQuAGArCfQI_6GxokZs7_U05QhZH-TiYLlJSJ0TULetIie60xcTtCMeow9JaG_tTByJVtFuncj6W7/s1600/Blog+Grundif+inside.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixA1VK7jRy8yIE4fs8wBGzO_okFqENN9iYbkZaCb2jtJnAu0-NtQvlxwJL87lxHtpmQuAGArCfQI_6GxokZs7_U05QhZH-TiYLlJSJ0TULetIie60xcTtCMeow9JaG_tTByJVtFuncj6W7/s1600/Blog+Grundif+inside.JPG" height="139" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Looking at my small collection of
gramophone records, record players, old radios, compact cassettes and cassette
players and so on I<i style="mso-bidi-font-style: normal;"> </i>often<span style="mso-spacerun: yes;"> </span>wonder what purpose will it serve and what is
the use of having all of them<span style="mso-spacerun: yes;"> </span>when clear,
cultivated and enriched music is available at one’s finger tips from anywhere
in the house with a smart phone and a bluetooth enabled speaker system. Occasional
visitors and friends also expressed the same thoughts and a few of them, I
thought, even felt sympathy towards me. I can see them wondering what will
happen to these old gadgets when once I leave the scene sooner than later
though what happened to the equipments then is of no consequence to me. But the
fact remains that more and more people, especially the young generation, is
taking keen interest in collecting these gadgets, mainly gramophone records,
record players and old valve radios as evidenced by the huge demand for them
and the consequent increase in price. People are prepared to pay fancy prices
for them. A visit to some of the sites like E-bay and Amazon will prove the
point. Vinyl records are staging a big revival world over with many music
companies cutting new LP records.</span></b></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Coming back to the point as to what
drives the young and old to take to radios and record players, etc., the
reasons appear to be different for each. For the young it could be their
curiosity. For those pursuing it as a hobby it probably is a compelling need.
For the old it is nostalgia, the pleasure of walking down the memory lane and
enjoying<span style="mso-spacerun: yes;"> </span>music as they enjoyed it in the
past. For the lovers of old music in general they offer a number of endearing
features.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmU01m1g_MXiX4ZlXVNluD22y5QfHnLSBWTxBp5zezAxCM48Vv8pNrtDv0p6CPNoA44K7ZklulzB-qoqeNiTSZ0zODdzJYBEYraYz5P-9pfZGd_WvgAtQBMjx4UKNEeUFMMkde-gEpDGUL/s1600/Blog+Grindig+Radio+2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmU01m1g_MXiX4ZlXVNluD22y5QfHnLSBWTxBp5zezAxCM48Vv8pNrtDv0p6CPNoA44K7ZklulzB-qoqeNiTSZ0zODdzJYBEYraYz5P-9pfZGd_WvgAtQBMjx4UKNEeUFMMkde-gEpDGUL/s1600/Blog+Grindig+Radio+2.jpg" height="145" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgClm2Uq6Sq-ivFcOi8XPivHJmZAgSFJHMWnadYW6b761ih2SWoXOr-g0onPrYlxPblCvqkfOGUr4fxsWgxrhWGdmSw9CqWYzFA5sXKdUdmvuga8gHiVXJFzJLLpdO1W9gkOGL_0QXAEyTf/s1600/Blog+grundig+radiogram.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgClm2Uq6Sq-ivFcOi8XPivHJmZAgSFJHMWnadYW6b761ih2SWoXOr-g0onPrYlxPblCvqkfOGUr4fxsWgxrhWGdmSw9CqWYzFA5sXKdUdmvuga8gHiVXJFzJLLpdO1W9gkOGL_0QXAEyTf/s1600/Blog+grundig+radiogram.jpg" height="200" width="153" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">They feel that the warmth of sound, especially
human voice, coming from an old radio or record player is nearest to the
original. For them there is no better way of listening to Rafi, Lata,
Talat,Noorjahan, K.L.Saigal, Hemant Kumar and so on, than on the radio or
record player. They point out that, for many, an old wall clock with a pendulum
chiming every hour/half hour is a dynamic presence in the living room. Similarly,
for them, a record player/changer with a LP record turning in circles, filling
the room with music and, at the end of the record the playing arm going
back<span style="mso-spacerun: yes;"> </span>on its own and resting on its small
pedestal is an <span style="mso-spacerun: yes;"> </span>enduring dynamic experience.This
is ‘visible’ music for them. Besides, they feel that there is the need for
active involvement of the listener in the process of listening. In a modern
gadget a mere touch of the screen or a click/tap on the pad produces music. But
on an old radio searching for favourite stations and tuning in becomes a
skilled job! On<span style="mso-spacerun: yes;"> </span>a record player the
process starts from<span style="mso-spacerun: yes;"> </span>taking out the
record from its jacket, wiping it, placing it carefully on the turn table,
adjusting the speed, switching the set on, lifting the arm and placing the
stylus(needle)gently on the edge of the turning record without <span style="mso-spacerun: yes;"> </span>shivering of the hand and then adjusting the
volume level. The ardent user took pride in placing the stylus on the record
without the help of the cuing lever which many record players provide. Yes, it
is music hands on! One more point. One can listen to music at random without an option to select the song. A radio offers this. The pleasure of suddenly hearing an old much loved song over the radio is immense. One can also select a favourite song and listen. A record player offers this.</span></b><br />
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;"><br /></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">These points may be real and valid.
They may be imaginary and arguable. But the lovable, old music devices
continue to fascinate a whole lot of music enthusiasts even today.</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b style="mso-bidi-font-weight: normal;"></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b style="mso-bidi-font-weight: normal;"></b></div>
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<b style="mso-bidi-font-weight: normal;"></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b style="mso-bidi-font-weight: normal;"></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b style="mso-bidi-font-weight: normal;"></b></div>
<b style="mso-bidi-font-weight: normal;"><span id="goog_1658154099"></span><span id="goog_1658154100"></span></b><br />
<b style="mso-bidi-font-weight: normal;">
</b>
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 10.0pt; line-height: 115%;">Tail piece:- Grundig A.G., the German
giant in consumer entertainment electronics since 1930 and a very popular household
brand in India went<span style="mso-spacerun: yes;"> </span>bankrupt in 2003.
The brand GRUNDIG itself has now become memory!</span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="height: 273px; margin-left: auto; margin-right: auto; text-align: center; width: 207px;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLm2NLEBAZiyl-oX03abVQtLLob1LoZzNK3lEH0JaBQHdwOLNbOeQ6B1ixGtDFh26FMNYC1a_7GgKsu3HUXP1wE_N8FbC44jGzP7W4-SQ38gCPiSDufHqJD0yyCQeB2A4G4YHQ0KV6iWPW/s1600/Blog+Grundif+1957+As.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLm2NLEBAZiyl-oX03abVQtLLob1LoZzNK3lEH0JaBQHdwOLNbOeQ6B1ixGtDFh26FMNYC1a_7GgKsu3HUXP1wE_N8FbC44jGzP7W4-SQ38gCPiSDufHqJD0yyCQeB2A4G4YHQ0KV6iWPW/s1600/Blog+Grundif+1957+As.JPG" height="200" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1957 Grundig Ad.</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br /></div>
</div>
JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com5tag:blogger.com,1999:blog-2372937692697241080.post-27877032487464677022014-02-05T22:09:00.000-08:002014-02-08T09:05:53.204-08:00SUCHITRA SEN - BEAUTY AND TALENT.<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2wzRe055yFqpde17KX3hpEI07jXLzvJ_8ejYRCIA_tOZectk5JX0jkxFyqWI1rKesbQpUODMhMGoqJ5q7dELlkEeVTjndPzk_-GKEF6GPmKVBm1WG6xcRjgDmb4JroczOs6qjLkq3gGvq/s1600/.Blog+Susen+photo+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2wzRe055yFqpde17KX3hpEI07jXLzvJ_8ejYRCIA_tOZectk5JX0jkxFyqWI1rKesbQpUODMhMGoqJ5q7dELlkEeVTjndPzk_-GKEF6GPmKVBm1WG6xcRjgDmb4JroczOs6qjLkq3gGvq/s1600/.Blog+Susen+photo+2.jpg" height="320" width="232" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;">Legendary Bengali
actress Padmashree Suchitra Sen passed away on Friday the 17<sup>th</sup>
January 2014 after a brief period of illness. The media had come out with the
usual obituary references as well as detailed biographic sketches and tributes for
<span style="mso-spacerun: yes;"> </span>her contribution<span style="mso-spacerun: yes;"> </span>to Indian films in general and Bengali films
in particular. A lot was written about her ethereal beauty, her acting talent,
her<span style="mso-spacerun: yes;"> </span>enigmatic personality and her shunning
<span style="mso-spacerun: yes;"> </span>all publicity and public appearances to
live in reclusion.</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;">Suchitra Sen’s
contribution to Bengali films was immense with most memorable films like
AGNIPARIKSHA,<span style="mso-spacerun: yes;"> </span>SAAT PAAKE BANDHA,SATPATI,
SAGARIKA, UTTER PHALGUNI and so on which gave her a place in the hearts of
Bengalis equal to that of the great Kanan Devi. Her thirty odd Bengali films
opposite the matinee idol Uttam Kumar catapulted her to the heights of
popularity till 1978 when she suddenly decided to leave everything behind to lead
a lonely life of her own.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipArORuThyphenhyphenC1E6n54Bg3xeHlt51h7SRO2Ch5ZI_tCw7dEY0jNy6pBZjKsUeyMnZ5vVfqYuxaUu3Pj_fNT4vZUeWsmDs5fHpTVwt4S5gqSnJ5GfPysJPLB6grGP2caBgxuGqPa34BlbEtmy/s1600/Blog+Su+sen+film+cert.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipArORuThyphenhyphenC1E6n54Bg3xeHlt51h7SRO2Ch5ZI_tCw7dEY0jNy6pBZjKsUeyMnZ5vVfqYuxaUu3Pj_fNT4vZUeWsmDs5fHpTVwt4S5gqSnJ5GfPysJPLB6grGP2caBgxuGqPa34BlbEtmy/s1600/Blog+Su+sen+film+cert.jpg" height="150" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;">Film goers of this part
of the country had only limited opportunity to see the Bengali films of
Suchitra Sen and our memories of Suchitra Sen’s films<span style="mso-spacerun: yes;"> </span>still linger with her seven or eight Hindi
films including Bimal Roy’s DEVDAS (1955) in which she made her debut in Hindi
cinema. The much acclaimed film with Dilip Kumar donning the role of the tragic
hero( the title stuck to him forever) which fetched him the Filmfare Award for
the best actor. The film </span></b> </div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;"> also had
Vijayathimala in the lead who gave outstanding performance with Suchitra Sen.
It won the National Award for the third best film of the year. What still
lingers clearly in my mind is the music of S.D.Burman with Talat’s
Mahmood’s<span style="mso-spacerun: yes;"> </span>‘Kisko khabar thi’ and ‘Mitwa
laagi yeh kaisi’ and Lata’s<span style="mso-spacerun: yes;"> </span>‘Oj Jane
wale ruk jha’ being the best of the lot. </span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAk4XQiQT_fgWC54CDlj7oE2r6HauxSRY07yhatHhe6MM3uy-UMELuQNQ8i_ezpZT7Js-_YaGICc6kPM3Fh1XeW7-FxkuYt8idsZR7-c30SezoyRHVn_KbJpMYYV825Z0jVUktIZxZ8X_u/s1600/Blog+Su+sen+front.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAk4XQiQT_fgWC54CDlj7oE2r6HauxSRY07yhatHhe6MM3uy-UMELuQNQ8i_ezpZT7Js-_YaGICc6kPM3Fh1XeW7-FxkuYt8idsZR7-c30SezoyRHVn_KbJpMYYV825Z0jVUktIZxZ8X_u/s1600/Blog+Su+sen+front.JPG" height="197" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw-9ExUKf_o3w-2-tVxo8ndI-YQcqdONNQa5yEZeudNd90Z01jFuFQvOK4131Qf0CJ8P8G_lGASvccDoT0V0VEMSMFMD4eFAonjhCm3J-06KMUqu0HvRALciBoipunnHZsemzHnn__o2-P/s1600/Blog+Su+sen+Andhi+Back.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw-9ExUKf_o3w-2-tVxo8ndI-YQcqdONNQa5yEZeudNd90Z01jFuFQvOK4131Qf0CJ8P8G_lGASvccDoT0V0VEMSMFMD4eFAonjhCm3J-06KMUqu0HvRALciBoipunnHZsemzHnn__o2-P/s1600/Blog+Su+sen+Andhi+Back.JPG" height="200" width="186" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;">In fact one of the
prominent features of Suchitra Sen’s Hindi films was the beautiful melodious
songs which are even today a rage among singers and listeners. The most notable
is Filmyug Pvt.Ltd.’s<span style="mso-spacerun: yes;"> </span>AANDHI(1975)
starring Sanjeev Kumar and Suchitra Sen with haunting music by R.D.Burman. A
couple of the best ever duets of Lata and Kishore Kumar, viz., ‘Tere bina
zindagi se’ and<span style="mso-spacerun: yes;"> </span>‘Tum aa gaye ho noor aa
gaya’ besides ‘I<i style="mso-bidi-font-style: normal;">s mod se jata hain’ </i></span></b><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>prove the<span style="mso-spacerun: yes;">
</span><b style="mso-bidi-font-weight: normal;">point.The Director of the film
Gulzar<span style="mso-spacerun: yes;"> </span>himself had penned the lyrics and
the film bagged the Filmfare Awards for the Best film and Best actor.(Sanjeev
Kumar).The performance of Suchitra Sen received a lot of critical acclaim but there
was also enough controversy surrounding the character played by her for its
similarity with the former prime minister Smt.Indira Gandhi.</b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;">Film AANDHI had followed
another highly successful film<span style="mso-spacerun: yes;"> </span>Charu
Chitra’s MAMTA(1966), a<span style="mso-spacerun: yes;">
</span>Dharmendra-Suchitra Sen- Ashok Kumar starrer directed by Asit Sen with
music by Roshan. This was a remake of the superhit Bengali film UTTAR PHALGUNI
with Suchitra Sen in the lead which won the National Award for best film in
1963. Film Mamta was best remembered for Suchitra sen’s acting and Roshan’s
music. Lata’s<span style="mso-spacerun: yes;"> </span>‘Rahena rahen ham’ and
‘Rahte they kabhi’ are still as haunting as ever.The Lata-Hemant Kumar duet
‘Chhupa lo yun dil mein’ is another outstanding number of the film.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7xVIkNihtB5Z0ltey8ZaNtXI2uaIscD6E0FwsFNQIZsHy5__JnNCqdjS9tjHOkWhyaMK8umCKGZCRDFBjuwfxA8_2jXHKCYEDoWEaa2LHQNms61ZkM6Q04SylEx9zHXZa0DtJdrtBvobn/s1600/blog+such+sen+Bombay+ka+babu+001.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7xVIkNihtB5Z0ltey8ZaNtXI2uaIscD6E0FwsFNQIZsHy5__JnNCqdjS9tjHOkWhyaMK8umCKGZCRDFBjuwfxA8_2jXHKCYEDoWEaa2LHQNms61ZkM6Q04SylEx9zHXZa0DtJdrtBvobn/s1600/blog+such+sen+Bombay+ka+babu+001.jpg" height="123" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;">Musicwise, probably the
best remembered Hindi film of Suchitra Sen is Naya Film’s BOMBAY KA BABU(1960)
with Dev Aanand playing the lead opposite her. While the film as such was not a
big hit, the songs composed by S.D.BURMAN are among his best compositions ever.
The Asha-Rafi duet<span style="mso-spacerun: yes;"> </span>‘Deewana mastana hua
dil’sung with great verve and lilt is an all time favourite of listeners. In
‘Saathi na koi manzil’ Rafi is at his melodious best. The Asha Bhosle number
‘Dekhne mein bhola hai’ is even today as sweet and catchy as ever.There is also
one of the top songs of Mukesh viz.,the grief filled ‘Chalri sajni ab kya
soche’ reminding us of his evergreen ‘Ansu bhari hai yeh jeevan ki(Parwarish),
‘Saranga teri yaad mein(Saranga) and ‘Dil jalta hain to jalne de(Pehli Nazar)<span style="mso-spacerun: yes;"> </span>and so on.</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;">In our younger days
when cinema was<span style="mso-spacerun: yes;"> </span>the main form of
entertainment there were several films, film producers, directors, actors and
actresses, music directors, singers, lyricists and so on who, with their talent
and efforts, had<span style="mso-spacerun: yes;"> </span>made our life happy .
Eventhough most of them have inevitably left the world, the pleasant memories
about them and their contributions, the records and songs and a peep into that
glorious past give us many enjoyable hours even now. It is sad that one of the
most beautiful and talented personalities of Indian Cinema, Suthitra Sen, has
also left us.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF8vbaerp6-jxgRt4TbPWiHFX9xpD32RTmzfLTgSb-4mPMPyKf-oOuzEB8hVS1M9yYicd9njpypFe-QC5gfC5hhLHnoOb9WExMZJ1JEwDZQ-PbTkZ5nSZqVVo0nmcQUrOqm08GB8dgEKP1/s1600/.Blog+Su+sen+photo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF8vbaerp6-jxgRt4TbPWiHFX9xpD32RTmzfLTgSb-4mPMPyKf-oOuzEB8hVS1M9yYicd9njpypFe-QC5gfC5hhLHnoOb9WExMZJ1JEwDZQ-PbTkZ5nSZqVVo0nmcQUrOqm08GB8dgEKP1/s1600/.Blog+Su+sen+photo.jpg" height="147" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjmAw2tfLxgr3z848UpBuqJpLxDF3e7Ai7hAEkkoJ_T-n8DK8ZMk6SL1sbMcy9nxhCiQNAA0FuRVkTav4DAZGKjPL7hggRJbsLQMjUDlxTHqf2A-n3NvvZl7LXUDQkIKAsPoPFD0o7uj8w/s1600/.blog+su+sen+madhuri+band+w.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjmAw2tfLxgr3z848UpBuqJpLxDF3e7Ai7hAEkkoJ_T-n8DK8ZMk6SL1sbMcy9nxhCiQNAA0FuRVkTav4DAZGKjPL7hggRJbsLQMjUDlxTHqf2A-n3NvvZl7LXUDQkIKAsPoPFD0o7uj8w/s1600/.blog+su+sen+madhuri+band+w.jpg" height="200" width="190" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0j3Epp08o8cqWFTRMIOFfG0JAS56pwn6f3hs3Yshwi9YF2IeSRO0aIczyOCBg4BnCZ9LCp4maw1phLx5tnDZ54VHGD9nlu4afMKKXkH_AUqRUd8-U8GUGbOrpg5tpWF19apfpBjCNffsy/s1600/Blog+Su+sen+Madhubala.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0j3Epp08o8cqWFTRMIOFfG0JAS56pwn6f3hs3Yshwi9YF2IeSRO0aIczyOCBg4BnCZ9LCp4maw1phLx5tnDZ54VHGD9nlu4afMKKXkH_AUqRUd8-U8GUGbOrpg5tpWF19apfpBjCNffsy/s1600/Blog+Su+sen+Madhubala.jpg" height="198" width="200" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;"></span></b><b style="mso-bidi-font-weight: normal;"><span style="color: #7030a0; font-size: 10.0pt; line-height: 115%;">Tail piece:- The
beautiful face of Suchitra Sen reminds us of two more faces of beauty<span style="mso-spacerun: yes;"> </span>in similar mould; one of the past, the
Mughal-e-Azam <span style="mso-spacerun: yes;"> </span>Madhubala and the still
active other, the Yaraana Madhuri Dixit.</span></b>
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JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com0tag:blogger.com,1999:blog-2372937692697241080.post-3749947519549991462014-01-07T01:09:00.000-08:002014-02-06T05:27:45.352-08:00ABOUT MALAYALAM FILM 'MELA'<div dir="ltr" style="text-align: left;" trbidi="on">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlDIt068twsPF588sa0iYBy1nXp3al3mdlY3Eo6IHrw-UtHHgz-FQmOyccrH1oKhia1P7y5ocz6dOgrtqhw3-kgWusfCOXjcvFpfFucHh8eer6fAMUoBXjayr6CNNV6dwClSQNijff7HsC/s1600/Blog+Mela+1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlDIt068twsPF588sa0iYBy1nXp3al3mdlY3Eo6IHrw-UtHHgz-FQmOyccrH1oKhia1P7y5ocz6dOgrtqhw3-kgWusfCOXjcvFpfFucHh8eer6fAMUoBXjayr6CNNV6dwClSQNijff7HsC/s1600/Blog+Mela+1.JPG" height="193" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br />
<span style="color: #7030a0;"></span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPeDLpdEs6gsqXxtmFyoTqUTi_n7SZXMWGbY0Fc3sV_oBiEY_bkA_WF9rHDbW8V1FEBl9DbX4z2Q5hFR5Y1aK1aPMjKOOqzBlQWK5yl3Js0RdxwWqnK3zhftgPimUi2jrzbUHF3ZMidBES/s1600/Blog+Mela+kggeorge.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPeDLpdEs6gsqXxtmFyoTqUTi_n7SZXMWGbY0Fc3sV_oBiEY_bkA_WF9rHDbW8V1FEBl9DbX4z2Q5hFR5Y1aK1aPMjKOOqzBlQWK5yl3Js0RdxwWqnK3zhftgPimUi2jrzbUHF3ZMidBES/s1600/Blog+Mela+kggeorge.jpg" /></a><span style="color: #7030a0;"><span style="mso-spacerun: yes;"> </span>The Malayalm film MELA (1980) written and
directed<span style="mso-spacerun: yes;"> </span>by Sri K.G. George, though one
of his less celebrated films, but still was a much talked about film when it
was released in Kerala. It came<span style="mso-spacerun: yes;"> </span>close on
the heels<span style="mso-spacerun: yes;"> </span>of two of his award
winning<span style="mso-spacerun: yes;"> </span>and critically acclaimed films.
One was the State Award winning<span style="mso-spacerun: yes;"> </span>debut
film SWAPNADANAM(1975) with Rani Chandra and Dr.Mohandas in the lead. The other
ULKKADAL based, on a story in the same name by Sri George Onakkur, had Venu
Nagavally and Shobha in the lead .</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicTCtV1I0cmi71ieC42ZbUe-kCveOgRGyLoeEp_lMbPiiGLtk4OFOfGqu-Ho69aa7h9MJX9O4xgcbtyl2l-xpvJgBq1t7jwHPfsRpQcLEAXrA3iEDACLtAR2v7V0Dvn6OBub_LU-xrkj97/s1600/Blog+Mela+ulkkadal.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicTCtV1I0cmi71ieC42ZbUe-kCveOgRGyLoeEp_lMbPiiGLtk4OFOfGqu-Ho69aa7h9MJX9O4xgcbtyl2l-xpvJgBq1t7jwHPfsRpQcLEAXrA3iEDACLtAR2v7V0Dvn6OBub_LU-xrkj97/s1600/Blog+Mela+ulkkadal.jpg" height="169" width="200" /></a><span style="color: #7030a0;">What made the film
SWAPNADANAM<span style="mso-spacerun: yes;"> </span>a milestone of Malayalam
cinema<span style="mso-spacerun: yes;"> </span>was the novelty of the theme
brilliantly handled by<span style="mso-spacerun: yes;"> </span>director
K.G.George and the outstanding portrayal by Rani Chandra and the new comer Mohandas.<span style="mso-spacerun: yes;"> </span>The film ULKKADAL<span style="mso-spacerun: yes;"> </span>also saw great acting by Shobha and
Venunagavally. Music by the maestro, M.B.Srinivasan, was another distinguishing
feature of the film with the haunting duet penned by Sri O.N.V.Kurup and
rendered by Jayachandran and Selma George,Viz.,’Sharabindu<span style="mso-spacerun: yes;"> </span>malardeepa naalam’<span style="mso-spacerun: yes;"> </span>proving to be a great hit. Several successful
films followed establishing Sri K.G.George as one of the most successful film
makers in Malayalam.<span style="mso-spacerun: yes;"> </span>KOLANGAL (1980),
YAVANIKA(1982), notable again for the performance of<span style="mso-spacerun: yes;"> </span>Thilakan<span style="mso-spacerun: yes;">
</span>and Gopi, LEKHAYUDE MARANAM ORU FLASHBACK(1983) , ADAMINTE
VARIYELLU(1983) and IRAKAL(1986) were all landmarks in the history of Malayalam
cinema.</span></div>
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<a href="http://www.youtube.com/watch?v=nIPW7tUDI6c">http://www.youtube.com/watch?v=nIPW7tUDI6c</a><br />
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCSlWAXohWa7CH7nBeORon7c7bg0EpaIzYaBvch0mKyukcmNg7LjD5mn3PiHC1b7oQ5dA8VZQ2jZ8hvOXFJqpm3bSvPMoKjUe_VPKaT5dYruA_YuZM_3TIC7vcmR_VAq6hfVhtS9Mo7tL8/s1600/Blog+Mela+back+cover.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCSlWAXohWa7CH7nBeORon7c7bg0EpaIzYaBvch0mKyukcmNg7LjD5mn3PiHC1b7oQ5dA8VZQ2jZ8hvOXFJqpm3bSvPMoKjUe_VPKaT5dYruA_YuZM_3TIC7vcmR_VAq6hfVhtS9Mo7tL8/s1600/Blog+Mela+back+cover.JPG" height="180" width="200" /></a><span style="color: #7030a0;">Coming
back to film MELA, it was unique in several respects apart from the fact that
it was the debut film of actor Mammootty, who went on to become a super star
and continues to be so even now. The film MELA<span style="mso-spacerun: yes;">
</span>was, probably, the first film in Malayalam after NAYAR PIDICHA PULIVAL,
to deal with circus and the life of circus artists and Mammootty played the
role of a motor cycle stunt jumper . The comedy<span style="mso-spacerun: yes;">
</span>interludes in a circus used to be managed by a couple of dwarfs and in
MELA<span style="mso-spacerun: yes;"> </span>the hero himself was a dwarf played
by Raghu. The romantic lead opposite him was played by actress Anjali Naidu.
The film had big entertainment value with circus items thrown in between and on
the whole it was well received. Memories of seeing the film at
Thiruvananthapuram still linger. What I still remember and what impressed me
most was the music of M.B.Sreenivasan,<span style="mso-spacerun: yes;"> </span>especially the song ‘Manasssoru maanthrika kuthirayay payunnu’ ,
penned by Mullanezhi<span style="mso-spacerun: yes;"> </span>and soulfully
rendered by Jesudas. In fact M.B.Srinivasan was Sri K.G. George’s favourite
music director<span style="mso-spacerun: yes;"> </span>doing music for all his
successful films except SWAPNADANAM.There was also another beautiful song
‘Neelakkuda choodi vanam’ by Selma George. The song ‘Manassoru maanthrika’ and
‘Sharabindu malaedeeepa naalam’of ULKKADAL are arguably the best songs of MBS
in Malayalam films. It is sad that Selma George was not heard much in Malayalam
films in later years. The hero of MELA, Raghu could not also achieve what
another similarly endowed artiste, Pakru, could achieve in films like ATBHUTHA
DWEEP years later.</span></div>
<div class="MsoNormal" style="text-align: justify;">
http://www.youtube.com/watch?v=_iom_MdO0is<br />
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #7030a0;">The
song ‘Manassoru’ used to haunt me and my efforts to get a gramophone record of
the song could finally succeed recently to my utter delight prompting me to
scribble a few lines as above.</span></div>
</div>
JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com0tag:blogger.com,1999:blog-2372937692697241080.post-69988541273766211612013-12-27T06:10:00.000-08:002014-01-24T21:05:04.989-08:00FILM ARZOO AND A FEW STRAY THOUGHTS.<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdC-lcjsJlaCW0_TQJOnoeZRhZJ70KJ5BEe67Fm43v0USevvAhVBkgas5ln_r9KyVdJH3nYj5dEibUS2YgMIVzvIDYFqu559ZcbsrweIFLL5VupaVzysM95DCTrh0x5xq34F1mIAUAJn7V/s1600/Blog+Arzoo+Arzoo.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdC-lcjsJlaCW0_TQJOnoeZRhZJ70KJ5BEe67Fm43v0USevvAhVBkgas5ln_r9KyVdJH3nYj5dEibUS2YgMIVzvIDYFqu559ZcbsrweIFLL5VupaVzysM95DCTrh0x5xq34F1mIAUAJn7V/s200/Blog+Arzoo+Arzoo.JPG" height="185" width="200" /></a><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;">The
other day while listening to Sri Lanka Broadcasting Corporation’s<span style="mso-spacerun: yes;"> </span>(“Aap ka Purana Dost Radio Ceylon”, as the
broadcaster nostalgically introduces themselves) morning Hindi programme, the
song ‘Yeh phoolon ki rani, baharon ki mallika, tera muskurana.......’came out
crystal clear in all its glory to our utter delight. This happy, melodious <span style="mso-spacerun: yes;"> </span>romantic song penned by Hasrat Jaipuri and
composed by Shankar Jaikishen<span style="mso-spacerun: yes;"> </span>from Sagar
Films International’s <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>ARZOO (Direction: Ramanand Ragar) was a huge hit of those days. In fact for music directors Shankar Jaikishen, who were
riding high on popularity charts throughout the decades of the 1950 and the 60,
the music of the film was an outstanding success, the film bagging four
Filmfare Awards, for best music(SJ), Best Lyrics (Hasrat: Aji ruth karna),best
direction and story(Ramanand Sagar)and best actor(Rajinder Kumar). </span><br />
<a href="http://www.youtube.com/watch?v=9sV8tXENi2s">http://www.youtube.com/watch?v=9sV8tXENi2s</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVyeEYlN4oZxtuk_JciBfjwBO-S-Gevuap1-AvB6Be4Ihe0Gn0FHbKsuVe32cxZa93zhy1YwyBB-BxOhTmKuAMj0RT9DDXGpsBvZaMp1Ul2sWoaIOxQNj0k-XEproKxlZ6JEyoRGYw7oAh/s1600/Blog+Arzoo+S&J.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVyeEYlN4oZxtuk_JciBfjwBO-S-Gevuap1-AvB6Be4Ihe0Gn0FHbKsuVe32cxZa93zhy1YwyBB-BxOhTmKuAMj0RT9DDXGpsBvZaMp1Ul2sWoaIOxQNj0k-XEproKxlZ6JEyoRGYw7oAh/s200/Blog+Arzoo+S&J.jpg" height="117" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVyeEYlN4oZxtuk_JciBfjwBO-S-Gevuap1-AvB6Be4Ihe0Gn0FHbKsuVe32cxZa93zhy1YwyBB-BxOhTmKuAMj0RT9DDXGpsBvZaMp1Ul2sWoaIOxQNj0k-XEproKxlZ6JEyoRGYw7oAh/s1600/Blog+Arzoo+S&J.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ3fZAeZgJF9Zwnlkl7pszuREFpb4YWM8PLptDtN5mvQ1TLJetlQnGM37SiYB_TzcvoYXCoRHfXkvU0Lfa3AxHZqa7Rgjm0DQPwVnqjWyHtMU8hv3QX8897Suv3AudNEwZPW5Ha-cvmQEV/s1600/Blog+Aarzoo.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ3fZAeZgJF9Zwnlkl7pszuREFpb4YWM8PLptDtN5mvQ1TLJetlQnGM37SiYB_TzcvoYXCoRHfXkvU0Lfa3AxHZqa7Rgjm0DQPwVnqjWyHtMU8hv3QX8897Suv3AudNEwZPW5Ha-cvmQEV/s1600/Blog+Aarzoo.jpg" /></a><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;">The
song ‘Ye phoolon<span style="mso-spacerun: yes;"> </span>ki rani’ is rarely
heard nowadays<span style="mso-spacerun: yes;"> </span>and hearing it suddenly
over the radio was a pleasant experience. Mohammed Rafi had made it his own,
rendering it as only he could, bringing out<span style="mso-spacerun: yes;">
</span>the mood of the song and its nuances pleasingly to the discerning ears! Film
ARZOO had a few other outstanding songs in it like ‘Aji ruth karna’(Lata) , Yeh
nargise mastana and ‘Chalke teri aankhon mein (both by Rafi) and the
haunting<span style="mso-spacerun: yes;"> </span>‘Bedardi balma tujh ko (Lata).
But for us those days ‘Ai phoolon ki rani’ was closer to the heart as it
touched a chord somewhere. What pains today is the feeling that the musical
duo, S-J, who had given us innumerable wonderful songs in films from Aag,
Barsaat, Chori Chori to Sasural Sangam, Jis desh nein Ganga bahti hai to
Be-iman and so on and who were the kings of the music industry, earning a
record nine Filmfare Awards, for more than two decades are not getting the
deserved prominence nowadays in music related programs and features. Are they
being slowly pushed into the oblivion?</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIwmgdL9OroTAYe3a7-ffhZnQIJHx2I1YlzKuUyKpv3vT50_ijn1EPTaIvZoXBf-reOPyqsc7PXDIdbSYmrqaQHkEjTwTxGCwH90FZG6rIl4EfEubhAyYdbfFp9aFNlK6yQnbHZkR2wWQI/s1600/blog+Arzoo+Oyasa+back+cover.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIwmgdL9OroTAYe3a7-ffhZnQIJHx2I1YlzKuUyKpv3vT50_ijn1EPTaIvZoXBf-reOPyqsc7PXDIdbSYmrqaQHkEjTwTxGCwH90FZG6rIl4EfEubhAyYdbfFp9aFNlK6yQnbHZkR2wWQI/s200/blog+Arzoo+Oyasa+back+cover.JPG" height="200" width="152" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjwaE7uJgdhG16ibgcSCsNM3_ed7Li4ffKIJ-zPE9kHFy0FUFq-GK49DcndmwNROf0p44_eAztE5E_HmZrphVnD3hQMi7xXw8Duxed_XJGqf74rRjJDNgRHUH-4eQkJ4JASFJxN_HZY8Qw/s1600/Blog+Arzoo+pyasa.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjwaE7uJgdhG16ibgcSCsNM3_ed7Li4ffKIJ-zPE9kHFy0FUFq-GK49DcndmwNROf0p44_eAztE5E_HmZrphVnD3hQMi7xXw8Duxed_XJGqf74rRjJDNgRHUH-4eQkJ4JASFJxN_HZY8Qw/s200/Blog+Arzoo+pyasa.JPG" height="200" width="197" /></a><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;">While
listening to ‘Ae phoolon ki rani’ three songs with a similar tune but entirely
different in content , treatment and style flashed through my mind. Two are
from film PYASA<span style="mso-spacerun: yes;"> </span>with music by S.D.Burman
and penned by Sahir Ludhianvi. While the <span style="mso-spacerun: yes;"> </span>songs, ‘Jinhen naaz hai Hind par woh kahan
hai’ and ‘ Yeh duniya agar mil bhi jayen to kya hain’ rendered by Rafi are
intense, grief filled and filmed<span style="mso-spacerun: yes;"> </span>on the
tragic hero of the film played by Guru Dutt , the song ‘Ae phoolon ki’ is simple,
pleasant and romantic.<span style="mso-spacerun: yes;"> </span>These songs show
Rafi’s range and flexibility in singing songs to the mood of the
situation and the theme of the film. The film PYASA<span style="mso-spacerun: yes;"> </span>created a sensation when it<span style="mso-spacerun: yes;"> </span>was released and it became a milestone in Indian
film history and is considered as one of the top romantic films of the
world.<span style="mso-spacerun: yes;"> </span>Singer Geeta Dutt was at her best
in the immortal songs ‘Jane kya tune kahi’and ‘aaj sanam mohe ang lagalo’ as
was Hemant Kumar in the song ‘Jane woh kaise log they’, argueably, his best remembered
song.</span><br />
<span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;"> </span><a href="http://www.youtube.com/watch?v=ugvtr3VQ2fI">http://www.youtube.com/watch?v=ugvtr3VQ2fI</a><br />
<a href="http://www.youtube.com/watch?v=hSo3KVwrp8M">http://www.youtube.com/watch?v=hSo3KVwrp8M</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKOdy9Pv1LBQyfymDeyYSiwIb9q6CgRbiFtF-a6IOoBXzzVf3XUeEZWC2uU97-XcQ2k5-MpyckZnz54tDopjnju9632FoYyrMbAsP7ojs7jqwhIQtM_fGgXedrB3uL89zpcwX5L_uRf8F-/s1600/Blog+Arzoo+Jagjit.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKOdy9Pv1LBQyfymDeyYSiwIb9q6CgRbiFtF-a6IOoBXzzVf3XUeEZWC2uU97-XcQ2k5-MpyckZnz54tDopjnju9632FoYyrMbAsP7ojs7jqwhIQtM_fGgXedrB3uL89zpcwX5L_uRf8F-/s200/Blog+Arzoo+Jagjit.JPG" height="135" width="200" /></a><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;">The
third song which came to my memory was a ghazal (Nazm) by Jagjit Singh from
film Aaj,viz., Woh kaghaz ki kashti, woh baarish ka paani’ with music by Jagjit
Singh and Chitra Singh<span style="mso-spacerun: yes;"> </span>for the lyrics
penned by Sudarshan Faakir. The similarity of the tune with the earlier
mentioned songs are clear. But the content and mood of the song are entirely
different . The song takes us nostalgically back to our childhood days with the
beautiful lyrics<span style="mso-spacerun: yes;"> </span>soulfully rendered by
Jagjit Singh. People often wonder why we always long to hear old songs. They
are not mere old songs; each song evokes <span style="mso-spacerun: yes;"> </span>special memories and feelings in the hearts of
listeners, especially those who had heard them<span style="mso-spacerun: yes;">
</span>and seen the films when they were released in their local theatres</span><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;"> giving them immense joy and a sense of
belonging! The song ‘Kaghaz ki kashti’epitomises all that can be said about the
wonderful olden days. </span></div>
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<span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;">,</span><span style="color: #7030a0; font-size: 12.0pt; line-height: 115%;"><a href="http://www.youtube.com/watch?v=c3Wq4q7Yygg">http://www.youtube.com/watch?v=c3Wq4q7Yygg</a></span></div>
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JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com0tag:blogger.com,1999:blog-2372937692697241080.post-62103163674858561652013-12-15T00:37:00.001-08:002013-12-16T01:33:06.138-08:00THOSE WONDERFUL NOSTALGIC MUSIC DEVICES.<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="mso-bidi-font-weight: normal;"><span style="color: #00b050; font-size: 12.0pt; line-height: 115%;">In the 60s,the 70s and the
80s non resident Indians coming from Gulf countries used to bring portable
transistor radios, radio cum cassette recorders popularly known as two-in-ones,
<span style="mso-spacerun: yes;"> </span>pocket radios and so on to the envy of
the local residents for whom such gadgets were a luxury owing to their short
supply in the regular shops and high price. It was a common sight, at airports,
railway stations and bus stands in this part of the country, to see the
‘Gulfees’ carrying these sets ‘naked’<span style="mso-spacerun: yes;"> </span>by
their handles with their cartons/covers removed to display their proud
possessions in front of the onlookers covetously eyeing them. A variety of such
sets in different colours, sizes and shapes, with and without leather covers,
stereos and monos, with double, single, and more than double speakers were common.
Many of these sets used to be available for sale within a couple of months of
their arrival as many NRIs sold them off at the time of their departure to make
a quick buck. The grey market also used to be very active dealing in
electronics, watches, pens, perfumes, suitcases and so on. Displaying a
formidable looking foreign ‘Two-in One’ in the drawing room was considered by
many as a status symbol!</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0UrV8ivjVpnrwyramD0iqTsR_Lx6gSIPLfNZAL6zkvwvvz5KH8Q4GCP95E9HvGjLwm3nyUTQP-Y51w0kgfIFOn0V0JUv3VI9xx-Fl_fpN-8XxZOpNT_JPlYm1DIE_e9uBQJB1dqHuvRJj/s1600/National+Pana+tape+old+.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0UrV8ivjVpnrwyramD0iqTsR_Lx6gSIPLfNZAL6zkvwvvz5KH8Q4GCP95E9HvGjLwm3nyUTQP-Y51w0kgfIFOn0V0JUv3VI9xx-Fl_fpN-8XxZOpNT_JPlYm1DIE_e9uBQJB1dqHuvRJj/s200/National+Pana+tape+old+.JPG" width="116" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcVVuG6PSL24ZCCUzO85z2gdVNgO5uQdJ_M6yMQDD7FvUJFfOdxJgXxZ1M85z2_j9RkXgaHGlkgvtFQBe5ZbJst7wbm-XXbs2viFwycYPAlRgYJIshmQIpdW2qWoOHywZ5n5Bp9pyFnxb1/s1600/National+blog+walkman.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcVVuG6PSL24ZCCUzO85z2gdVNgO5uQdJ_M6yMQDD7FvUJFfOdxJgXxZ1M85z2_j9RkXgaHGlkgvtFQBe5ZbJst7wbm-XXbs2viFwycYPAlRgYJIshmQIpdW2qWoOHywZ5n5Bp9pyFnxb1/s200/National+blog+walkman.JPG" width="138" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaRq5cK5F1x0uc2e59hYAcsjYcQPDc_4WlrjxQ__630EKY3mX_vYvJtZFmAfc7eOufhL_lC3CQ6_5MC-uWZPrYHic71jQSMFHJnoh3RWSIdaG0wTU2xJt6HUNcYzaTCSJCdkPz2MZbP-d7/s1600/National+blog+Philips+pocket.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaRq5cK5F1x0uc2e59hYAcsjYcQPDc_4WlrjxQ__630EKY3mX_vYvJtZFmAfc7eOufhL_lC3CQ6_5MC-uWZPrYHic71jQSMFHJnoh3RWSIdaG0wTU2xJt6HUNcYzaTCSJCdkPz2MZbP-d7/s200/National+blog+Philips+pocket.JPG" width="118" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #00b050; font-size: 12.0pt; line-height: 115%;">The most popular brand
of music players was NATIONAL,(Pronounced by a section as Nasenal) made and
marketed by Mitsushita Electric Industrial Co., Japan, which later became
Panasonic Corporation and their products appeared as National, National
Panasonic , Panasonic and Technics. Other brands were Soni, Hitachi, Sharp,
Toshiba, Akai, Philips and so on. Originally all these brands were ‘Made in
Japan’only; but later they were made in other countries also including India
and China. I had a Sharp compact recorder purchased in Bangalore in 1971 but I
don’t know where it is now. A similar looking National Panasonic cassette
recorder(made in Japan)purchased around the same period is still with me in good
working condition. Both cost <span style="mso-spacerun: yes;"> </span>around
Rs.800/-each<span style="mso-spacerun: yes;"> </span>those days. In early 1970s
BUSH introduced a similar compact cassette recorder in India costing around
Rs.900/- along with the famous<span style="mso-spacerun: yes;"> </span>and popular
transistor radio<span style="mso-spacerun: yes;"> </span>Bush Baron. <span style="mso-spacerun: yes;"> </span>But the Bush model of cassette recorder was no
match for the National cassette recorders in quality and price. My efforts to
get the very popular Bush Baron radio set of the late 60s repaired were in
vain. But the Philips Victor<span style="mso-spacerun: yes;"> </span>radio of
1970 which used to be kept on throughout the day during cricket matches is
still working! The small Philips pocket radio used for hearing <span style="mso-spacerun: yes;"> </span>cricket commentary is still used during power
cuts as well as while sitting in one corner of the terrace to be away from the
T.V. and to be in the company of oneself! <span style="mso-spacerun: yes;"> </span>Yes, the tiny <span style="mso-spacerun: yes;"> </span>BPL Stereo Walkman cassette player and another
similar one of the 90s are still there evoking<span style="mso-spacerun: yes;">
</span>nostalgia.</span></b></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSW8wkKEtMWMDYCbsCtASaPIDqgG0AsHJ-N4cohQYxpNHX4iQfjH4sGj0vewpQGHsuvrA3DKAMQ9ZOkXHNJQd1Fr5Dbzkut2CLC_0e2oZmirZ3pkBSY6DoYLNIR_cbJsXL4SHKBbv0CxEB/s1600/National+blog+2.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSW8wkKEtMWMDYCbsCtASaPIDqgG0AsHJ-N4cohQYxpNHX4iQfjH4sGj0vewpQGHsuvrA3DKAMQ9ZOkXHNJQd1Fr5Dbzkut2CLC_0e2oZmirZ3pkBSY6DoYLNIR_cbJsXL4SHKBbv0CxEB/s200/National+blog+2.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">National Rx 5235</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<b style="mso-bidi-font-weight: normal;"><span style="color: #00b050; font-size: 12.0pt; line-height: 115%;">The provocation for
this post is the radio cassette recorder the photo of which is shown at the
beginning of the post and alongside; a ‘NATIONAL TWO-WAY 4 SPEAKER STEREO RADIO
CASSETTE RECORDER MODEL Rx.5235’. It was originally purchased by a friend from
my childhood days and classmate too in the school, sometime during<span style="mso-spacerun: yes;"> </span>the early 70s from an NRI for about Rs.4000/-
if my memory is correct. He had used it for years and had kept it aside, uncared
for, unable to get some repairs done. But I could, through my contacts, bring
it sparklingly back to great working condition. In fact its radio section
required only minor attention.. The <span style="mso-spacerun: yes;"> </span>problem was with its cassette deck as spares
like belt, wheels, pinch rollers and a few other parts could not be obtained. But
with a lot of search, follow-up and contacts a few of them were collected and
the rest by my friendly repairer by ‘cannibalising’ on an old hopeless set kept
by him for the purpose! Luckily the recording / playback head was still in good
condition. The result, after some serious cleaning and polishing, is a set as
good looking and performing as a new set. The thrill of getting it back to work
from a dilapidated and unpromising condition was so great that I decided to put
it on record. What is amazing about this more than 40 years old set is its powerful
hi-fi sound quality coming through the 4 way speakers especially while playing
the radio with its high gain tuner<span style="mso-spacerun: yes;"> </span>with
an FM band. Remember FM band was widely in use abroad even in the 70s whereas
for us it is a more recent experience.The fine tuning knob helps in locating and
stabilizing SW stations from the crowded SW1 and SW2 bands.The long telescopic
antenna also helps. It is indeed a delightful nostalgic experience to listen to
Purani Geet and Aap ki Farmaish<span style="mso-spacerun: yes;"> </span>on Sri
Lanka Broadcasting Corpn’s Videsh Vibhag in the morning <span style="mso-spacerun: yes;"> </span>and Vividh Bharati on the set. How many radio
sets of today can boast of clear reception of short wave stations leave alone
Radio Ceylon’s Videsh Vibhag?.Of course, it does’nt matter either as very few
are nowadays interested in listening to short wave broadcasts! The cassette
deck is now working well and the special auto reverse mechanism, a rare feature
those days, <span style="mso-spacerun: yes;"> </span>enhances the convenience <span style="mso-spacerun: yes;"> </span>of the set. No wonder people, especially music
lovers world wide still prefer <span style="mso-spacerun: yes;"> </span>a genuine
‘Made in Japan’ product over others. A Panasonic or Soni equipment made in
Japan commands a higher price than their own similar sets made in Singapore or
India. The National Rx.5235 is a typical old ‘Gulfee’ set by its looks,
performance and price. It still commands an astronomical price on the net!</span></b><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEycIGkvREUS69wbqEa-9my7GMq9zPE3Zpc0k9cuiqijAnrtF_xZQWvMu0CScC36LU1v2sraS4QJDLmxu4OV5TqlXZ6BziUqN66Yz4x8wlBZX0B-FI994Yd4z2mAv4r4uEJayZnyTQIvDp/s1600/National+blog+Keltron+Kamal.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEycIGkvREUS69wbqEa-9my7GMq9zPE3Zpc0k9cuiqijAnrtF_xZQWvMu0CScC36LU1v2sraS4QJDLmxu4OV5TqlXZ6BziUqN66Yz4x8wlBZX0B-FI994Yd4z2mAv4r4uEJayZnyTQIvDp/s200/National+blog+Keltron+Kamal.JPG" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #00b050; font-size: 12.0pt; line-height: 115%;"> </span></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpPLXGGpO8PVBwtqzlvklVo-mwjaGg9PpjbFs7pFJx6TBH7Ie10cyfIhaGFWrvKmZpBYbeNBVXH-H42FtA60JS6sDQSQo28MIX9I8-dzM4MvpH05tg1xzuwoC2MLpBQz3utQlO_EYCoAMo/s1600/National+blog+Boom+box.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpPLXGGpO8PVBwtqzlvklVo-mwjaGg9PpjbFs7pFJx6TBH7Ie10cyfIhaGFWrvKmZpBYbeNBVXH-H42FtA60JS6sDQSQo28MIX9I8-dzM4MvpH05tg1xzuwoC2MLpBQz3utQlO_EYCoAMo/s200/National+blog+Boom+box.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Aftron BoomBox</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
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</xml><![endif]--><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbg19lB5Zywcwr0WH0Q1F5kykAoikx-ct1HSvZhimxacoGTM4sUXkGE06jCdqk2xF1GAXmNPQBXdpnhOG4JSYYSQnl592q9HlNEU0sHPWstKw29vCrVWypLUJgQRryN6M8kjF7GtZWkL4u/s1600/National+blog+Nippotec.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbg19lB5Zywcwr0WH0Q1F5kykAoikx-ct1HSvZhimxacoGTM4sUXkGE06jCdqk2xF1GAXmNPQBXdpnhOG4JSYYSQnl592q9HlNEU0sHPWstKw29vCrVWypLUJgQRryN6M8kjF7GtZWkL4u/s200/National+blog+Nippotec.JPG" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #00b050; font-size: 12.0pt; line-height: 115%;">There were many Indian
and foreign brands manufactured in India like Murphy, Nelco, HMV, Philips,
BPl/Sanyo, Bush/Akai, Videocon/Toshiba, Telefunken/Grundig and so son. We had
also a very popular local brand of transistor sets. viz., KELTRON. Their sets,
Keltron Kamal and Keltron Kranti, were noted for good performance . The tiny
Kamal set bought in 1983/84 , still used by me, lends credence to this. But over
the years, with the revolution<span style="mso-spacerun: yes;"> </span>in
electronic/music industry and change in people’s listening habits these once
wonderful products have faded from even the memory of many. Philips, Panasonic,
Soni, etc. are still marketing<span style="mso-spacerun: yes;"> </span>small
radios on a limited scale targeting old timers. A few major manufacturers like
Toshiba, JVC etc. and others <span style="mso-spacerun: yes;"> </span>also
marketing<span style="mso-spacerun: yes;"> </span>All-in-One sets like, for
example</span><span style="color: #00b050; font-family: "Calibri","sans-serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-IN; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">, AFTRON
BOOM BOX and NIPPOTEC<span style="mso-spacerun: yes;"> </span>Rechargeable radio
cum CARD/USB player.The Boombox is a Radio cum DVD/MP3/VCD/CD/USB/MMC /Cassette
player! But I really do not think that devices like the small transistor radios,
two-in-ones etc. will make a comeback even though<span style="mso-spacerun: yes;"> </span>the surge being made by record players and
vinyl records worldwide in recent years does evoke a faint ray of hope. What is
disheartening for the<span style="mso-spacerun: yes;"> </span>enthusiasts is the
sight, at repair shops and service centres, of dusty heaps of tiny radios,
amplifiers, cassette decks and <span style="mso-spacerun: yes;"> </span>a variety
of other old equipments which once occupied a prominent space in the drawing
rooms of the owners, lying uncared for. Owners’ apathy,<span style="mso-spacerun: yes;"> </span>repairers’reluctance/resistance to spend time
on them and difficulty in getting spares have, regrettably, made them <span style="mso-spacerun: yes;"> </span>a part of the bulging global electronics
waste.</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #00b050; font-size: 10.0pt; line-height: 115%;">Tail piece:- What is an
useful method of maintaining old equipments? Well,<span style="mso-spacerun: yes;"> </span>use them as often as possible.</span></b></div>
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JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com4tag:blogger.com,1999:blog-2372937692697241080.post-5121547514415493042013-10-30T22:16:00.001-07:002013-11-01T00:06:02.285-07:00HINDI FILMS THOSE NOSTALGIC TITLES.<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="mso-bidi-font-weight: normal;"><span style="color: #0070c0; font-size: 12.0pt; line-height: 115%;"><br /></span></b></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbgYF5SROHCuT5jvBLOlb53t_f76CWmeHXMOkhIza_36EXHweGWmQ8qCn-uExgegzck_wgZB2_q4tCyBVhhL0bHwrhemVMUz3VOz1r0ljqkK1vV7lPF81Wb__u6TBfVsH5GPfb4hvXpShZ/s1600/Blog+titles+Ab+Dilli.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbgYF5SROHCuT5jvBLOlb53t_f76CWmeHXMOkhIza_36EXHweGWmQ8qCn-uExgegzck_wgZB2_q4tCyBVhhL0bHwrhemVMUz3VOz1r0ljqkK1vV7lPF81Wb__u6TBfVsH5GPfb4hvXpShZ/s200/Blog+titles+Ab+Dilli.JPG" width="195" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #0070c0; font-size: 12.0pt; line-height: 115%;">As youngsters we were
always attracted by the romantic, poetic and meaningful titles of films
released those days. The titles used to be so catchy and thought-provoking that
we marked it as a ‘must see’ film the moment the news of the launch of the film
reached us. During those days the launch of films used to be widely published
in the print media like THE SCREEN and<span style="mso-spacerun: yes;">
</span>CINE ADVANCE <span style="mso-spacerun: yes;"> </span>and so on with full
page advertisements, news and photos including that of well attended ‘muhurat’
ceremonies. Follow-up reports indicating progress of production, delays,
recordings and so on also used to be there giving us a lot of topics for
discussion and to be prepared for the release of the films.</span></b></div>
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<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjimcsCwPF8K79htie8W9Ix-3m47lxaWAI4reP0Pr5LT45wSTOK0_ra5qS8DelOU6HjI-hNwvqd3ja5ezzclSTdBHV-KY1fRKYFceYw3CbFCs4AFTjRvDQnCpDXENsQdPZCGN7JuFMZVgK/s1600/Blog+titles+Pyasa.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjimcsCwPF8K79htie8W9Ix-3m47lxaWAI4reP0Pr5LT45wSTOK0_ra5qS8DelOU6HjI-hNwvqd3ja5ezzclSTdBHV-KY1fRKYFceYw3CbFCs4AFTjRvDQnCpDXENsQdPZCGN7JuFMZVgK/s200/Blog+titles+Pyasa.JPG" width="193" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqrwtpAATe1gbR_0iydZX9f5062EG3w0GZBghgqyr0x_tbZhyphenhyphenWPwAZKcc0a6PthYMVoUwl42RQj-JcdFdNBqCAqjbviZtYGbwFoGMc2ttoaN6k0mZrryYLv4XdBAG4v660WcPEqRA78xVB/s1600/Blog+titles+AAG.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqrwtpAATe1gbR_0iydZX9f5062EG3w0GZBghgqyr0x_tbZhyphenhyphenWPwAZKcc0a6PthYMVoUwl42RQj-JcdFdNBqCAqjbviZtYGbwFoGMc2ttoaN6k0mZrryYLv4XdBAG4v660WcPEqRA78xVB/s200/Blog+titles+AAG.JPG" width="192" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #0070c0; font-size: 12.0pt; line-height: 115%;">One of the earliest of
such films whose title fascinated us was<span style="mso-spacerun: yes;">
</span>AB DILLI DOOR NAHIN(1957) produced by Raj Kapur with Motilal, Yakub,
Anwar Hussain and Sulochana in lead roles. There is nothing in my memory about
our seeing the film but the songs composed by the talented music director
Duttaram had lingered in memory. The song<span style="mso-spacerun: yes;">
</span>‘Yeh chaman hamara’ by Asha Bhosle and the children’s song ‘Chhun chhun
karti’ by Rafi are still fresh in memory.That also reminds me of an earlier
film of Raj Kapur, AAG (1948) with Raj Kapur, Nargis and Kamini Kausal in the
lead which had music by Ram Ganguly. The voice of Shamshad Begum was at its
powerful best in the song, ‘Kahe koyal shor machaye re’ sometimes heard on the
radio even now. While titles with lengthy names were more attractive to us,
short names like AAG<span style="mso-spacerun: yes;"> </span>and PYASA caught
our imagination, may be for the depth of meaning/sentiments they conveyed. A
few of the outstanding songs of all time in Hindi films are from film PYASA.
Geeta Dutt’s ‘Jane kya tune kahi’, Hemant’s kumar’s ‘Jane woh kaise log they’
and Rafi’s ‘Jinhen naaz hai Hind par’ and ‘Yey duniya agar milbhi jaye to’ are immortal
compositions of S.D.Burman.</span></b></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8KAy6HYlBgVcR1Blj01vlPk0jjYmefSIcp9KQ2PQFKN_mK5gzfai7foTlX9zcOiybOyDjUMuYLvItd9b2QDn8tdZCFjaGW2uC9dSf6BO6A_ZkPQYdsxeNR_a7AtSQ4xhPk4PZyShh7yNt/s1600/Blog+titles+Jab+Pyar.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8KAy6HYlBgVcR1Blj01vlPk0jjYmefSIcp9KQ2PQFKN_mK5gzfai7foTlX9zcOiybOyDjUMuYLvItd9b2QDn8tdZCFjaGW2uC9dSf6BO6A_ZkPQYdsxeNR_a7AtSQ4xhPk4PZyShh7yNt/s200/Blog+titles+Jab+Pyar.JPG" width="193" /></a></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxMu0hUTn4xnZfFVXvgfYQkTlJEzJw2RtZnlu4eYWtA11Y3mdVZ9-sCYb3D_m3PRfMdOY7d5OnKUyeGdr49BYnfgPhG-XihdLWJCo9fZJvCJCssLQUsxIK_wCEYO4fxksNhHDL6B9WhCP9/s1600/Blog+titles+JIs+desh.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxMu0hUTn4xnZfFVXvgfYQkTlJEzJw2RtZnlu4eYWtA11Y3mdVZ9-sCYb3D_m3PRfMdOY7d5OnKUyeGdr49BYnfgPhG-XihdLWJCo9fZJvCJCssLQUsxIK_wCEYO4fxksNhHDL6B9WhCP9/s200/Blog+titles+JIs+desh.JPG" width="188" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #0070c0; font-size: 12.0pt; line-height: 115%;">Apart from the beauty
of the titles, the expectations about the music score of the films also had
caught our imagination for earmarking the films as ‘must see’. The
advertisements about the launch of films usually gave equal prominence to music
directors just like directors and lead stars. Names like Shankar Jaikishen,
O.P.Nayyar, S.D.Burman, Naushad, Madan Mohan,C.Ramachandra and so on were
‘guarantees’ to the film goers for outstanding songs. Three films with nostalgic
titles and Shankar Jaikishen’s music come immediately to mind. One is <span style="mso-spacerun: yes;"> </span>R.K.Films’ JIS DESH MEIN GANGA BAHTI HAI with
Raj kapur and Padmini in the lead.The sizzling romantic number ‘Ho maine pyar
kiya’ and the melodious ‘O basanti pavan’, both by Lata , were hugely popular
even before the film was released. There is also an enchanting chorus led by
Lata, Geeta Dutt, Mukesh, Manna Dey and Mahendra Kapur,<span style="mso-spacerun: yes;"> </span>‘Hum bhi hain tum bhi ho’ beautifully filmed
on the lead actors. Probably this is the only song in which<span style="mso-spacerun: yes;"> </span>these five great singers had joined together.
The song is also unique in<span style="mso-spacerun: yes;"> </span>that a few
lines were picturised on Pran, a rare event for a<span style="mso-spacerun: yes;"> </span>‘villain’to sing a song. Pran as villain Raka
had given a stellar performance.The music of the film also bagged the Filmfare
Award for best music of the year 1960.</span></b></div>
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PREET PARAI (1961), a<span style="mso-spacerun: yes;"> </span>familiar romantic
story with Raj Kumar and <span style="mso-spacerun: yes;"> </span>Meena Kumari in
the lead was another much awaited film with music by Shankar Jaikishen. In fact
the scintillating songs of Lata<span style="mso-spacerun: yes;"> </span>like
‘the title song and ‘Ajib daastan’ and the rhythmic ‘Mera dil ab tera o saajana’,
were the mainstay of the film. No wonder that the music of this film won the
Filmfare Award for best music in 1961.There are also a few other romantic
titles with Shankar Jaikishens’ music like<span style="mso-spacerun: yes;">
</span>Jab pyar kisee se hota hai, Ek dil sow afsane, Roop ki rani choron ka
raja, Aas ka panchi, Aayi Milan ki bela and so on. The main feature is that
each title formed part of the lyric of a song in the film, a speciality of
Shankar Jaikishen. A rare song,’Dil mera ek aas ka panchi’, by the talented
Subir Sen made the film<span style="mso-spacerun: yes;"> </span>Aas ka panchi
memorable.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitTfF1eZjQCoyzuJV6jF8gfXPADlxoDg05a-HIS73E8xxafgs34e8oztwo_CdWTxra2ZcFwusM4U6y30FzGWJDglKd9-EcRbw9poN37W7nodABBdfm1rCfNfFk3Uv1yIyogef-bS4xJqsL/s1600/Blog+titles+Baharen+phir.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitTfF1eZjQCoyzuJV6jF8gfXPADlxoDg05a-HIS73E8xxafgs34e8oztwo_CdWTxra2ZcFwusM4U6y30FzGWJDglKd9-EcRbw9poN37W7nodABBdfm1rCfNfFk3Uv1yIyogef-bS4xJqsL/s200/Blog+titles+Baharen+phir.JPG" width="198" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8aVtbtDdNPzcDMX0lV79aAZqdBy5tBNv6bZqTXW6chkHR-twtipZpFuZxmtXNzNueLqd5EBwgs30aIFnvW0fhhRWMQ_D8tKsfsFgyprfzstNLSY64AQ2ou2ZmHPgwOO7R81caMBOli2Y7/s1600/Blog+titles+Phir+wohi+dil+001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8aVtbtDdNPzcDMX0lV79aAZqdBy5tBNv6bZqTXW6chkHR-twtipZpFuZxmtXNzNueLqd5EBwgs30aIFnvW0fhhRWMQ_D8tKsfsFgyprfzstNLSY64AQ2ou2ZmHPgwOO7R81caMBOli2Y7/s200/Blog+titles+Phir+wohi+dil+001.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiB66knGY_dw_xM4wNUEIyTk5mFq3X6Pad_bFAJVH9w7S9wF_4rxiY3iuDC3jB1Plaik4Q6alqUM-5MPyo2JthUgNKe2bMhHrj6SwzPEJkDeX0GM1oTLb1y28gbWZQW21GolenN154E9HD/s1600/Blog+titles.+Phir+s+hogi.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiB66knGY_dw_xM4wNUEIyTk5mFq3X6Pad_bFAJVH9w7S9wF_4rxiY3iuDC3jB1Plaik4Q6alqUM-5MPyo2JthUgNKe2bMhHrj6SwzPEJkDeX0GM1oTLb1y28gbWZQW21GolenN154E9HD/s200/Blog+titles.+Phir+s+hogi.JPG" width="187" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG_SVQdx7yPVrcL0BYhDufWQ2BHBODTsMeEdlgaVkjc-aYBoHKR80tWOXyDsdGIH_snzlwVvP3S1tigQRGxIKzcjcSw44Eo6h1YW6EdsMCLZoe2u4N4xEFbWgb8sl5SMQA3VwWQ2aiqkde/s1600/Blog+titles+Yeh+raat+phir.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG_SVQdx7yPVrcL0BYhDufWQ2BHBODTsMeEdlgaVkjc-aYBoHKR80tWOXyDsdGIH_snzlwVvP3S1tigQRGxIKzcjcSw44Eo6h1YW6EdsMCLZoe2u4N4xEFbWgb8sl5SMQA3VwWQ2aiqkde/s200/Blog+titles+Yeh+raat+phir.JPG" width="176" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #0070c0; font-size: 12.0pt; line-height: 115%;">Music director O.P.
Nayyar was also associated with a few films with imaginative titles with his
famous <span style="mso-spacerun: yes;"> </span>mastery over rhythm. The names
readily coming to mind are the Joy Mukherjee-Asha Parekh film PHIR WOHI DIL
LAAYA HOON (1963), the Biswajeet-Sharmila Tagore film YEH RAAT PHIR NA AAYEGI
and the Dhrmendra-MalaSinha starrer BAHAREN PHIR BHI AAYEGI (1966). In Phir
wohi dil laaya hoon O.P. Nayyar was in his elements exploiting to the hilt the
vocal talent of Rafi and Asha to create rhythmic, foot-tapping songs with his
typical ‘horse trots’ in the background. The title song as well as ‘ ‘Lakhon
mein nigahon men’ are songs so typical of Rafi that one cannot think of hearing
them in any other voice. Similarly the semi-classical song ‘Dekho bijli dole
bin baadal ki’ and the melodious ‘Ankhon se jo uthri hai dil men’ are typical
Asha numbers for O.P. Nayyar. Films Baharen Phir....’ and ‘Yeh raat
phir...’have<span style="mso-spacerun: yes;"> </span>many of the top Asha
numbers for O.P.Nayyar with ‘Koi kahde kahde’, ‘Woh hanske mile hum se’,’Yeh
wohi jaga hai’ and the highly rhythmic ‘Mohabet cheese hai kya’ are a few of
them. Who can forget the popular hit ‘Huzure wala’ powerfully rendered by Asha
and Minoo Purushottam in Yeh raat ? Mahendra Kapur owed his success to a large
extent to his songs ‘Badal jaaye agar mali’ (Baharen phir) and ‘Mere pyar woh
hai’(Yeh Raat) along with his songs for OP in Sawan ki Ghata and Kismat. The
word ‘phir’ also reminds me of another two romantic film titles,one “Dil ne
phir yaad kiya’(1966) with <span style="mso-spacerun: yes;"> </span>beautiful
music score by Sonic Omi. The pleasant Rafi numbers ‘Lo chehra surkh sharaab’
and ‘Khaliyon ne gunghat khola’along with the title song ‘Dil ne phir yaad..’
by Rafi,Suman Kalyanpur and Mukesh come readily to mind. The second is the Raj
Kapur- Mala Sinha film, PHIR SUBHA HOGI (1958), based on Feodor Dostoyevsky’s
famous novel Crime and Punishment. Two songs composed by the great Khayyam,
‘Phir subah kabhi to aayegi’(a solo by Mukesh and as a duet by Mukesh and Asha)
and ‘Chino Arab hamara Hindustan hamara’ (Mukesh) contributed for the success
of the film to a large extent.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHD5rjGOwlJEaJkVF6Ccpqh91ZEtD3h5rZJi7ltm3XmsSH9diB45n9EozPuANa9TnH7rM-whm2HfVBwT_uPsJbLgAoMS-RbVh6fFeaVF59NqU93hlSB2vUTQHmZmErhlsoFssfbRFqRaiH/s1600/Blog+titles+Dekh+Kabira+roys.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHD5rjGOwlJEaJkVF6Ccpqh91ZEtD3h5rZJi7ltm3XmsSH9diB45n9EozPuANa9TnH7rM-whm2HfVBwT_uPsJbLgAoMS-RbVh6fFeaVF59NqU93hlSB2vUTQHmZmErhlsoFssfbRFqRaiH/s200/Blog+titles+Dekh+Kabira+roys.JPG" width="190" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDJJAmbdaYPD_48TUE2VRFlNUToSLA9dVA8Kb9BE_Nzrh2VjEsKy1xBky5nLNc7rLm3TZoPyPWjYuxyGmzFBwrQDNyPxjDBPms-GBjp5a3ZnqlVbI6Xd_vamMtR_HFwuZinlkw4eImzwWx/s1600/Blog+titles+Kali+topi.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDJJAmbdaYPD_48TUE2VRFlNUToSLA9dVA8Kb9BE_Nzrh2VjEsKy1xBky5nLNc7rLm3TZoPyPWjYuxyGmzFBwrQDNyPxjDBPms-GBjp5a3ZnqlVbI6Xd_vamMtR_HFwuZinlkw4eImzwWx/s200/Blog+titles+Kali+topi.JPG" width="136" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #0070c0; font-size: 12.0pt; line-height: 115%;">There are two<span style="mso-spacerun: yes;"> </span>romantic<span style="mso-spacerun: yes;">
</span>musical films of the 50s whose title and music made them a hot topic of
discussion among us. One is the hilarious romantic film KALI TOPI LAL RUMAL(1959)
with Chandrasekhar and Shakila in the lead. The film’s music was by
Chitragupta, a highly underrated music director who had tuned beautiful songs
for films like Tower house, Apalam chapalam and several films from AVM of the
south like Mein chup rahoongi and Mein bhi ladki hoon etc. Two songs of Kali
Topi deserves special mention,viz.,Lata’s ‘Daga daga vai vai vai’ and the
pathos filled duet with Rafi<span style="mso-spacerun: yes;"> </span>‘Laagi
chhoote na’. The other is DEKH KABIRA ROYA(1957) with Anup Kumar, Ameeta and
Anita Guha in the lead. Music lovers are ever grateful to music director Madan
Mohan for the wonderful music of the film. The most popular two of the ten
songs are Manna Dey’s ‘Kaun aaya mere man ki dware’ and Talat Mahmood’s ‘Humse
aaya na gaya tumse’. The captivating way Manna Dey was singing the first word
‘kaun’ and the remaining lyrics is a treat to the years. One can’t think of
Talat without remembering the song ‘Humse aaya’.Lata’s light classical number
‘Meri veena tum bin roye’ and ‘Tu pyar kare ya thukraye’ are a few of Lata’s
best for Madan Mohan.</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #0070c0; font-size: 12.0pt; line-height: 115%;">Yes, there are many
more such attractively titled films like Barsat ki raat, Meri surat teri
ankhen, Baharon ke sapne, Chaudwin ka chaand, Yadon ki baraat, Hum kise se kam
nahin, Do ankhen barah hath,Tere ghar ke samne, Aaye din bahar ke, Door gagan ki
chaon mein, Usne kaha tha, Bedard zamana kya jane and so on. But let me
conclude this post with a few lines on the last named three films.</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #0070c0; font-size: 12.0pt; line-height: 115%;">Film<span style="mso-spacerun: yes;"> </span>DOOR GAGAN KI CHHAON MEIN(1964)<span style="mso-spacerun: yes;"> </span>was a much awaited film for us as it was, in
every respect, an exclusive Kishore Kumar film, a monument for his genius. The
film was written,produced, directed and acted in by him with Supriya Chatterji
in the lead. The music was composed by Kishore Kumar and a few songs were sung
by him. In ‘Ah chal ke tujhe’ and ‘Koy lauta de mere’ Kishore’s voice was at
its soft melodious best.<span style="mso-spacerun: yes;"> </span>Title song Door
gagan ki chhaon men<span style="mso-spacerun: yes;"> </span>and Rahi tu ruk mat
jaana are typical Hemant Kumar songs in his<span style="mso-spacerun: yes;">
</span>characteristic voice.</span></b></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwBm5fa3lguT5g4kFAFOW5Y-WfWYGK98X2SndpvudzTqevfOFn8PK28kfnLqoZTVXd4fOdQfKHx_XMNZXn4sigclzAco0E-rdrlbDU0QbU4i861WrbeaIGFxWti9ZAKEym5n7GMQUHaw1a/s1600/Blog+titles+Usne+kaha+tha+001.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwBm5fa3lguT5g4kFAFOW5Y-WfWYGK98X2SndpvudzTqevfOFn8PK28kfnLqoZTVXd4fOdQfKHx_XMNZXn4sigclzAco0E-rdrlbDU0QbU4i861WrbeaIGFxWti9ZAKEym5n7GMQUHaw1a/s200/Blog+titles+Usne+kaha+tha+001.jpg" width="174" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">76rpm DISC USNE KAHA THA</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #0070c0; font-size: 12.0pt; line-height: 115%;">Film USNE KAHA THA (1960),
a typical love story partly against the back ground of war with Sunil Dutt and
Nanda<span style="mso-spacerun: yes;"> </span>in the lead,was a much discussed
film on the campus, probably for the story in which<span style="mso-spacerun: yes;"> </span>the hero sacrifices his life on the battle ground
for saving the life of his former lover’s husband because she had told him to
protect her husband!(Usne kaha tha). Two songs composed by Salil Choudhury are
fresh in memory. Talat Mahmood’s ‘Ah ha rim jim kar ke pyare pyare’<span style="mso-spacerun: yes;"> </span>and ‘Janewale sipahi se poochho’, by Manna
Dey, Sabitha Bannerji and chorus.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixeYk3m5dqNj8mFXZ1s41QuhyVh4aAjRS-x9pSEvEQWMeAMQLmZgnTKShWRcU-akfb35AGNvIsVl7_ovSSS_khkSSrVMjVfES_uyq62gSEjzXcRH8IJTRma5Bl0CBWwBOeUZm6IeS6qzAP/s1600/Blog+titles+Bedard.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixeYk3m5dqNj8mFXZ1s41QuhyVh4aAjRS-x9pSEvEQWMeAMQLmZgnTKShWRcU-akfb35AGNvIsVl7_ovSSS_khkSSrVMjVfES_uyq62gSEjzXcRH8IJTRma5Bl0CBWwBOeUZm6IeS6qzAP/s200/Blog+titles+Bedard.JPG" width="180" /></a><b style="mso-bidi-font-weight: normal;"><span style="color: #0070c0; font-size: 12.0pt; line-height: 115%;"> </span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #0070c0; font-size: 12.0pt; line-height: 115%;">The film and the title
BEDARD ZAMANA KYA JANE (1959) with Asok Kumar, Nirupa Roy and Pran with a
contrived story lingers in my mind probably for the songs ‘Naina hain jadu
bhare’ by Mukesh and ‘Door kahi tu’, a duet by Lata and Rafi both songs <span style="mso-spacerun: yes;"> </span>composed by Kalyanji Virji Shah.76</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #0070c0; font-size: 12.0pt; line-height: 115%;">It is a pity that many
of the beautiful songs of lesser known films are not heard nowadays except to a
limited extent on AIR and that lovers of old Hindi film songs, especially from
the young generation, are fed with only popular songs of a few successful films
over and over again.</span></b></div>
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<br />
<br />
<br />
<br />
<b style="mso-bidi-font-weight: normal;"><span style="color: #0070c0; font-size: 12.0pt; line-height: 115%;"></span></b><br />
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<b style="mso-bidi-font-weight: normal;"><span style="color: #0070c0; font-size: 10.0pt; line-height: 115%;">Tail piece: While
typing <span style="mso-spacerun: yes;"> </span>this post, <span style="mso-spacerun: yes;"> </span>a<span style="mso-spacerun: yes;"> </span>popular
song by Jagjit Singh was repeatedly<span style="mso-spacerun: yes;">
</span>passing through my mind. “....magar mujhko lauta do bachpan ka
sawan,<span style="mso-spacerun: yes;"> </span>Woh kagaz ki kashti woh baarish
ka paani ..............Badi <span style="mso-spacerun: yes;"> </span>khoobsurat <span style="mso-spacerun: yes;"> </span>tha woh zindagani”.Take away everything <span style="mso-spacerun: yes;"> </span>but give me back my childhood days.</span></b></div>
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<br /></div>
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<br /></div>
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JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com1tag:blogger.com,1999:blog-2372937692697241080.post-27275160927145312212013-09-23T07:24:00.001-07:002013-09-23T20:48:15.072-07:00MUSIC DIRECTOR N. DUTTA---DIL KI TAMANNA THI....<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkSGatBGY3ksx2iBxUUBZ9IdusbCiwdeqeM-MifYH_ndD8uj5mlUHfPwGDD_qe3zrsvs46kkOXbWq4O_WSi0LyyUtqteaBqY_EpbtF6eWZsz10TZWvmpsqpGTxhZg8LlqndJo0gubJ_2og/s1600/blog+n+dutta+photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkSGatBGY3ksx2iBxUUBZ9IdusbCiwdeqeM-MifYH_ndD8uj5mlUHfPwGDD_qe3zrsvs46kkOXbWq4O_WSi0LyyUtqteaBqY_EpbtF6eWZsz10TZWvmpsqpGTxhZg8LlqndJo0gubJ_2og/s320/blog+n+dutta+photo.jpg" width="251" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF9r-w040-T2jDAUmAgkkHahS1b3FNi2yY6T7Qs_hxBY8Mr8loyddLNjUDXh2ctJanbzmvK4gu_4MR5gxq3Iv2PdukDPto5kRNvGc51wwpm_W8W6zmSWqfV8P1EcvwKbrx09IXwZHngelY/s1600/Blog+N.Dutta+Gyarah+hazar+ladkiyan.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF9r-w040-T2jDAUmAgkkHahS1b3FNi2yY6T7Qs_hxBY8Mr8loyddLNjUDXh2ctJanbzmvK4gu_4MR5gxq3Iv2PdukDPto5kRNvGc51wwpm_W8W6zmSWqfV8P1EcvwKbrx09IXwZHngelY/s200/Blog+N.Dutta+Gyarah+hazar+ladkiyan.jpg" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">The other day I was playing a few
volumes of “GEETHMALA KI CHAAON MEIN’,<span style="mso-spacerun: yes;"> </span>a
series of CDs released by HMV Saregama, reliving the nostalgia of the “Binaca
Geetmala” of Radio Ceylon when the out of mind song of Muhammed Rafi,<span style="mso-spacerun: yes;"> </span>‘Oh<span style="mso-spacerun: yes;"> </span>dil
ki tamanna thi masti’ from the Bharat Bhushan-Mala Sinha film GYARAH HAZAR
LADKIYAN (1962) <span style="mso-spacerun: yes;"> </span>came on to my utter
delight along with the introduction in the familiar but still golden voice of
Shri Ameen Sayani. This song was one of our favourite songs those days
repeatedly heard on the radio, over the loudspeakers of film theatres while we
waited<span style="mso-spacerun: yes;"> </span>in the queue to buy tickets and <span style="mso-spacerun: yes;"> </span>while waiting for the football match to begin on
the make shift bamboo gallery of our town. There are two versions of the song,
one a captivating duet of Rafi and Asha and the other a solo of Rafi in his
inimitable style. The song penned by Sahir Ludhianvi and composed by N.Dutta
(Dutta Naik) in spite of its immense popularity in those days is never heard
nowadays and that made its listening a pleasant nostalgic experience.http://www.bing.com/videos/search?q=gyarah+hazar+Ladkiyan+songs&docid=4902044897248339&mid=B5683FA5772921DC9B1EB5683FA5772921DC9B1E&view=detail&FORM=VIRE1</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijeIeIEICD8pILyHC8WGu-t-4YIDWZcZk1-ZxtRKil3_6qAznAb3MfXjfTvC5dKFr2W8ut1XbUVvveXrBOUCFKj1wNEc2KUe9XZTRtCa-2NIyMAiwzRixPC_4kaBLsUoboWNDK8q0_KtA2/s1600/milap.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijeIeIEICD8pILyHC8WGu-t-4YIDWZcZk1-ZxtRKil3_6qAznAb3MfXjfTvC5dKFr2W8ut1XbUVvveXrBOUCFKj1wNEc2KUe9XZTRtCa-2NIyMAiwzRixPC_4kaBLsUoboWNDK8q0_KtA2/s200/milap.jpg" width="175" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">My thoughts went back to many of the
memorable songs composed by N.Dutta from some of the fifty odd films for which
he composed music. Though N.Dutta was a highly talented composer and gave
outstanding music for several films he remained a highly underrated composer
like many others of this category viz., Duttaram, S.N.Tripati, Chitragupta,Vasant
Desai to name a few. In fact it is one of the tragedies of Hindi film music
that several composers and singers of proven talent were pushed into background
by circumstances that prevailed in the film industry</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilsNlK0VR_vnKihz2TtVOFBZNm1HDCDCwScuKzytO2W_UtNQ9HnwUd1ZltV29wSCqAd2gi6oNqZHUJoHQ_YSEIObAia8sMo7jTh2XauNZVBanCoCoUlqdqjmzOVnBgGOUQQgDLFKg4FmL-/s1600/Hum-Panchhi-Ek-Daal-Ke-1957.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilsNlK0VR_vnKihz2TtVOFBZNm1HDCDCwScuKzytO2W_UtNQ9HnwUd1ZltV29wSCqAd2gi6oNqZHUJoHQ_YSEIObAia8sMo7jTh2XauNZVBanCoCoUlqdqjmzOVnBgGOUQQgDLFKg4FmL-/s200/Hum-Panchhi-Ek-Daal-Ke-1957.jpg" width="152" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Sri N. Dutta was active in film music
for about 25 years beginning with the film MILAP (1955). His first hit was the
Bharat Bhushan-Bina Rai film CHANDRAKANTA(1956) with about a dozen songs the
outstanding of which being the melodious Rafi number, ‘Maine chaand aur sitaron
ke tamanna ki thi’ beautifully penned by Sahir Ludhianvi. In fact Sahir continued
to be N.Dutta’s trusted lyricist for many of his successful films to follow.
The success of Chandrakanta was followed by his music score in the famous film
for children, viz., HUM PANCHI EK DAL KE(1957), in which the child artist Daisy
Irany had stolen the hearts of millions. N.Dutta’s music had contributed a lot
for the success of the movie. The title<span style="mso-spacerun: yes;">
</span>song, ‘Tang tang dole........hum panchi ek dal ke’ is,even today, rated
as one of the best in the category of children’s songs.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO1XdDVn9xi9gemZayk9gVO_ONM9w02grtspVdfprplKNx_LORVVez3asD4vwAG_RDMryALYxmi9_YLxgrpKPOQDpjWysue2k18_LF0WaxLwQHMC22Pod7w8hCp1l-NWC1BpQLTKnANJKN/s1600/Blog+N.Dutta+Sadhana.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO1XdDVn9xi9gemZayk9gVO_ONM9w02grtspVdfprplKNx_LORVVez3asD4vwAG_RDMryALYxmi9_YLxgrpKPOQDpjWysue2k18_LF0WaxLwQHMC22Pod7w8hCp1l-NWC1BpQLTKnANJKN/s200/Blog+N.Dutta+Sadhana.JPG" width="195" /></a></div>
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">In the year 1958 with the Asok Kumar
–Nutan starrer<span style="mso-spacerun: yes;"> </span>LIGHT HOUSE,<span style="mso-spacerun: yes;"> </span>N. Dutta established himself as a noted music
director with two beautiful Asha Bhosle songs, ‘Kis jaga jaye kisko
dikhayen’<span style="mso-spacerun: yes;"> </span>and ‘Nainon se naina laage’.
This was followed by a variety of beautiful songs in film SADHANA(1958) with
Sunil Dutt and Vjayanthimala in the lead. The sweet rustic number ‘Kahoji tum
kaya kaya kharedoge’ by Lata was hugely popular.The melodious Lata number
‘Aurat ne janam diya mardon ne’ had scaled far up in the popularity chart and
was a frequently heard hit on the radio. There was also the rare<span style="mso-spacerun: yes;"> </span>Geeta Dutt number ‘Tora manva kyon ghabraye’ as
sweet as ever in the film. Proving his versatility N. Dutta also composed a very
popular Quawwali, ‘Aaj kyon humse parda hai with Rafi and singer Balbir rocking.
In film BHAI BAHEN(1959), another Daisy Irani film, Dutta’s songs ‘Sare jahan
se aacha (Asha)’ and ‘Tandi hawa ke jhoke’(Shamshad Begum) were frequently
heard those days.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix-KOXOHnY6l_F2EtFm6Pra2IjWmvrTUk6gGO5n2ePukQjrrRhEfSFK4BKYzh5pm_2l_gsl2ZpssPUu9mfjniFjl57UmRVCk69mZ6_t2PJSvBn3Jvz47ZHuuwLuO4XDIaOXhwXRPK8v0dy/s1600/Blog+N.Dutta+Dhool+ka+phool.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix-KOXOHnY6l_F2EtFm6Pra2IjWmvrTUk6gGO5n2ePukQjrrRhEfSFK4BKYzh5pm_2l_gsl2ZpssPUu9mfjniFjl57UmRVCk69mZ6_t2PJSvBn3Jvz47ZHuuwLuO4XDIaOXhwXRPK8v0dy/s200/Blog+N.Dutta+Dhool+ka+phool.JPG" width="200" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCl2JxQca2sSOo6rlI8xpOxD9JhpCfOcjscwFl1V2ZRC4zJO7O-ziMdmp8PcYEtVKuE6USqNUaHnu5DOpV64nuSdTMLYUJHBiqHotnPpZ3zxNz-bDQs9EEo8IIy-bVepNzXdlRk2Ut9jn2/s1600/Blog+N.Dutta+Dharmputra.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCl2JxQca2sSOo6rlI8xpOxD9JhpCfOcjscwFl1V2ZRC4zJO7O-ziMdmp8PcYEtVKuE6USqNUaHnu5DOpV64nuSdTMLYUJHBiqHotnPpZ3zxNz-bDQs9EEo8IIy-bVepNzXdlRk2Ut9jn2/s200/Blog+N.Dutta+Dharmputra.JPG" width="198" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI_UbfU4gYTieiIlnjIdR0GWkK5dpd0zI8m_JRWCfCW8C7AMVt38GgavN3fX0Z7KMzxa6rE8eXMxXiqCnspXeTaYTQOuNTCrer8uy0BLGMSGG-0nXEu8rGRo23YLUKk51nkO0U2AWeiAdi/s1600/Dharmaptra.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">The credit of bringing Mahendra Kapoor
to the forefront of playback singers, augueably, goes to N.Dutta with Yash
Chopra’s <span style="mso-spacerun: yes;"> </span>film DHARM PUTRA(1960), a
Shashi Kapoor,Mala Sinha, Rahman starer and B.R.Chopra’s<span style="mso-spacerun: yes;"> </span>Mala Sinha- Rajinder Kumar film DHOOL KA
PHOOL (1959). It was a time when Mahendra Kapoor was struggling to come out of
the shadow of Muhammed Rafi that N. Dutta gave him the typical Rafi song,
‘Bhool sakta hai bhala kaun tumhari aankhen’, in Dharmputra, to which Mahendra
Kapur gave all he could to make it soulful. The individuality<span style="mso-spacerun: yes;"> </span>and strength of Mahendra Kapoor’s voice and his
distinct singing style was amply evident in this song.The way he succeeded in
imparting the required feeling to the song was a revelation to those who were
till then frequently enchanted by similar songs of Rafi. In fact this song
could be easily mistaken for a Shakeel Badayuni, Naushad, Rafi song filmed on
Dilip Kumar! Similar positive points could also be seen in the song ‘Aaj ki
raat’ and the chorus ‘Yeh kis ka lahoo hai kaun maara’. The ability of Mahendra
Kapoor to sing patriotic songs was revealed by the song ‘jai janani jai bharat
maan’. To establish his credentials as a versatile singer there was also this
very popular quawwali with Balbir,’Chahe yeh mano chahe woh maano’.The music of
Dharmputra is not all about Mahendra Kapoor. There are two Asha Bhosle numbers,
the haunting ‘main jab bhi akeli hoti hoon’ and the pleasant ‘Naina kyon bhar
aaye’, the first one a big hit in the Binaca Geetmala popularity charts.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQFlYvU0gtfk2tiXzoKZEQSGw7s0nEiPW5bc-rmoIZnzak7_mAF97edcpOllwQXFWYtlXjR7c3sfIBblHBd2m2wQu071wU4RBbNOdGmuXQVemjaRBJlX_xxoZBzQMvTkvvkeQDlnErypCV/s1600/Mahendra+Kapur.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQFlYvU0gtfk2tiXzoKZEQSGw7s0nEiPW5bc-rmoIZnzak7_mAF97edcpOllwQXFWYtlXjR7c3sfIBblHBd2m2wQu071wU4RBbNOdGmuXQVemjaRBJlX_xxoZBzQMvTkvvkeQDlnErypCV/s200/Mahendra+Kapur.jpg" width="200" /></a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">The music of film DHOOL KA PHOOL was,
probably, the best of music director N.Dutta with the duet sung by Mahenra
Kapoor and Lata, ‘Tere pyar ka aasra chaahta hoon’ and picturised on Mala Sinha
and Rajinder kumar considered even today as one of the top duets of Hindi
films. The film itself was a big box-office hit. The tune, lyric, the filming
of the song scene(The lead characters Rajinder Kumar and Mala Sinha singing on a
college stage)and the romance filled singing made this song a favourite in the
campuses. Similarly the duet,’jo tum muskura do’of Mahensra Kapoor and Asha
Bhosle ( her voice at its coquettish best)was also very popular on the radio.
In fact, not a day passed without hearing one of these songs at least once on
the radio those<span style="mso-spacerun: yes;"> </span>days. The songs of the
film also included an ‘integration’ song ‘Too Hindu banega na musalman banega’
by Rafi and a semi-classical song<span style="mso-spacerun: yes;"> </span>‘Kaise
kahoon man ki baat’ by Sudha Malhotra and a quawwali <span style="mso-spacerun: yes;"> </span>‘Karle job hi karna hai’ by Mahendra Kapoor,
Sudha Malhotra and chorus. This also reminds me the duet ‘Tum mujhe bhool bhi
jao to yeh haq hai tum ko’ composed by N.Dutta and rendered by Mukesh and Sudha
Malhotra for film DIDI.</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">During the 60s N. Dutta had tuned a
variety of songs for films a notable and<span style="mso-spacerun: yes;">
</span>popular one among them was the evergreen qawwali 'Tum meri tasveer lekar kya karoge', rendered by Rafi, Asha
and Balbir for film, KALA SAMUNDER(1962). In film MERE ARMAN MERE SAPNE with
the handsome Pradip Kumar and Laxmi Chhaya in the lead there was a hit song
‘Dheere dheere bol mere payal ke ghungroo’ by Asha. In the 1964 film CHANDI KI
DEEWAR<span style="mso-spacerun: yes;"> </span>Talat Mahmood<span style="mso-spacerun: yes;"> </span>rendered a soft<span style="mso-spacerun: yes;"> </span>ghazal ‘Ashkon ne jo paaya hai’ in his silken
voice. Yes, there is also this silky soft song of Talat<span style="mso-spacerun: yes;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;"> 'Yaadon ka sahara na hota'.</span></b></span></span></b>in film PATHAR KI KWAB (1969)</div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;"><br /></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Though N. Dutta remained active in
film music till 1975 he could not repeat the success of his films of<span style="mso-spacerun: yes;"> </span>the 50s and 60s as the films for which he
composed music were mostly B grade ones and<span style="mso-spacerun: yes;">
</span>the films themselves did not make waves in the box-office. In 1980 he
tried a return to the mainstream with films like CHEHRE PE CHEHRA and MISS
TOOFAN. But though the music was good it was not enough to revive his
career.The music director of ‘Dilki<span style="mso-spacerun: yes;">
</span>tamanna’ and ‘Tere pyar ka aasra’ left the world in December 1987 rather
unsung and unknown.</span></b></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 10.0pt; line-height: 115%;">Tail piece:-Old LP records of
N.Dutta’s films are almost non available nowadays and are the rarest for the
collectors. His songs are also not readily available on genuine CDs. Well, even
the net does not<span style="mso-spacerun: yes;"> </span>provide <span style="mso-spacerun: yes;"> </span>much authentic information about him!</span></b></div>
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<br /></div>
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<br /></div>
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JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com2tag:blogger.com,1999:blog-2372937692697241080.post-41270032025785329872013-06-25T21:45:00.001-07:002015-04-06T10:52:11.445-07:00NAUSHAD, MUHAMMED RAFI, DILIP KUMAR- MAGNIFICENT THREE.<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitdDIxww0HuDtbFBL6qGNkbcgoOZAPs78GbQu8_2mi6bskniqVP2FAE4AwGFnqfak94_qM1yHAzR1MweSJQZFlTyMtVxK6HNhkwhoXWg0ti2dXZGJ8tshJD-RXt82wQviw-DoRjYgDCBKj/s1600/.Blog+photos+Mela+back+cover.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitdDIxww0HuDtbFBL6qGNkbcgoOZAPs78GbQu8_2mi6bskniqVP2FAE4AwGFnqfak94_qM1yHAzR1MweSJQZFlTyMtVxK6HNhkwhoXWg0ti2dXZGJ8tshJD-RXt82wQviw-DoRjYgDCBKj/s200/.Blog+photos+Mela+back+cover.JPG" height="200" width="188" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtUmyvuiG5mgvGvBmEppoONkqLJlho2BanPhVCTeq5F4L83oPu56l6CHvdlMbQwx9nIlXNJoa_J8t00EgT3AW_jQTttm6IZ52aPoipS533qzpcB52bLqw-burMiSRJLL9FJCOgpeSHf1_-/s1600/Blog+Naushad++rD.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtUmyvuiG5mgvGvBmEppoONkqLJlho2BanPhVCTeq5F4L83oPu56l6CHvdlMbQwx9nIlXNJoa_J8t00EgT3AW_jQTttm6IZ52aPoipS533qzpcB52bLqw-burMiSRJLL9FJCOgpeSHf1_-/s200/Blog+Naushad++rD.JPG" height="200" width="193" /></a>I had in an earlier post mentioned about the wonderful
combination<span style="mso-spacerun: yes;"> </span>of Shankar Jaikishen,
Muhammed Rafi and Shammi Kapur who had together created a large number of
popular everlasting film songs in the 60s and 70s. There are a few other similar
trios who had enriched Hindi film music with their wonderful songs.<span style="mso-spacerun: yes;"> </span>S.D.Burman, Kishore Kumar, Dev Aanand and <span style="mso-spacerun: yes;"> </span>R.D.Burman, Kishore Kumar, Rajesh Khanna and,<span style="mso-spacerun: yes;"> </span>of course, Naushad, Muhammed Rafi, Dilip
Kumar are some of them. The outstanding feature of these songs is that the
efforts of the composer, singer and the actor on whom<span style="mso-spacerun: yes;"> </span>they are picturised<span style="mso-spacerun: yes;"> </span>have homogeneously jelled to make them<span style="mso-spacerun: yes;"> </span>audio visual delights. One can’t think of the
song separately from the composer, singer and the actor. Of these, the trio of
Naushad, Rafi and Dilip was, to me, the unchallenged combination for the
intensity of their impact on film goers and listeners,<span style="mso-spacerun: yes;"> </span>the popularity of the songs, the number of
films they did together and<span style="mso-spacerun: yes;"> </span>the
durability (immortality) the songs<span style="mso-spacerun: yes;">
</span>attained. For sheer popularity and ‘singability’, the songs of the
combination of SJ, Rafi and Shammi are far ahead. But for quality of content
and soulfulness the songs the trio of Naushad, Rafi and Dilip takes the cake. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimuPsz4R32DeJZLdS07zFuldQsU4hDprDsfSwHWL-Cvf0xrJXFbOYegw7Z6jvXWX_ESUcuJfq0ZzgRdNIzVNZg7H2dD5RwiGlBhC2F2MddoN2ZWx46d8ZE3NheSubg8kqvvS3O6DxHE1wi/s1600/.Blog+photos+Deedar.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimuPsz4R32DeJZLdS07zFuldQsU4hDprDsfSwHWL-Cvf0xrJXFbOYegw7Z6jvXWX_ESUcuJfq0ZzgRdNIzVNZg7H2dD5RwiGlBhC2F2MddoN2ZWx46d8ZE3NheSubg8kqvvS3O6DxHE1wi/s200/.Blog+photos+Deedar.JPG" height="200" width="194" /></a>What made these compositions of Naushad outstanding is not <span style="mso-spacerun: yes;"> </span>his musical genius alone but also his close personal
rapport with the singer and the actor and the mutual respect they shared in
each others’ talent . Their dedication to their job and<span style="mso-spacerun: yes;"> </span>sincerity to make a song perfect <span style="mso-spacerun: yes;"> </span>and the enormous efforts they took towards
this could be imagined when one listens to the songs with the actual song scene
in mind. Naushad himself had put on record about the long hours they spent
together discussing and rehearsing each song before they were recorded at a
stretch.About Rafi Naushad observes: ‘When we talk about his singing style , he
has been<span style="mso-spacerun: yes;"> </span>emotional and
hardworking........There are two styles of singing, one coming from the throat
and the other coming from the heart. Rafi’s style is to render beautiful songs
from the heart. The fact is that often his heart did not get the song he wanted
to render......He is a great person. ....Never comes late for recording......’.Naushad
harboured similar high opinion about Dilip Kumar also. He observes, ‘I always
admired Delip’s<span style="mso-spacerun: yes;"> </span>expertise in the
language. .......His room is full of books on various subjects....A person with
a keen sense of observation<span style="mso-spacerun: yes;"> </span>who can talk
confidently on any subject......Pure trustworthiness is another quality he
possessed....His art is beyond time and his dedication great....’.(Ref:
MAUSHAD’S NOTES: Editor-Sasikant Kanikar)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyujGvT-qfVVO5mX35C7aMXHf3mgDSJZail1X-6HoqV8H6cvy4unkRqpuu5VPzGDi5LwcSx20I-PtWzRlTLxRjbsbamUnzrNWqt-qVjaQVWBc44tJvTTzr2RvkgaNaIPh5D1_l7kLn746X/s1600/Blog+NRD.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyujGvT-qfVVO5mX35C7aMXHf3mgDSJZail1X-6HoqV8H6cvy4unkRqpuu5VPzGDi5LwcSx20I-PtWzRlTLxRjbsbamUnzrNWqt-qVjaQVWBc44tJvTTzr2RvkgaNaIPh5D1_l7kLn746X/s200/Blog+NRD.JPG" height="194" width="200" /></a></div>
There are about 15 films in which they worked together
spanning over a period of two decades from 1948. One feature of the music of
Naushad for these films<span style="mso-spacerun: yes;"> </span>is that the
lyrics, except for film ANDAZ, were penned by his favourite lyricist Shakeel
Badayuni. The journey started with film MELA(1948)<span style="mso-spacerun: yes;"> </span>with Nargis as heroine and there was only one
song,’Yeh zindagi ke mele’,by Rafi, the other ten songs shared by Mukesh and
Shamshad Begum. But ‘Yeh zindagi ke mele’ continues to be heared on Vividh
Bharati and Radio Ceylon often.In fact in the early years of Naushad’s
association with Dilip Kumar,<span style="mso-spacerun: yes;"> </span>Rafi did
not figure <span style="mso-spacerun: yes;"> </span>much as a singer. In film
ANDAZ(1949) with Nargis as heroine Rafi had only one song,’Yun to aapas men
bigadte hain’, a duet with Lata and all the other male voiced songs were by
Mukesh including immortal numbers like, Tu kahe agar’ and ‘Toote na dil
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiThkVz2HWUHfCU5W5UgjHWbonrEikAYTjVoM6RNXWF9ueKd1_AGF2RhM4SbX3NGAiUcsuqGsntRflpe9mHi1QcrkMdlhOsSXpxkQhZhzkDCTLFPJaMZfC_QZpDprQlgHpP7CCQHdyVNhoG/s1600/.BLOG+NRD+Andaz.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiThkVz2HWUHfCU5W5UgjHWbonrEikAYTjVoM6RNXWF9ueKd1_AGF2RhM4SbX3NGAiUcsuqGsntRflpe9mHi1QcrkMdlhOsSXpxkQhZhzkDCTLFPJaMZfC_QZpDprQlgHpP7CCQHdyVNhoG/s200/.BLOG+NRD+Andaz.JPG" height="200" width="200" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGpbOGlkcWTr9J7ldDepThHtBCcXXG352v6YyNFX_AlIEalOMSb88VxwCjX6i3YDRD-dwn_QE7v3CJzCqddk0PMjUGW_Fim2AaDBRiUCyFu8Uj3j2LCRZA7MkcSwN6VoKK2pJ6SYRR10_s/s1600/.Blog+photos+NRD+Amar.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGpbOGlkcWTr9J7ldDepThHtBCcXXG352v6YyNFX_AlIEalOMSb88VxwCjX6i3YDRD-dwn_QE7v3CJzCqddk0PMjUGW_Fim2AaDBRiUCyFu8Uj3j2LCRZA7MkcSwN6VoKK2pJ6SYRR10_s/s200/.Blog+photos+NRD+Amar.JPG" height="198" width="200" /></a><br />
tootena’ and’Hum aaj kahin dil kho baithe’. Of course, Raj Kapur was the hero
of the film and his preference for the voice of Mukesh was well known. In film
BABUL(1950)again with Nargis, a great musical hit, all the eleven songs were
shared mainly between Talat Mahmood and Shamshad Begum.</div>
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But the position changed with the film DEEDAR(1951) in
which Naushad’s music was an outstanding success and the film was a super hit
establishing Dilip Kumar as the top hero of Hindi films. While Shamshad Begum’s
songs stole a march over other songs in the film, Rafi could stand on his own
with four songs including the duet with Lata. ‘Dekh liya main ne’ . Rafi’s <span style="mso-spacerun: yes;"> </span>grief filled ‘Meri kahani bhoolne wale’ was
very popular and it was on the lips of every music lover those days. The other
two Songs of Rafi viz., ‘Nazib dar pe tere’ and ‘Hue hum jinke liye barbad’,
were also ‘sad songs’ but well received by listeners and repeatedly aired on
the radio. The image of a ‘tragic hero’ stuck on Dilip, to a large extent, with
these songs sung from his heart by Rafi.</div>
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The success of DEEDAR<span style="mso-spacerun: yes;">
</span>was followed by ANN, a Dilip-Nimmi starrer, which again was a big hit at
the box office’.<span style="mso-spacerun: yes;"> </span>The remarkable acting
of Dilip, the<span style="mso-spacerun: yes;"> </span>soul stirring music of
Naushad and the songs of Rafi for Dilip Kumar contributed to the success of the
film. Rafi was at his happy romantic best in the song, ‘Dil mein chupaake pyar
ka toofan le chale’.<span style="mso-spacerun: yes;"> </span>Naushad has given<span style="mso-spacerun: yes;"> </span>an ‘O.P.Nayyar touch’ to this song with
rhythmic horse trot sound in the background and the listeners watching the
video clip can feel the special chemistry between the composer, singer and the
actor making the song so enjoyable.<span style="mso-spacerun: yes;"> </span>The
song ‘Maan mera ehsan ‘ by Rafi was also very popular. To <span style="mso-spacerun: yes;"> </span>the disappointment of <span style="mso-spacerun: yes;"> </span>music lovers,<span style="mso-spacerun: yes;">
</span>these two songs were the shortest in the film, both less than three
minutes.</div>
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In film AMAR(1954) with Nimmi as the heroine,<span style="mso-spacerun: yes;"> </span>Naushad went back to his marked preference
for female voice<span style="mso-spacerun: yes;"> </span>with only one out of
the ten songs in male voice. This<span style="mso-spacerun: yes;">
</span>song,’Insaf ka mandir hai yeh bhagwan ka ghar hai’<span style="mso-spacerun: yes;"> </span>with Rafi and chorus, though,<span style="mso-spacerun: yes;"> </span>was the most popular of the film<span style="mso-spacerun: yes;"> </span>even now heard over the radio. In film URAN
KHATOLA(1955)also, again with Nimmi as the heroine, this preference for female
voice was obvious. But the song, ‘Mohabat ki rahon mein chalna sanbhal ke’<span style="mso-spacerun: yes;"> </span>by Rafi<span style="mso-spacerun: yes;">
</span>is even today as haunting as ever with the Naushad, Rafi, Dilip stamp
all over it.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiqDks_uTqcQ77g_oo4lTz-zJNhAtD11kQzXjKFXvyVRJE8cTa779wPHTZtkXab7HifyujzdU57ZF55jWCu8Tdk3ha8wu-sRXuIwCu7d80OH-N8yP5HgYPes7O1ts94VjTIjIbwib0yccS/s1600/Blog+NRD+Leader.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiqDks_uTqcQ77g_oo4lTz-zJNhAtD11kQzXjKFXvyVRJE8cTa779wPHTZtkXab7HifyujzdU57ZF55jWCu8Tdk3ha8wu-sRXuIwCu7d80OH-N8yP5HgYPes7O1ts94VjTIjIbwib0yccS/s200/Blog+NRD+Leader.JPG" height="190" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS6PrxXiGrAZNS-IaZAFbT2HYCzHC4fJVBhnHRKYWOrI0j3L_bKsxkL5iUkrCc0ndt8uWphppb_PSah9qIeVdEF1u88Ps0WvVv36P0kcqyOfxeW8jy2MHd84npXZ7t9HQbUl8iElryQVP-/s1600/DSC01849.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS6PrxXiGrAZNS-IaZAFbT2HYCzHC4fJVBhnHRKYWOrI0j3L_bKsxkL5iUkrCc0ndt8uWphppb_PSah9qIeVdEF1u88Ps0WvVv36P0kcqyOfxeW8jy2MHd84npXZ7t9HQbUl8iElryQVP-/s200/DSC01849.JPG" height="200" width="195" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXLo4sJkqlg2nY4dqeWLBC-UTIPFtZCcMwkVhlNucLUm6HZ5WqGxofAdkfVZiVzmVCGrUwVAa-y8jhxkIl0v-pb_0mt7DAzURwSeKvPWJJDgb_ycxK9MVtFaq2WiP7jXbq0cUxMeQkNbsm/s1600/BLOG+NRD+Kohinoor.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXLo4sJkqlg2nY4dqeWLBC-UTIPFtZCcMwkVhlNucLUm6HZ5WqGxofAdkfVZiVzmVCGrUwVAa-y8jhxkIl0v-pb_0mt7DAzURwSeKvPWJJDgb_ycxK9MVtFaq2WiP7jXbq0cUxMeQkNbsm/s200/BLOG+NRD+Kohinoor.JPG" height="200" width="192" /></a>After Uran Khatola there was a gap of more than four years
for another offer from the trio mainly because both Dilip and Naushad were<span style="mso-spacerun: yes;"> </span>taking up only one project per year. But the
wait was worth enough<span style="mso-spacerun: yes;"> </span>as they hit<span style="mso-spacerun: yes;"> </span>again with a bang with film KOHINOOR(1960)with
the ‘tragic heroine’ Meena Kumari pitted against Dilip Kumar. The film was a
roaring success and the songs topped the popularity charts. The film has two of
the top duets ever of Hindi films<span style="mso-spacerun: yes;"> </span>with
Lata and Rafi at their competitive best to make the songs what they are. The
melody, rhythm, lyrics, foot tapping background music, the happy abandon with
which the singers sang to the requirement of the scenes enacted by Dilip and
Meena kumari all made the songs ,’Do sitaron ka zamin par yeh Milan aaj ki
raat’, and ‘Koi pyar ki Dekhe jadoogari’ immortal.The film has one of the best
ever semi-classical songs of Hindi films in Rafi’s ‘ Madhuban mein raadhika
naachere ‘which is another example of the trio’s magic. Naushad himself has
recorded the efforts taken by them while composing and recording the song as
Rafi had no formal training in classical music. Dilip Kumar, the perfectionist,
who had to play a sitar for the scene had taken months of training in playing
sitar, to the extent of injuring his fingers, so that he can do justice to the
hand/finger movements of the sitar player! Naushad felt that it was the way
Dilip Kumar had acted in the song scenes and gave lip movements to his songs
that helped in making his songs popular. Mighty compliment from the<span style="mso-spacerun: yes;"> </span>composer to the actor! For Naushad the song
‘Duniya ke rakhwale’ from film BAIJU BAWRA is Rafi’s best song for him. But to
several others it is ‘Madhuban mein raadhika’, maybe, for the Dilip magic.</div>
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Close on the success of KOHINOOR came MUGHAL-E-AZHAM(1961)
with Madhubala in the lead opposite Dilip Kumar. Naushad was at his best in
this film and the songs became a milestone in the history Indian film music.
Naushad justifiably expected the coveted FILMFARE AWARD<span style="mso-spacerun: yes;"> </span>for his songs in this film but it went to
Shankar-Jaikishen for<span style="mso-spacerun: yes;"> </span>DIL APNA PREET
PARAI. Out of the ten songs seven were female voiced songs by Lata, two songs
by Ustad Bade Gulam Khan and one, ‘Aye muhabbat zindabad’, by Rafi which was
not picturised on Dilip Kumar. I am not discussing the songs of this film here
as the focus of this post is different.</div>
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In the 60s there were three films of Naushad with
Vijayanthimala in the lead opposite Dilip Kumar.They are Dilip’s own
production, GUNGA JAMUNA(1961), LEADER(1964) and SANGHURSH(1968) the last being
the last of Naushad for a Dilip Kumar film.The dialogues of film Gunga Jamuna
were in ‘Purbi’ language. The most popular song of the film is the rustic
song,’Naina lad jaihen’ by Rafi . The song and its picturisation on Dilip in
particular<span style="mso-spacerun: yes;"> </span>have similarity with the song
‘Mere pairon mein ghunghroo bandha de’ from film Sanghursh; both beautifully
composed by Naushad and sung by Rafi and gloriously enacted by Dilip in his
inimitable style. The song ‘Jab dil se dil thak’ is the other Rafi song of film
Sanghursh well received by listeners especially lovers of ghazals.In film
LEADER Rafi had several songs and the ‘tipsy’song ‘Mujhe duniyawalo’ and the
patriotic song ‘Apni aazadi ko ham’ were the most popular. The semi-classical
duet with Lata ‘Ek shahanshah ne banwake’ and the duet ‘Tere husnki’ were also
typical Naushad-Rafi- Dilip numbers.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRDGLeDTNf3JXaR7ZDPIjwFEtha1Jx1Prqdp40HADKIzawg_D1cYgvzt4Dg8p_An65YcXjily7KID8r-DHOOZqy-C76eINe7QRTNFuGJ3GapqgkZSqjhSxN04nasuOuc8FVSjYPvUaC0zf/s1600/.Blof+NRD+Aadmi.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRDGLeDTNf3JXaR7ZDPIjwFEtha1Jx1Prqdp40HADKIzawg_D1cYgvzt4Dg8p_An65YcXjily7KID8r-DHOOZqy-C76eINe7QRTNFuGJ3GapqgkZSqjhSxN04nasuOuc8FVSjYPvUaC0zf/s200/.Blof+NRD+Aadmi.JPG" height="153" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiypHS-a1YYugxAvy5kZZLaKYtBcXAuKPz9SyjGJG1xzvfNTGF3DiYm7kUhWIBDmSeVWl2yOZ8JgXeAZmH5k1lLNnjOi9jvivrfZrhhnF0cuH-m9aKZNwWS2T1m0CWn52crpTSWsfuEZRgT/s1600/Blog+NRD+Dil+Diya+Dard.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiypHS-a1YYugxAvy5kZZLaKYtBcXAuKPz9SyjGJG1xzvfNTGF3DiYm7kUhWIBDmSeVWl2yOZ8JgXeAZmH5k1lLNnjOi9jvivrfZrhhnF0cuH-m9aKZNwWS2T1m0CWn52crpTSWsfuEZRgT/s200/Blog+NRD+Dil+Diya+Dard.JPG" height="200" width="193" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiypHS-a1YYugxAvy5kZZLaKYtBcXAuKPz9SyjGJG1xzvfNTGF3DiYm7kUhWIBDmSeVWl2yOZ8JgXeAZmH5k1lLNnjOi9jvivrfZrhhnF0cuH-m9aKZNwWS2T1m0CWn52crpTSWsfuEZRgT/s1600/Blog+NRD+Dil+Diya+Dard.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>Films DIL DIYA DARD LIYA(1965), RAM AUR SHYAM(1967)and
AADMI(1968) had Waheeda Rahman in the lead with Dilip Kumar. A prominent
emphasis on classical ragas and a leaning towards ghazals were noticeable in
Naushad’s<span style="mso-spacerun: yes;"> </span>music for Dilip Kumar’s films
of the 60s. Rafi’s songs,’Dilruba main ne tere pyar<span style="mso-spacerun: yes;"> </span>mein kya kya na diya, Dil diya dard liya’ and
‘Guzre hai aaj ishq mein hum’ and the duet with Asha ,’Saawan aaye ya na aaye’
are shining examples of this shift. The pathos filled ‘Koi saghar dil ko
bahlata nahin ‘ ia another melodious Rafi number. The emotion filled
melody<span style="mso-spacerun: yes;"> </span>‘Aaj ki raat mere dil ki salami
lele’ from film Ram aur Shyam is also on these lines.The energetic folk dance
number ‘Aayee hai baharen mete zulmo sitam’<span style="mso-spacerun: yes;">
</span>beautifully rendered by Rafi and acted on the screen by Dilip is an
audio visual treat on the lines of similar songs in Gunga Jamuna and Sanghursh.
The trend continued in ‘Na aadmi ka koi bharosa’ and ‘Aaj puranee ratton se’ in
film AADMI. While all these songs were outstanding as such, the similarity of
tunes, singing and acting led to the criticism, refuted by Naushad, that too
many films with Dilip Kumar was making his music stale.</div>
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Unfortunately for music lovers Naushad did not compose songs
for Dilip kumar’s films<span style="mso-spacerun: yes;"> </span>after 1968. The
last song,’Jis raat ke khawab aye’, <span style="mso-spacerun: yes;"></span>recorded by Rafi for Naushad was for the film
HABBA KAHTOON which did not reach the theatres. <a href="http://www.youtube.com/watch?client=mv-google&hl=en&gl=IN&feature=related&v=UHwxK83itLg&nomobile=1">http://www.youtube.com/watch?client=mv-google&hl=en&gl=IN&feature=related&v=UHwxK83itLg&nomobile=1</a>
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Naushad had stated that Rafi was so pleased with the lyrics
and tune of the song that, after recording the song, he hugged Naushad and said
that it was after a long time that he could get an opportunity to sing such a
beautiful song.He also said that his fate,of late,<span style="mso-spacerun: yes;"> </span>had been to imitate the sound of cats and
dogs. The story goes that he did not take any remuneration from Naushad for the
song.</div>
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Naushad had also revealed that it was his regret that he
could not make Rafi sing another song like ‘Duniyake rakhwale’ of film Baiju
Bawra. No wonder that after Rafi’s demise in<span style="mso-spacerun: yes;">
</span>1980 Naushad said that one half of his person is dead and that his music
will not have the erstwhile purity. Naushad left us in 2006 without fulfilling another of his dream of
recording a film song in Dilip Kumar’s voice. Fortunately Dilip Kumar, one
of the very few remaining<span style="mso-spacerun: yes;"> </span>links with
that golden musical era is still with us.</div>
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<br />
<br />
<span style="font-size: 10.0pt;">Tail piece: Sri Sasikant
Kanikar has edited a book ‘Naushad’s Notes’ comprising Naushad’s autobiographic
writings.There is a Malayalam translation by Sri Deepesh k. Ravindranath titled
Cinema Sangeetham Jeevitham. Offers deep insight into Naushad’s life and
creativity.</span></div>
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JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com0tag:blogger.com,1999:blog-2372937692697241080.post-24025748041601229172013-05-14T06:17:00.000-07:002013-05-15T00:04:37.766-07:00SHAMSHAD BEGUM- THE LEGENDARY INDIAN SINGER.<div dir="ltr" style="text-align: left;" trbidi="on">
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Shamshad Begum, considered to be the first playback singer
of Indian Cinema, passed away on the 27<sup>th</sup> April 2013. She was 94
years old at the time of her death<span style="mso-spacerun: yes;"> </span>and,
in fact,she<span style="mso-spacerun: yes;"> </span>was<span style="mso-spacerun: yes;"> </span>almost as old as Indian cinema itself which
is celebrating its centenary<span style="mso-spacerun: yes;"> </span>in 2013.<span style="font-size: 10.0pt; line-height: 115%;"> </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHMAdQLf9T0tpJZBljLXrJfgYsT_cLCW0LZZ71tjofuSB-eU1gNDocXgcPcYPbNTRwsO-Beg3a7DxaahPfqqcneTEu6B6x7KfnpFxIk9s9012QStIKyuZ0JJKepiPVRijD1z78mSXLDUPq/s1600/.Blog+photos+Deedar.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHMAdQLf9T0tpJZBljLXrJfgYsT_cLCW0LZZ71tjofuSB-eU1gNDocXgcPcYPbNTRwsO-Beg3a7DxaahPfqqcneTEu6B6x7KfnpFxIk9s9012QStIKyuZ0JJKepiPVRijD1z78mSXLDUPq/s200/.Blog+photos+Deedar.JPG" width="194" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2xy7Ry8AWoP5jr87ma6D33Z_D75kkV7436jZ8vJIPzncKHBEVCcxemOqqMzy0jAXDKZKwWksob119Qs0yDmjH9iEbzdi3C7Ix3iib_LP6vnYjXgrEEOQhYehvAJ6WY_79hUQ_Ksy_kJKB/s1600/.Blof+photos+Patank.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2xy7Ry8AWoP5jr87ma6D33Z_D75kkV7436jZ8vJIPzncKHBEVCcxemOqqMzy0jAXDKZKwWksob119Qs0yDmjH9iEbzdi3C7Ix3iib_LP6vnYjXgrEEOQhYehvAJ6WY_79hUQ_Ksy_kJKB/s200/.Blof+photos+Patank.JPG" width="193" /></a><span style="font-size: 10.0pt; line-height: 115%;">In the
second half of the 50s and during the 60s not a day passed without our hearing
the voice of the legendary singer Shamshad Begum on the radio. The powerful
voice with a trace of the <span style="mso-spacerun: yes;"> </span>Punjabi nuance
typical of the singers of the era was the unmistakable USP of Shamshad Begum’s songs.
<span style="mso-spacerun: yes;"> </span>The song ‘Oh dilwale dil ka lagana’, a
duet with Chitalkar from film PATANGA (Music. By C.Ramachandra known also as Chitalker
) and the song <span style="mso-spacerun: yes;"> </span>‘Bachpan ke din rulana
dena’, a duet with Lata, from film DEEDAR<span style="mso-spacerun: yes;">
</span>(Music:Naushad)were our favourite songs of the early 50s with several
parodies in the local language also proving very popular. Even now when <span style="mso-spacerun: yes;"> </span>these<span style="mso-spacerun: yes;">
</span>two songs<span style="mso-spacerun: yes;"> </span>are heard once in a way,
no where else but on Radio Ceylon in the morning, <span style="mso-spacerun: yes;"> </span>it gave me an opportunity to nostalgically
relive those childhood days!</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitxQHxVlVCYgSyy3l6OP53VKlX5tydjLHrnJdDE_6Plz-yXy9rKrcA3cuAWeykbEBL4g8XYmBO8ZB2G_0IpyIIf1CmrihgEhaSVAuAz33jNPJ9haPwTx9LQhjr-28ALN0bxxn4pRKUC228/s1600/.Blof+photos+Kismat.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitxQHxVlVCYgSyy3l6OP53VKlX5tydjLHrnJdDE_6Plz-yXy9rKrcA3cuAWeykbEBL4g8XYmBO8ZB2G_0IpyIIf1CmrihgEhaSVAuAz33jNPJ9haPwTx9LQhjr-28ALN0bxxn4pRKUC228/s200/.Blof+photos+Kismat.JPG" width="199" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0XQ3sywDp0_YmvTQkSqoIFEXBG-E1VM00Y2icOkTiB0650IcmLzFb9xTzGXbiNrOB6mgmoRlQQi6yoQ06eJBiX-JyJTVlrO48L-ZlKYIkPokrAUCY7raVdauKiQRxbRuYboFvuYgtGTvC/s1600/.Blog+photos+CID.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0XQ3sywDp0_YmvTQkSqoIFEXBG-E1VM00Y2icOkTiB0650IcmLzFb9xTzGXbiNrOB6mgmoRlQQi6yoQ06eJBiX-JyJTVlrO48L-ZlKYIkPokrAUCY7raVdauKiQRxbRuYboFvuYgtGTvC/s200/.Blog+photos+CID.JPG" width="188" /></a><span style="font-size: 10.0pt; line-height: 115%;">Like other
female singers of the late 40s and early 50s, <span style="mso-spacerun: yes;"> </span>Shamshad Begum also was in the same singing
mould as Noor Jahan, Raj Kumari, Suraiya, Zohra Ambala and so on. But the
distinguishing feature of her songs was the power of her voice and the clarity
of rendering best evidenced by her songs for music directors<span style="mso-spacerun: yes;"> </span>Naushad and O.P.Nayyar. In many of the
obituary references on Shamshad Begum her song with Lata,in film Mughal-e-Azam
(Music:Naushad), viz.’Teri mehfil meri kismat’ as well as the two O.P.Nayyar
songs, ‘Kajra Mohabatwala’from film KISMAT and the immortal ‘Leke pahla pahla
pyar’from film C.I.D. have been invariably mentioned precisely for this reason.
Eventhough these were essentially duets,( the third one is with Asha and Rafi)
they were normally identified with Shamshad Begum for the dominance of her
voice. In fact it was O.P.Nayyar and Naushad<span style="mso-spacerun: yes;">
</span>who could draw Shamshad Begum away from the traditional nasal style
mentioned earlier<span style="mso-spacerun: yes;"> </span>to the more popular
and durable open throated<span style="mso-spacerun: yes;"> </span>style of
singing with the songs from these films. Such was the popularity and magnetism
of ‘Kajra muhabatwala’ that the film KISMAT is still remembered mainly for this
song in spite of the beautifully tuned and rendered songs of Mahendra Kapur and
Asha Bhosle<span style="mso-spacerun: yes;"> </span>in it.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeJeteDiSg4tudImMueNnR5bucIhvTM6Dz6JJ8N1tVbZN0YPIEXmtL3T_R4d3XNxLIFhMBlkRZj997YdrAsDgtpVlLyN-Mn5SueGjcyae8Nhb0eXlVJeSa3Oblce-gqwQb7_2I5bhmGj3X/s1600/.Blog+hotos+Babul.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeJeteDiSg4tudImMueNnR5bucIhvTM6Dz6JJ8N1tVbZN0YPIEXmtL3T_R4d3XNxLIFhMBlkRZj997YdrAsDgtpVlLyN-Mn5SueGjcyae8Nhb0eXlVJeSa3Oblce-gqwQb7_2I5bhmGj3X/s200/.Blog+hotos+Babul.JPG" width="193" /></a><span style="font-size: 10.0pt; line-height: 115%;">When we
recollect the film songs of Shamshad Begum there are four or five film
albums,<span style="mso-spacerun: yes;"> </span>mainly of Naushad and O.Nayyar, which
could well be termed Shamshad Begum’s<span style="mso-spacerun: yes;">
</span>albums! The first LP album coming to mind is that of <span style="mso-spacerun: yes;"> </span>Sunny Arts Productions’ 1950<span style="mso-spacerun: yes;"> </span>film BABUL <span style="mso-spacerun: yes;"> </span>starring Dilip Kumar and Nargis with music by
Naushad. Out of the twelve songs seven are by Shamshad Begum a few of them not
solos. The two beautiful solo songs are ‘Na socha tha yeh’ and ‘Jadoo bhari
nainon mein’. The pathos filled and still haunting chorus ‘Chhod babul ka ghar’
is an outstanding<span style="mso-spacerun: yes;"> </span>Shamshad effort</span><span style="font-size: 10.0pt; line-height: 115%;"> </span><span style="font-size: 10.0pt; line-height: 115%;"> very
popular on the radio and functions in the 50s.The obvious theme and mood of the
song and the poignancy of the situation were well expressed by Shamshad through
her voice which will be realized better by seeing the video clipping of the
song.( </span><span style="font-size: 10.0pt; line-height: 115%;"><span style="font-size: 10.0pt; line-height: 115%;">http</span><span style="font-size: 10.0pt; line-height: 115%;">://www.youtube.com/watch?v=ZJxJuWUF3uw</span> ) But what gives this album the exclusive Shamshad Begum stamp is the three
songs with Talat Mahmood. The melodious ‘Milti hi ankhen milgaya deewana kisi
ka’is the best of the three. The other is ‘Duniya badal gayi’ and the third is
‘Nadi kinare’ where Rafi <span style="mso-spacerun: yes;"> </span>joins them.The
silky soft, trembling voice of Talat is pitted against the precise power packed
voice of Shamshad and made to gel beautifully to create outstanding duets to
reveal the genius in Naushad.The chorus, ‘Dhadke mera dil’also puts shamshad at
her best.<span style="mso-spacerun: yes;"> </span>The duet with Lata, ‘Kisi ke
dil mein’ is marked by elaborate<span style="mso-spacerun: yes;"> </span>and
melodious rendering<span style="mso-spacerun: yes;"> </span>by both singers .
One is also compelled to compare this song<span style="mso-spacerun: yes;">
</span>with Shamshad’s solo number,’Chaman ke rah ke virana’in the same tune in
film DEEDAR with music by Naushad. Listen to these two songs and decide which
is better!Apart from the song ‘Bachpan ke din’ mentioned in the beginning, what
makes the LP album of DEEDAR Shamshad’s own and a collectors’ item is her rare
duet with<span style="mso-spacerun: yes;"> </span>G.M.Durrani,’Nazar phero na
ham se’. I do not know whether this song is now available<span style="mso-spacerun: yes;"> </span>except on this LP album!</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIHXujLBWGaeG2aegHJV3ls68oN0mDpiIjvLHkzJmEFjZ3uTe5UlF7PMdRi85KLEGZMmUjFMUCXOsMMzOZmHybeynrLd8qtPhpmP_QEt5WtXuBQZ4dmDnTR32We5hL3I7Co3oxsrfe8bPq/s1600/.Blog+photos+Dulari.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIHXujLBWGaeG2aegHJV3ls68oN0mDpiIjvLHkzJmEFjZ3uTe5UlF7PMdRi85KLEGZMmUjFMUCXOsMMzOZmHybeynrLd8qtPhpmP_QEt5WtXuBQZ4dmDnTR32We5hL3I7Co3oxsrfe8bPq/s200/.Blog+photos+Dulari.JPG" width="191" /></a><span style="font-size: 10.0pt; line-height: 115%;">Another exclusive
Naushad-Shamshad Begum album is that of <span style="mso-spacerun: yes;"> </span>Wadia films’ <span style="mso-spacerun: yes;"> </span>MELA(1948) starring Dilip Kumar and Nargis.
Out of the eleven songs, five are by Shamshad and three are her duets with
Mukesh. Among the solos, ‘Gham ka fasana’ and<span style="mso-spacerun: yes;">
</span>‘Mohan ki muraliya bhaje’ are typical sweet songs of the 40s.<span style="mso-spacerun: yes;"> </span>The songs ‘Dharti ko aakash pukare’ and
‘Tasveer bani hanker bigdi’ are also not behind.<span style="mso-spacerun: yes;"> </span>The duets with Mukesh are representative
of the duets of the 40s.<span style="mso-spacerun: yes;"> </span>The influence
of K.L.Saigal ‘s style in Mukesh’s singing<span style="mso-spacerun: yes;">
</span>and the influence of Noor Jahan, Suraiya and so on on Shamshad’s singing
were evident and this made the duets in this film, ‘Aai sawan rut’ and ‘Mera
dil todnewale’ unique and enjoyable.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtgy5TFDHtL4cqqM8MrjC-916YG556V7AGfxN8sT5TAFfJIwtgv8GuDN5Nbd7rzH0bOkDv4zCT2WJMrmXT5cBlCkyrgj0hv5LGJNK-ZYakko4-GmHLUebeZza7iWVys4FxeiN4CyxoO9es/s1600/.Blog+photos+Dard.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtgy5TFDHtL4cqqM8MrjC-916YG556V7AGfxN8sT5TAFfJIwtgv8GuDN5Nbd7rzH0bOkDv4zCT2WJMrmXT5cBlCkyrgj0hv5LGJNK-ZYakko4-GmHLUebeZza7iWVys4FxeiN4CyxoO9es/s200/.Blog+photos+Dard.JPG" width="200" /></a></div>
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<span style="font-size: 10.0pt; line-height: 115%;">A few other
compositions of Naushad<span style="mso-spacerun: yes;"> </span>for Shamshad
Begum also come to memory. One is from the film NAGHMA (1952).,viz., ‘Badi
muskil se dil ki bekharari ko farar aayi’ <span style="mso-spacerun: yes;"> </span>in quawali style and the other is from the
1947 film DARD,viz.,’Hum dard ka afsaana’<span style="mso-spacerun: yes;">
</span>both exhibiting Shamshad’s effortless style of singing.There are two
songs in film DULARI<span style="mso-spacerun: yes;"> </span>and the one,
‘Chandni aayi ban ke pyar o sajna’ is as good as any of the golden oldies.Again
there is this lovely song ‘O gaadiwale gaadi’ from film MOTHER INDIA and<span style="mso-spacerun: yes;"> </span>‘Lagi more man ki’ from film SHABAB. In film
JADOO<span style="mso-spacerun: yes;"> </span>Shamshad<span style="mso-spacerun: yes;"> </span>was rocking with this fast paced foot
tapping<span style="mso-spacerun: yes;"> </span>number <span style="mso-spacerun: yes;"> </span>‘Lara loo lara loo’.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBYS3f_KTC3pWFQmcXUkFRyMyfkEbEhAPTv83PA3wmUGanV-SQlKbBvRtPMwwSKnjvtqi95p7qiIM3fr8PAIUN3R4f6LlYYLkCNZrZ03ceO0DRPV-X4Iv98zFemY8xs_LZeY8rT1ubU8Ug/s1600/.Blog+phots+Naya+Daur.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBYS3f_KTC3pWFQmcXUkFRyMyfkEbEhAPTv83PA3wmUGanV-SQlKbBvRtPMwwSKnjvtqi95p7qiIM3fr8PAIUN3R4f6LlYYLkCNZrZ03ceO0DRPV-X4Iv98zFemY8xs_LZeY8rT1ubU8Ug/s200/.Blog+phots+Naya+Daur.JPG" width="197" /></a></div>
<span style="font-size: 10.0pt; line-height: 115%;">While
Shamshad Begum’s songs for Naushad belonged mainly to the 40s and 50s,
remembered nowadays more by the old timers, it was her songs for O.P.Nayyar
which captivated the hearts of the younger generation and which is more likely
to carry them forward to the next generation.The film C.I.D. is still
remembered more for the peppy number,’ Leke pahla pahla pyar’ of Shamshad <span style="mso-spacerun: yes;"> </span>than for her own two beautiful songs,’Boojh mera
kya naam re’, and the<span style="mso-spacerun: yes;"> </span>melodious ‘Kahin
pe nighahe kahin pe nishaana’. Of course, O.P.Nayyar made the film C.I.D. his
own with these songs of Shamshad and the Rafi-Geeta Dutt songs.’ Yeh hai Bombay
Meri jan’ and ‘Ankhon hi ankhon mein’.Among the<span style="mso-spacerun: yes;">
</span>celebrated compositions of O.P.Nayyar for film NAYA DAUR, the
Shamshad-Asha number, ‘Reshmi salwar kurta jali ka’stands out and is remembered
even today mainly for O.P’s rhythm and the success ofAsha and Shamshad in
imparting life and pep by their voice and style. In O.P. Nayyar’s musical hit
AAR PAAR,<span style="mso-spacerun: yes;"> </span>Shamshad’s song<span style="mso-spacerun: yes;"> </span>‘Kabhi aar kabhi paar’ is able to stand on
its own against Geet Dutt’s ‘Babujee dheere<span style="mso-spacerun: yes;">
</span>chalna’, ‘Ye lo mein haari piya’, ‘Muhabat kar lo jee bhar lo’ and so on
only by her captivating voice.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb9XDu_B5ZAUBBTCjn8oc0QOlUaAvK-wd4mWYyNFY5-z1ISVgsYuNdRJo5CrOfc0sWPNDg_abUWwOEmBrL911IT-dnt0W2lyqGdwOe6N77tXVAN-06EzEupSIvkrboH2HuwJJogiaiZv3G/s1600/.Blog+photos+Aar+Paar.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb9XDu_B5ZAUBBTCjn8oc0QOlUaAvK-wd4mWYyNFY5-z1ISVgsYuNdRJo5CrOfc0sWPNDg_abUWwOEmBrL911IT-dnt0W2lyqGdwOe6N77tXVAN-06EzEupSIvkrboH2HuwJJogiaiZv3G/s200/.Blog+photos+Aar+Paar.JPG" width="200" /></a><span style="font-size: 10.0pt; line-height: 115%;">The
versatility of Shamshad Begum’s voice is again evident in the songs from film
PATANGA with music composed by C.Ramachandra.Apart from the duet,’O bachpan ke
din rulana dena’, there is another duet , ‘Mere piya gaye Rangoon’, with
Chitalkar, with her voice capturing the mood of the song beautifully. Her two
songs, ‘O gore gore’ and ‘Balam tujhe mera salam<span style="mso-spacerun: yes;"> </span>are<span style="mso-spacerun: yes;">
</span>also typically sweet.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaRodBbwpyGgzi0c863wnotBfIR8HwPj15Jfek3QOcgBQiMP4cAjFD-RBTMTd6-tiPOlsWeSVWeJUioZpD-cGFR-S9QbIna8Fo6BqMblYKmKMNrnGmwA0g64reeCLJoNxjVuBhUBedx5Xw/s1600/.Blog+photos+AAG.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaRodBbwpyGgzi0c863wnotBfIR8HwPj15Jfek3QOcgBQiMP4cAjFD-RBTMTd6-tiPOlsWeSVWeJUioZpD-cGFR-S9QbIna8Fo6BqMblYKmKMNrnGmwA0g64reeCLJoNxjVuBhUBedx5Xw/s200/.Blog+photos+AAG.JPG" width="193" /></a><span style="font-size: 10.0pt; line-height: 115%;">In
R.K.Films’ first film AAG (1948) producer director Raj Kapur,<span style="mso-spacerun: yes;"> </span>probably because he could not afford a Lata
Mangeshkar<span style="mso-spacerun: yes;"> </span>or a Shankar Jai kishen then,
used the voice of Shamshad Begum<span style="mso-spacerun: yes;"> </span>for the
compositions of an unknown music director, Ram Ganguly . But<span style="mso-spacerun: yes;"> </span>this<span style="mso-spacerun: yes;">
</span>is not a reflection on the quality of the songs in the film. In fact,
though the film was not a commercial success, the songs were super hits of the
time and proved extremely popular over <span style="mso-spacerun: yes;"> </span>the radio. The pick of the lot is the one by
Shamshad,’Kahe koyal shor machaye re’ her powerful unwavering voice lifting the
song to a different plane. The grief filled ,’Dekh chaand ki aur’, ‘Na ankhon
men ansoo’ and ‘Dil toot gayaji’ by Shamshad is typical of the melodies of the
40s. In spite of the huge popularity of the songs and the R.K. Banner, the
music director was soon forgotten . Even in discussions in the media on
Shamshad Begum, the songs from this film did not get due mention.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNyiGzQOkLBYxTxUoythRW1_f21ONa7TRbZCK7yoq7cfcDJ0YYputHLYv3FPSFcXhZTnFPzVgSYOo9cZmVX9oBM6-2Kg2zUlwRCu9wn8fmkmAjBVYjlfGADntKTDuOAbRhCWHM4aviJq5F/s1600/Blog+photos+Chaudwin+ka+chand.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNyiGzQOkLBYxTxUoythRW1_f21ONa7TRbZCK7yoq7cfcDJ0YYputHLYv3FPSFcXhZTnFPzVgSYOo9cZmVX9oBM6-2Kg2zUlwRCu9wn8fmkmAjBVYjlfGADntKTDuOAbRhCWHM4aviJq5F/s200/Blog+photos+Chaudwin+ka+chand.JPG" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQrJVPae_S1cy0ksImx1NbpekMj1yvEkOcvFEnEARtRU-U5OWwxptrH-S3qXfPkwDFnb6XksGsqpgOWpQ1zvTrOnKnSUwjIygatTftTkuHxHVPLMfjAhfXhWfPw8R5GRz-Q1m14uYorxvc/s1600/.Blog+photos+Mirza+ghalib.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQrJVPae_S1cy0ksImx1NbpekMj1yvEkOcvFEnEARtRU-U5OWwxptrH-S3qXfPkwDFnb6XksGsqpgOWpQ1zvTrOnKnSUwjIygatTftTkuHxHVPLMfjAhfXhWfPw8R5GRz-Q1m14uYorxvc/s200/.Blog+photos+Mirza+ghalib.JPG" width="197" /></a><span style="font-size: 10.0pt; line-height: 115%;">A few more
songs of Shamshad Begum for other leading music directors also come to mind.
The first is the quawali from film CHAUDWIN KA CHAAND,’Sharma ke kyun
pardanashi ‘ with Asha Bhosle, a composition by Ravi..<span style="mso-spacerun: yes;"> </span>For S.D.Burman there is this melodious,’Saiyan
dil men aana re’ in film BAHAR. For Shankar Jaikishen in film AWAARA <span style="mso-spacerun: yes;"></span>Shamshad crooned ’Ek do teen’. For Roshan in
film BAWRE NAIN,Shamshad sang this comic number ‘Ichak bechhak ghurr”. For
Ghulam Mohammed in film MIRZA GHALIB,Shamshad sang, ‘Chale pee ke<span style="mso-spacerun: yes;"> </span>nagar’ and for Madan Mohan<span style="mso-spacerun: yes;"> </span>‘Nache<span style="mso-spacerun: yes;">
</span>ang ‘ with Jagjit Kaur and Noor Jahan in film HEER RANJHA.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbJ-pJKikqbvH-KyOCd0tzcPC-8jWhP3JHD_UkNeQKyak89qHV9gs5_HW0RTQeex0-z0kYKDczjR4J4ljNgyUAusw8xTREcgOJzL7NNCuRWyUCnvVxdYTd81NfofIfO1qjs7Kjpsym1VXi/s1600/.Blog+photos+HMV+player+1.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbJ-pJKikqbvH-KyOCd0tzcPC-8jWhP3JHD_UkNeQKyak89qHV9gs5_HW0RTQeex0-z0kYKDczjR4J4ljNgyUAusw8xTREcgOJzL7NNCuRWyUCnvVxdYTd81NfofIfO1qjs7Kjpsym1VXi/s320/.Blog+photos+HMV+player+1.JPG" width="320" /></a><span style="font-size: 10.0pt; line-height: 115%;">While
listening to the songs of Shamshad Begum on one of my old HMV<span style="mso-spacerun: yes;"> </span>record players <span style="mso-spacerun: yes;"> </span>after finishing the text of this post, I
wanted to believe that that she is still alive and singing. But<span style="mso-spacerun: yes;"> </span>the truth that one more of our singing
legends with whose songs we grew up listening to has passed away unsung<span style="mso-spacerun: yes;"> </span>is too obvious to be wished away.A few
obituary words <span style="mso-spacerun: yes;"> </span>here and there and a few
references about ‘'leke pahla pahla pyar’and ‘Kajra muhabat wala’ and everything
will soon be foregotten . The fact remains that we have lost one of the very
few last links to a golden musical era.</span></div>
</div>
JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com0Far East9.7956775828297431 78.046875-34.801560417170251 -4.5703125 54.392915582829744 160.6640625tag:blogger.com,1999:blog-2372937692697241080.post-43437971984114709712013-04-03T09:31:00.000-07:002013-04-04T21:52:14.150-07:00VINTAGE MOTOR CARS AND MY BI-CYCLING DAYS.<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpu9kwHCOeAC2I_FHBvNRS8sw_Z6TMt2p3w088ID6bjpTLfoflk64gSnhR88c7NC_wx69XqKa7fPOAaWxsmtT1bfPeO3sqRcLUnPad0jgryc2VONpb8zvgiC07p_vb9-nGtduXqJudFdIX/s1600/old+car+blog+Mustanf.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOee9WnB50sxXHdoopw8po9QygBgdxsJelsHhkRWnUjrktaSFA1iuYCH7GI5nLywUKD0VA_fKvHkifCe4ATKOixDn8zb9Xm2hta4xEFZyNdbbr-BPluxMLpOIlXRJ-7_pU2AHwuJ6VaPRJ/s1600/old+car+blog+Pontiac+Eight.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOee9WnB50sxXHdoopw8po9QygBgdxsJelsHhkRWnUjrktaSFA1iuYCH7GI5nLywUKD0VA_fKvHkifCe4ATKOixDn8zb9Xm2hta4xEFZyNdbbr-BPluxMLpOIlXRJ-7_pU2AHwuJ6VaPRJ/s200/old+car+blog+Pontiac+Eight.JPG" width="200" /></a><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpu9kwHCOeAC2I_FHBvNRS8sw_Z6TMt2p3w088ID6bjpTLfoflk64gSnhR88c7NC_wx69XqKa7fPOAaWxsmtT1bfPeO3sqRcLUnPad0jgryc2VONpb8zvgiC07p_vb9-nGtduXqJudFdIX/s200/old+car+blog+Mustanf.JPG" width="200" /><b><i>What a wonderful experience it was to visit a car
museum where an impressive array of vintage cars are exhibited under one roof!
Yes, in the Sharjah Classic Car Museum one can see a huge collection of
cars from the early years of the 20th
century;from the early Ford T Model
cars to a variety of other Ford cars, Chevrolets,Bentleys, Pontiacs, Cadillacs,
Fiats, Benzes and so on.What is striking
is the fact that the cars are kept in excellent running condition, immaculately
painted with the metal parts shining. A Rolls-Royce Ecstasy is a great
attraction. Then there is a Limousine type Benz 6oo Pullman and a French Citroen
with a special hydraulic system and push button brakes! The names and models
like Ford Mustang, Ben</i></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3u4nbAi5TX66WvdMd52jJW8Kfss1_TGBDkRXtYm6INzes_xw1zU-EodJ7OPdvmNX6qKt_MSgi5e48gFRSZ14tMB1wttglo9Ud16qMKcSFSQiKbYVA2Erx3Lmyf-RITnKh_MS35sGprqDE/s1600/old+car+blog+benz+pullman.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="73" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3u4nbAi5TX66WvdMd52jJW8Kfss1_TGBDkRXtYm6INzes_xw1zU-EodJ7OPdvmNX6qKt_MSgi5e48gFRSZ14tMB1wttglo9Ud16qMKcSFSQiKbYVA2Erx3Lmyf-RITnKh_MS35sGprqDE/s200/old+car+blog+benz+pullman.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">Benz<br />
Pullman</td></tr>
</tbody></table>
</i></b><b><i>tly, MG, Phantom, Pontiac, Land Rover and so on brought
back memories of reading these names in the books of Earl Stanley Gardner and
James Hadley Chase and other English detective novels in our younger years. An
old red ‘Fire Engine’ is the cynosure of all eyes.To see all the
models of the period was a unique experience as even variations of some of
these cars were unavailable in our country then.<o:p></o:p></i></b></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCQYDBk34_ogpZ0C0mv0sKNWX2aOqDKTZFH8DF2qAbnOizq8gm4ijKkemGXVCJcSM68o3a0_SxvRwwqmVhR5EmCjag6qUwyxNXMxaDkrKj7qTdEsxnTINSlftKQ_6Sm8vKJz0PLLmjfImr/s1600/old+car+blog+fiat+500.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCQYDBk34_ogpZ0C0mv0sKNWX2aOqDKTZFH8DF2qAbnOizq8gm4ijKkemGXVCJcSM68o3a0_SxvRwwqmVhR5EmCjag6qUwyxNXMxaDkrKj7qTdEsxnTINSlftKQ_6Sm8vKJz0PLLmjfImr/s200/old+car+blog+fiat+500.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fiat</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHLW9W4rPnnwmc1P1rihhqhITjZkZliTQQP4KogviB0eN0UMfuX_8kegMdmOYL5QKN6SfhMWdmI5huN7SEC7UKuVsll0ilrdqbu4wgrTeQKtVvxRAHCAeTLUyT3Hzbqz8Mx0suEDOrWZTc/s1600/Old+car+blog+Studybaker+Champion.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHLW9W4rPnnwmc1P1rihhqhITjZkZliTQQP4KogviB0eN0UMfuX_8kegMdmOYL5QKN6SfhMWdmI5huN7SEC7UKuVsll0ilrdqbu4wgrTeQKtVvxRAHCAeTLUyT3Hzbqz8Mx0suEDOrWZTc/s200/Old+car+blog+Studybaker+Champion.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Studebaker Champion</td></tr>
</tbody></table>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitP__frxX0UAA_p-THYXdFv05nP9K8ynUo04DMF40mpECT4ml4ENEkEzILzXyBnN5DBSk2LacZeaJYlFNXNSVQilHgqcJ8x0TB4FJHyCNJSmJ-s5KO2ameYD6YilAIlm25l0136v-GBwfW/s1600/Old+car+blog+Plymouth.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitP__frxX0UAA_p-THYXdFv05nP9K8ynUo04DMF40mpECT4ml4ENEkEzILzXyBnN5DBSk2LacZeaJYlFNXNSVQilHgqcJ8x0TB4FJHyCNJSmJ-s5KO2ameYD6YilAIlm25l0136v-GBwfW/s200/Old+car+blog+Plymouth.JPG" width="200" /></a><b><i>Still, there were a few of these brands in the 40s and 50s even in our small towns as a bye product of
our earlier colonial status. The richer among the rich could acquire these models as well
as desi versions of the Morris Oxford (Hindustan) and Standard
cars(Vanguard)and the Bug Fiats and the like. There were a large number of rich
planters and estate owners, timber lords, contractors, wholesale rice
merchants, jewellers and bus owners and so on who used to drive through our narrow
streets in their Plymouths, Cadillacs, Impalas, Pontiacs and Chevrolets, Studebaker Packards
while people looked at them through wonder struck eyes.There was a rich planter
near my home who used to travel sitting pompously in the backseat of his
chauffeur driven white Studebaker Champion, with a pipe in his mouth, which is an enduring image in the mind even
now. The son of a rich planter cum bus owner had an enormous Chevrolet Impala
Convertible which used to sail through
the beach road with the hood down.There was a businessman sporting his
immaculately painted and polished huge black Rolls Royce. A prominent jeweller used to drive a sprawling long white
Buick Sedan and drop his son at our
school. My mind raced back to these images when I saw a similar white
Studebaker Champion and other cars in
the museum. The variants of the big Ford, Plymouth and Chevrolet Sedans were mostly
run as Taxis thanks to their huge cabin
space . A large number of the U.K. made Morris Minors and Austins , especially
A-40s, were also on the roads then. There is a beautiful orange red and black Fiat 509 in the museum a variant of which was commonly
seen in the 50s in our town.By the late
50s and early 60s these grand foreign models started disappearing from Indian
roads as a result of Government’s import policies. The Hindustans, Landmasters,
Ambassadors, Fiats and Standard Vanguards,10s and Heralds, all manufactured in
India,took over the Indian roads. The rest, as the cliche goes, is history.<o:p></o:p></i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCyUtBHqSNFpCvoiLCVT04TfZ8egZB29xmxBItFEt5j23RX9roebP2Aj-ZJ32WC9knGj-SB4LE3wNpTqQ2xvWC3MtxY_bNVAYNApUlW2tsc0p0hftSaM0Ij10iiiYYz5kPfnhdD8unPOi1/s1600/160px-Raleigh_heron_badge.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCyUtBHqSNFpCvoiLCVT04TfZ8egZB29xmxBItFEt5j23RX9roebP2Aj-ZJ32WC9knGj-SB4LE3wNpTqQ2xvWC3MtxY_bNVAYNApUlW2tsc0p0hftSaM0Ij10iiiYYz5kPfnhdD8unPOi1/s200/160px-Raleigh_heron_badge.png" width="115" /></a><b><i>A few other lingering memories of images and
experiences came flashing through the mind. The main pastime of students and
youngsters of those days in our town was to go to the long beautiful beach in the evenings and spend time playing in the
sea and watching the lighthouse coming
to life and flash its light. We also made it a point to wait for the flashes from another light house
about twenty five kms. away. In between
we used to watch the luxurious cars parading to and fro on the long beach ro</i></b><b><i>ad.
The sons of some of the rich car owners, some of them our school/college
mates, made it a point to display their fortunate
possessions by driving the cars as fast
as they could making as much noise as possible in an effort to impress. To our
great pleasure some of them waved their
hands at us making us feel very important! Several Royal Enfield Bullet
motorbikes with their trade mark beats were also on show. Inwardly we longed
that one day we will also be speeding through the beach road in our own cars
and bikes!</i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwsGA7Xz2jTs0wKFO8PJwr8HGNaaNqxMYiLBpUZ47PmTL7e_yCMM1FfvWATMq1JxQypvzt1CY3lKp4wZXKOoom6PwAtwHLip1MS6n3VAWlp4L_EKkhksvI1_3IFVU-4wXdw_rb9hNHpGVq/s1600/phillips+logo+england.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwsGA7Xz2jTs0wKFO8PJwr8HGNaaNqxMYiLBpUZ47PmTL7e_yCMM1FfvWATMq1JxQypvzt1CY3lKp4wZXKOoom6PwAtwHLip1MS6n3VAWlp4L_EKkhksvI1_3IFVU-4wXdw_rb9hNHpGVq/s1600/phillips+logo+england.jpg" /></a><b><i></i></b><br />
<b><i></i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsGGG4crHPv4oJysQ4YdBcLnnf_DPDcRB3KpYGZYW4iherR_uxdZJMNfyAr3-228tG50Mm1VzGLzaamc6LrBMupmzsSK7G8aZzxkMVAFwPK9X1k4esQoLXaeSwBoubhqivQUCcx9paaiqB/s1600/Brookes+cycle+saddle.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsGGG4crHPv4oJysQ4YdBcLnnf_DPDcRB3KpYGZYW4iherR_uxdZJMNfyAr3-228tG50Mm1VzGLzaamc6LrBMupmzsSK7G8aZzxkMVAFwPK9X1k4esQoLXaeSwBoubhqivQUCcx9paaiqB/s1600/Brookes+cycle+saddle.jpg" /></a><b><i>As far as our own mode of
transport was concerned, the fortunate among us owned bi-cycles, a few got them on hire. The rest made it by
foot! Several cycle hiring shops were there which hired them at 12 paise(2
Annas)per hour for old ones and 18 paise to 25 paise per hour for newer ones.I
belonged to the 2<sup>nd</sup> and 3<sup>rd</sup> category but I had the
luxury of using my father’s Phillips bicycle
on his off days. Among bicycles the coveted brands were the Raleigh and BSA
even though the Humber and the Rudge were equally in demand. While these brands were costlier the most
popular brand was the Phillips, known for its toughness and reasonable price.
Another popular brand was ‘Hercules’ followed by ‘Atlas’.<o:p></o:p></i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho3ZAVKr4KHkE0sRNvVbtIb4GRmJZzcKrmN8_hfR4aSEJX770wzPAU7NNqhCzrmKEJt_dHWZtZptNCNhFogvmy7UK-SOCCuv6inf0or502jueDNLJUGNcktVP9THdShL_CNA9En89GtTQm/s1600/Miller+light.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho3ZAVKr4KHkE0sRNvVbtIb4GRmJZzcKrmN8_hfR4aSEJX770wzPAU7NNqhCzrmKEJt_dHWZtZptNCNhFogvmy7UK-SOCCuv6inf0or502jueDNLJUGNcktVP9THdShL_CNA9En89GtTQm/s1600/Miller+light.jpg" /></a><b><i></i></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWOj00anZQFhfay8gf46buWTGeYM2PFP8QlKXKeu6K8GTTkh0H3SmFH1bN9Z3XeO01hx3cqNdhowKHMYyAsWFWe8mOtd5HfM1H_2FIdGQ4QenyfPiy2vNpVm2R1LjzxV7r3Pm1yY_Td0DX/s1600/Sardar+lamp+2nd.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWOj00anZQFhfay8gf46buWTGeYM2PFP8QlKXKeu6K8GTTkh0H3SmFH1bN9Z3XeO01hx3cqNdhowKHMYyAsWFWe8mOtd5HfM1H_2FIdGQ4QenyfPiy2vNpVm2R1LjzxV7r3Pm1yY_Td0DX/s200/Sardar+lamp+2nd.jpg" width="200" /></a><b><i>A very interesting add-on
to the bicycle was the light.The luxury light was the Miller dynamo and head
light as it is not easily affordable. It is maintenance free, can be easily
operated and threw enough light on the road at night.The most popular and cheap
alternative was the cute SARDAR brand paraffin lamps. It used to have two small
windows, red on one side and green on the other. As paraffin was not easily
available a mixture of kerosene and coconut oil was</i></b><b style="text-align: left;"><i><b><i><b><i><b><i>used as fuel. Riding a bicycle without light
at night was as serious a traffic offence as riding double or riding on the
right hand side of the road. Of course, the rules were strictly enforced
too! Bicycles without chain covers, with half chain
covers and with full chain covers called gearbox were also there.Those who
could afford changed the ordinary factory fitted saddle for
a comfortable BROOKS saddle! Hand pumps for filling air in the tubes inside the
tyres were also there. Riding a bicycle in the rain with one hand and holding
an open umbrella on the other was great fun!</i></b></i></b></i></b></i></b></div>
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<b><i>I could, in course of time,
own a bicycle, scooter and could ride the Royal Enfield Bullet on the M.G. Road of Bangalore. Years later
while driving my car on the old beach road I remembered that it was once my dream to drive a car on the same road . But alas! I felt no joy , no thrill! Those old carefree days cannot be regained. I wondered where </i></b><b><i>the old friends would be that moment.</i></b></div>
</div>
JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com1tag:blogger.com,1999:blog-2372937692697241080.post-28206456857151803502013-03-01T22:02:00.001-08:002013-03-02T00:55:18.981-08:00MUSIC DIRECTOR SARDAR MALLIK-- HIS SARANGA<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtzNnXN_fGes-J9VESAK6rhMKIeZjaFqw4f0B7gIyXru6bqBdO5vrVK6B8LKqFgMDvMOvy8PBI_nQN-PS8AMJEHDSQJzukTqY4o_AjftSeUi8ICy46q8YyAXP1nlwG6lxeprtq93QfDebJ/s1600/Saranga+1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtzNnXN_fGes-J9VESAK6rhMKIeZjaFqw4f0B7gIyXru6bqBdO5vrVK6B8LKqFgMDvMOvy8PBI_nQN-PS8AMJEHDSQJzukTqY4o_AjftSeUi8ICy46q8YyAXP1nlwG6lxeprtq93QfDebJ/s200/Saranga+1.JPG" width="200" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho0hL22dkoR7RnfyOmDVtKhjGNkgkjddk6O51scheshQdjcpWKsnMJnO2Pyh7J74GEK3J1eqRHR_cjwi016Ul47ilGU036glUunhvA5vgZqdPO6pTL-o_RqCyVynQ2qnFt7zd_PW4ieZhA/s1600/Saranga+poster.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho0hL22dkoR7RnfyOmDVtKhjGNkgkjddk6O51scheshQdjcpWKsnMJnO2Pyh7J74GEK3J1eqRHR_cjwi016Ul47ilGU036glUunhvA5vgZqdPO6pTL-o_RqCyVynQ2qnFt7zd_PW4ieZhA/s1600/Saranga+poster.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA6n5r9Dgmli4XokXQOA7YH9IdGAbcp4lcCfGfmtLfjvqpXrqyZARcKL4INn99-351x12YrryXBxx6XIue_AS6YDP48AlEGavl_KFps-p1ZYhZbfj7kdXIADpCoBgTQLP0UH3Iw5_pq7st/s1600/Sardar+malik.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA6n5r9Dgmli4XokXQOA7YH9IdGAbcp4lcCfGfmtLfjvqpXrqyZARcKL4INn99-351x12YrryXBxx6XIue_AS6YDP48AlEGavl_KFps-p1ZYhZbfj7kdXIADpCoBgTQLP0UH3Iw5_pq7st/s1600/Sardar+malik.jpg" /></a><b><span style="color: #1f497d; mso-themecolor: text2;">A
notable omission in my modest collection of gramophone records of Hindi film
songs was the LP record of the 1960
film SARANGA with music by the great, but largely
unrecognised, music director Sardar Mallik. I have been searching for this
LP album for the last several years and it was only recently that I could get
it, from a regular source, to my utter surprise and pleasure. The record with
the jacket intact is in top condition
without any scratches. What made me and other music
lovers to search for this album of an
otherwise ordinary film starring Soodesh
Kumar and Jaishri Gadkar is the beautiful pathos filled song ‘Saaranga teri
yaad mein’ penned by Bharat Vyas and rendered by Mukesh in his inimitable voice
and singing style in which only he can sing. It is considered to be one of the
top songs of Mukesh when the composer, lyricist and the singer gelled together to create an immortal song. The song
was a big hit the moment it was heard on the radio and was hugely popular in the campuses.<o:p></o:p></span></b><br />
<b><span style="color: #1f497d; mso-themecolor: text2;">http://www.youtube.com/watch?v=AXQgClapKYc</span></b><br />
<b><span style="color: #1f497d; mso-themecolor: text2;"><br /></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifjXKp_p8mI7BgA21BGVmELllciRDa3gP-Qjfz0TepcdqEdzSHRxQ1U8e8wJp8r0wmbK6ZRlgRWZkTOO9T8eJBLPpCrYFMZfoU8XxaAk1CnWksN1f7Ijq46RS0HMZazLtOxlJz2dT0-oQm/s1600/Saranga+back+cover.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifjXKp_p8mI7BgA21BGVmELllciRDa3gP-Qjfz0TepcdqEdzSHRxQ1U8e8wJp8r0wmbK6ZRlgRWZkTOO9T8eJBLPpCrYFMZfoU8XxaAk1CnWksN1f7Ijq46RS0HMZazLtOxlJz2dT0-oQm/s200/Saranga+back+cover.JPG" width="180" /></a><b><span style="color: #1f497d; mso-themecolor: text2;">The
memories of this song lingered in the heart even when it slowly vanished from
the radio and the cassettes and MP3 discs containing the song became
increasingly difficult to find. In none of the several exclusive LPs of Mukesh this song
was included to the utter disappointment of the admirers of Mukesh and
the song. This and the fact that the song ‘ Saranga ter yaad mein’ evoked such
nostalgia that the thrill of collecting this LP album became all the more
‘thriller’!The album also contained another beautiful song of Mukesh, ‘Hain
diwana hun mein’ and the Lata Rafi duet,’Piya kaise milun tumse’. And a rare
feature of the album is that it contained a version (not a full version) of the song ‘Saranga teri’ by Rafi in a
slightly different tune or rather in the form of a recitation. As I had not
seen the film I do not know how this
version by Rafi was used in the film.<o:p></o:p></span></b><br />
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started as a dancer and choreographer as well as a singer , not given due
recognition in spite of the wonderful music he composed for film Saranga and
several others? Even before SARANGA
there was the Shammi Kapur film THOKAR (1954) in which Sardar Mallik had given
beautiful songs especially the ghazal ,’Ae gham –e-dil kya karun’ soulfully
rendered by Talat Mahmood. This song is available in the LP Album of Talat titled
IN A BLUE MOOD. Probably the film SARANGA could not boast of a big star
cast and it was also not a box office hit. Again in film LAILA MAJNU(1953) Sardar Mallik has composed another ghazal for
Talat Mahmood, ‘Tere dar pe aaye hun
fariyad lekar’.Though both films had Shammi Kapur, it was a pre Yahoo/ pre Rebel star Shammi Kapur
who could not lift the films on his own.
There was again Hemant Kumar singing with his usual gusto Sardar Mallik’s
composition 'Main garibon ka dil hun watan ki zuban' in film AB-E-HAYAT and this very popular song,’Mujhe tumse muhabbat hai’
of Rafi in film BACHPAN. Two duets of Mukesh and Suman Kalyanpur also come to mind. One is ‘
Sun more rasiya sun more basiya’ from film MADAN MANJARI and ‘Baharon se
poochho mere pyar ko tum’ from film MERE
GHAR MERE BACHHE. In spite of these and several other outstanding songs Sardar Mallik could not
make it big in Hindi films.
Unfortunately his best compositions were for B grade films with B grade stars resulting in their inability to sustain interest among
filmgoers which is essential for making songs popular .Finally Sardar Mallik also had to slowly fade away
like several others like N.Dutta, Dattaram. Iqbal Qureshi, G.S.Kohli, Robin
Banerjee, Sonik Omi and so on proving once again that talent alone cannot guarantee success in film music industry.</span></b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD6R56luKd8FUro7zmQURWBdeFHGUJlDMbWCswJTtaWC_0z32snDw7Do0NtSukMqVY8ro_7AcgetpIohdxC8JOfEUeSpXvp-s6NSjveYEKOpI6X5xlNjjZa4TmQBtJMRDSRgjapPJBOEsO/s1600/Ab+e+hayat.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><b><br /></b></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD6R56luKd8FUro7zmQURWBdeFHGUJlDMbWCswJTtaWC_0z32snDw7Do0NtSukMqVY8ro_7AcgetpIohdxC8JOfEUeSpXvp-s6NSjveYEKOpI6X5xlNjjZa4TmQBtJMRDSRgjapPJBOEsO/s1600/Ab+e+hayat.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><b>Tail piece:- Though Sardar Mallik could not make it big, his son Anu Malick continues to hold his own in Hindi film music world.</b></a><br />
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JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com0tag:blogger.com,1999:blog-2372937692697241080.post-64008737445220829862013-01-19T21:29:00.002-08:002013-02-02T21:19:40.601-08:00NAHID AKTHAR-THE TALENTED PAKISTANI SINGER.<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT1vs2aIrS5wk6iO73csuuHX9sHj3Ma0r7vYbqpLHv3tW_F2GtXpwsiRPWiJWJrkSxcuhAvvDr5QDmxXqSmDhTFcIIh7yDAbsw7PspcYgBXTkXn9IBVTU2ey0Yce1dU7cyQCSpH5qcXIhK/s1600/Nahid+Akthar+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT1vs2aIrS5wk6iO73csuuHX9sHj3Ma0r7vYbqpLHv3tW_F2GtXpwsiRPWiJWJrkSxcuhAvvDr5QDmxXqSmDhTFcIIh7yDAbsw7PspcYgBXTkXn9IBVTU2ey0Yce1dU7cyQCSpH5qcXIhK/s320/Nahid+Akthar+2.jpg" width="316" /></a></div>
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<b style="mso-bidi-font-weight: normal;">In my collection of
gramophone records there are a few LP records of Pakistani singers and music
directors including Mehdi Hassan, Noor Jahan, M. Ashraf(Music Director), Masud
Rana,Runa Laila,<span style="mso-spacerun: yes;"> </span>Nahid Akthar and so on.
While legends like Mehdi Hassan,<span style="mso-spacerun: yes;"> </span>Noor
Jahan, Ghulam Ali, Nusrat Fateh Ali Khan and Runa Laila are very popular in India and several of their<span style="mso-spacerun: yes;"> </span>LP Albums were released throughout the<span style="mso-spacerun: yes;"> </span>country singers like<span style="mso-spacerun: yes;"> </span>Nahid Akthar remained fairly unknown for the
music lovers of the country.<span style="font-family: "Calibri","sans-serif";">http://www.youtube.com/watch?v=ARYFXzZhEB8</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiBhPFRQZOEffaLoYxaHzMCmBmJlbMRAeuj6-DsxUz1XcRNVImmeOV_F4MykOU3pwephNHhoRssdDntL_nRalYEIz47YBcx-XvmpZt1o2e22Ct_mRHT_v2lUp06viQUkeg0_WClzmh2S-S/s1600/.Nahid+Akthar+C.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiBhPFRQZOEffaLoYxaHzMCmBmJlbMRAeuj6-DsxUz1XcRNVImmeOV_F4MykOU3pwephNHhoRssdDntL_nRalYEIz47YBcx-XvmpZt1o2e22Ct_mRHT_v2lUp06viQUkeg0_WClzmh2S-S/s200/.Nahid+Akthar+C.JPG" width="193" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigcA3Yyco6LiwQ_F4YwsYMwPO4TpbwhCbUidw3AqDcy62pUvJ1K0PE2ikwuPwTEoMHzwC0pb1aYxkvBftHJkQgOH9UoO0GNeenwEMN4rPiyMXcqJnGFxK_dFn60ah7MBDIlqKrIJzyswtN/s1600/.Nahid+Akthar+B.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigcA3Yyco6LiwQ_F4YwsYMwPO4TpbwhCbUidw3AqDcy62pUvJ1K0PE2ikwuPwTEoMHzwC0pb1aYxkvBftHJkQgOH9UoO0GNeenwEMN4rPiyMXcqJnGFxK_dFn60ah7MBDIlqKrIJzyswtN/s200/.Nahid+Akthar+B.JPG" width="198" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW1AsCS6LRr6e7q6zJ72ms4APqER4klsW_Uei4pE2CC6r5gwi1SaQ1ATqggW-Q0w-AT-hG_mlbJSHDahk-srTO9CUkucn2xnFVa4E10liIFDRaV_ssfhO4Jc9Py3z6gD_YoSBYI9gsoeJE/s1600/.Nahid+Akthar+photo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW1AsCS6LRr6e7q6zJ72ms4APqER4klsW_Uei4pE2CC6r5gwi1SaQ1ATqggW-Q0w-AT-hG_mlbJSHDahk-srTO9CUkucn2xnFVa4E10liIFDRaV_ssfhO4Jc9Py3z6gD_YoSBYI9gsoeJE/s1600/.Nahid+Akthar+photo.jpg" /></a><b>Singer Nahid Akthar
was very active in Pakistani small screen and film music <span style="mso-spacerun: yes;"> </span>during the 70s and 80s and she had a place of
her own in the music world. In the same mould as Noor Jahan and Runa Laila<span style="mso-spacerun: yes;"> </span>as far as traditional<span style="mso-spacerun: yes;"> </span>style of singing Urdu<span style="mso-spacerun: yes;"> </span>poetry, Pujabi folk songs and ghazals is concerned, Nahid Akthar
has an expressive voice of her own suited for all types of songs including film songs.She also has a powerful magnetic stage presence. She
was introduced in Pakistani film music by the veteran music director<span style="mso-spacerun: yes;"> </span>M. Ashraf in the film Nanha Farista(1974)
with the song,’Jane kyun dil tarapta rahta hayao’. But she was catapulted into
fame and popularity with the songs in film Shama again with music by M. Ashraf.
The soft <span style="mso-spacerun: yes;"> </span>melodious song, ‘Kisi mehrban
ne’ </b><b style="mso-bidi-font-weight: normal;">and ‘Aise mausam mein chup kayoon ho’, both penned by Tazleem Faazli, are a
treat to the ears. http://www.youtube.com/watch?v=ji4S-gN0o6Y In film<span style="mso-spacerun: yes;"> </span>‘Muhabbat
Zindagi hai’ (Music M. Ashraf)there is this beautiful song. ‘Dil –Dil- Dil- Dil
sambhala”showing the range of Nahid Akthar. All the three songs are included in
the LP Album<span style="mso-spacerun: yes;"> </span>FILM HITS-NAHID AKTHAR <span style="mso-spacerun: yes;"> </span>a must possess album for lovers of Pakistani
film songs. The album also includes a few popular songs of Nahid Akthar tuned
by Kamal Ahmed.</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiZpptzvDnXh4Wg6LAYaTIo0RHGvgsXY-3H-Yh-PY23JYuGc4iv_avZZgFTCcL0AiuXvv_ppCp2fCWwDVr7iOg2lDSRFwO0J-1O4Aj3dmNnke_0WhKnibGpTG6goAi_pjCowYYY_Vn9FfW/s1600/.Nahid+Akthar+B.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><b> But the most popular
film song of Nahid Akthar is the<span style="mso-spacerun: yes;"> </span>fast,
foot tapping number from film Muhabat Zindagi Hai, viz., ‘Tut toro toroo tara
tara’, her voice adapting to the need of the song with a lot of huskiness in
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<![endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-IN; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">http://www.youtube.com/watch?v=9v0g2DUpJ48)</span></b><b style="mso-bidi-font-weight: normal;">This song and several other similar fast, husky disco
songs are included in the LP Album REFRESHINGLY NAHID AKTHAR. Apart from a few
songs composed by M. Ashraf<span style="mso-spacerun: yes;"> </span>songs tuned
by music director Nizar Basmi are also there. Nahid Akthar’s versatality and
range is amply<span style="mso-spacerun: yes;"> </span>evident in the album
NAHID SINGS PUNJABI HOT HITS . The album contains eleven Punjabi folk songs. The
song ‘Munda mere pind da’(Music: Nazir Ali)stands out among them.</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE7Zijz6AB43JgTYglnI6jo8PMJUjFApqHHd3On8lJ-ctjWpJqgH57HpaVHP7csXFtaoM7u-_NKnk-bmMq5llJkccPNeu2uYo5l-j1XJd9h4766HYcQnCCmeaiCP3tTpWrBhpK3m2uXw-M/s1600/.Nahid+Akthar-Daman+aur++Chingari.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE7Zijz6AB43JgTYglnI6jo8PMJUjFApqHHd3On8lJ-ctjWpJqgH57HpaVHP7csXFtaoM7u-_NKnk-bmMq5llJkccPNeu2uYo5l-j1XJd9h4766HYcQnCCmeaiCP3tTpWrBhpK3m2uXw-M/s200/.Nahid+Akthar-Daman+aur++Chingari.JPG" width="196" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0bTSqdZUIvLDRnwliXr37pQ0SGBxD2j6AEKzXabchSjQ-XHuEBZ_ViXL1G_7cx3T_dxh0BpebNts_IgHNwFoP7ChhOgP4HGUO9vhaA81_hbdKtPwGQONywMGiqnIRm2EhISK5lVU18Ann/s1600/m_ashraf.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0bTSqdZUIvLDRnwliXr37pQ0SGBxD2j6AEKzXabchSjQ-XHuEBZ_ViXL1G_7cx3T_dxh0BpebNts_IgHNwFoP7ChhOgP4HGUO9vhaA81_hbdKtPwGQONywMGiqnIRm2EhISK5lVU18Ann/s1600/m_ashraf.jpg" /></a><b style="mso-bidi-font-weight: normal;">To the veteran music
director M. Ashraf also goes the credit of introducing several singers like
Shaukat Ali, Masud Rana, Nayyara Noor, Anwar<span style="mso-spacerun: yes;">
</span>Rafi and so on in Pakistani film music.I have in my collection a few LP
Albums of films for which music was composed by M. Ashraf. One is film DAMAN
AUR CHINGARI<span style="mso-spacerun: yes;"> </span>containing nine songs by
Noor Jahan, Masud Rana,Ahmed Rushdi and the great Mehdi Hassan.The two film LP
Album of films DO BADEN (Music:M.Ashraf) and SABAQ Music:Nizar Basmi) has twelve
songs of the great singers like Mehdi Hasssan, Noor Jahan, Runa Laila, and so
on.<span style="mso-spacerun: yes;"> </span>Hearing Mehdi Hassan singing film
songs is a refreshing experirnce.In the LP album of films PARDE MEIN RAHNE DO
and AAS under the same composers we have again singers Noor Jahan , Runa
laila,Nayyara Noor, Ahmed Rushdie and so on.There is also an exclusive LP album
of Masud Rana containing his songs from various films.</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_j6tEIccNd77WV6Ym8VtsjnD8Scl45MeO1cN1RIu-CzmDtqWgXz6lvIQ8W7PwHUfJ1gpTFaeOe88cKEfxronkuvlMgNF49rgS91fUcRezVJKW3DqQKkGpLay7_YOmg8HGipSh10DE4sev/s1600/Nahid+Althar++Parde+mein+rahne+do.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_j6tEIccNd77WV6Ym8VtsjnD8Scl45MeO1cN1RIu-CzmDtqWgXz6lvIQ8W7PwHUfJ1gpTFaeOe88cKEfxronkuvlMgNF49rgS91fUcRezVJKW3DqQKkGpLay7_YOmg8HGipSh10DE4sev/s200/Nahid+Althar++Parde+mein+rahne+do.JPG" width="200" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFku9T47gfNG34BsWOXSkwSSmwqhZ9EVYp3UcAoMtssvm0dgEF19GLRqnUS0_ZJbUBm3Cj3bQVSD4ud6IJlEU4UwU_QmQA9ofTETl6h1I64n509h1wnD0QE7iWdrCopL7D2MHzFWohYL0F/s1600/.Nahid+Akthar-Do+Baden.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFku9T47gfNG34BsWOXSkwSSmwqhZ9EVYp3UcAoMtssvm0dgEF19GLRqnUS0_ZJbUBm3Cj3bQVSD4ud6IJlEU4UwU_QmQA9ofTETl6h1I64n509h1wnD0QE7iWdrCopL7D2MHzFWohYL0F/s200/.Nahid+Akthar-Do+Baden.JPG" width="194" /></a></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<b>It is unfortunate
that singers like Nahid Akthar could not rise in popularity in India unlike a
Noor Jahan , Runa Laila, Ghulam Ali and so on. With the lifting of the ban on import into Pakistan of Indian films in 2005 and the conscious liberal policy of cultural exchanges ( Business as usual policy as somebody remarked)there has been a flood of Pakistani singers and artists into India with some of them like Rahat Fateh Ali Khan, Adnan Sami ,Shafquat Amanat Ali,Veeena malik and so on earning fame and fortune.</b><b style="mso-bidi-font-weight: normal;">Obviously singers like Nahid Akthar were the victims of the policies of the period.</b></div>
</div>
JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com0tag:blogger.com,1999:blog-2372937692697241080.post-25449423483973425002013-01-09T21:51:00.000-08:002013-01-09T21:51:14.308-08:00SUMAN KALYANPUR- THE UNDERUTILISED TALENT.<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE-PuVJ16c9qPXDQ1aNL8OQ0LAdsDx0YSW9TEX9B0ER7-SV3OJTq-EhEn_9YrbDGyFbB615qiavuKsm5LndWxifBBHgNHKGspZ-L6e_i3jGXbXD5_HhS3SHOm69rPZSv2IrFMyyRXrUAgG/s1600/.Shama.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE-PuVJ16c9qPXDQ1aNL8OQ0LAdsDx0YSW9TEX9B0ER7-SV3OJTq-EhEn_9YrbDGyFbB615qiavuKsm5LndWxifBBHgNHKGspZ-L6e_i3jGXbXD5_HhS3SHOm69rPZSv2IrFMyyRXrUAgG/s200/.Shama.jpg" width="167" /></a><b><span style="color: blue;">Anybody listening to the song, 'Dil gham se jal
raha hai', a masterly composition by Ghulam Mohammed for the film Shama could
mistake it for a song of Lata eventhough it is a song by that wonderful singer
Suman Kalyanpur . Again the same impression will definitely be reinforced when
one hears the Snehal Bhatkar melody, 'Haal-e- dil unko sunana tha' from
film Faryad.The beauty of the voice, the talent, versatility, the authentic
singing style <span style="mso-spacerun: yes;"> </span>and the impression she had
created among<span style="mso-spacerun: yes;"> </span>listeners with a large
number of hit songs under renowned music directors like Khayyam, S.D.Burman,
Shankar Jaikishen, Roshan, Laxmikant Pyarelal, Madan Mohan and so on should
have established her as a front line singer in Hindi film world. Unfortunately,
it did not happen.<span style="mso-spacerun: yes;"> </span>The fact that she
remained as one of the most underutilised and unexplored singers of our time
is<span style="mso-spacerun: yes;"> </span>one of the several <span style="mso-spacerun: yes;"> </span>similar contradictions and <span style="mso-spacerun: yes;"> </span>under achievements<span style="mso-spacerun: yes;"> </span>in Hindi film music as in the cases of
Bhupinder Singh, Subir Sen, Hemlata, Jesudas and to a lesser extent, Mahendra Kapur.</span></b><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEikT7XnBv99v0CReHlbXWxx2cEqmp663bTncQtbvbTLYBpAJWUdFG8G0bm6duqopBKCIc2k9OUL2dbjfdHvrgY-lRMRWmHmho9UKpvDQo3CMkWSnp0OyNla-E71ul9yomyAMboUuZIDhF/s1600/.Baat+ek+raat+ki.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEikT7XnBv99v0CReHlbXWxx2cEqmp663bTncQtbvbTLYBpAJWUdFG8G0bm6duqopBKCIc2k9OUL2dbjfdHvrgY-lRMRWmHmho9UKpvDQo3CMkWSnp0OyNla-E71ul9yomyAMboUuZIDhF/s200/.Baat+ek+raat+ki.JPG" width="200" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmn8OwH85yYcPSWTKQV3Gchu0WPpmBI76TMOsO046LBBVVEhYCplP9b0SN7Q2Ujn-mtCAVn44offwYoKnQfjVEletEKjtysLIACgjnH7ijkNMJUHwM2biFr1hrmJKkKW5DgMbfBhirl_s9/s1600/Noop+Jahan+poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmn8OwH85yYcPSWTKQV3Gchu0WPpmBI76TMOsO046LBBVVEhYCplP9b0SN7Q2Ujn-mtCAVn44offwYoKnQfjVEletEKjtysLIACgjnH7ijkNMJUHwM2biFr1hrmJKkKW5DgMbfBhirl_s9/s200/Noop+Jahan+poster.jpg" width="199" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_tccYMeKjpcNzTf2bymMJTHtAv13SwU9DnNn1b0kyX_6OBUs-imuFU7KJDZiqeunFi5dCrj53o5DeBTaKD6PgvbY1MYWzHhnq9LSvbvbaE_0ww0o9DB_UhoJCfiDMPw4V4Kx829OnXt5E/s1600/DSC01411.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_tccYMeKjpcNzTf2bymMJTHtAv13SwU9DnNn1b0kyX_6OBUs-imuFU7KJDZiqeunFi5dCrj53o5DeBTaKD6PgvbY1MYWzHhnq9LSvbvbaE_0ww0o9DB_UhoJCfiDMPw4V4Kx829OnXt5E/s200/DSC01411.JPG" width="198" /></a><b><span style="color: blue;"><br /></span></b>
<b><span style="color: blue;">Though Suman Kalyanpur had sung<span style="mso-spacerun: yes;"> </span>only a limited number of solo songs there
were a few outstanding numbers among them. The foremost among them is the one
from film Baat <span style="mso-spacerun: yes;"> </span>ek Raat Ki, viz., ‘Na tum
hamen jano, na hum to me jaane’ under the baton of S.D.Burman. Then there is
this melodious, ‘Sharabi sharabi yeh saawan ka mausum’<span style="mso-spacerun: yes;"> </span>(film Noor Jahan, Music- Roshan) again
echoing Lata’s voice and style of singing. Then there is this haunting song,’Mere
mehboob na jaa’ from film Noor Mahal with music by Jane Babu Qawwal. In film
Shagun, Suman Kalyanpur has two beautiful romantic numbers under the baton of
the great Khayyam, viz., ‘Zindagi Zulm sahi jabr sahi gham hi sahi’ and ‘Bhuja
diye hain khud apna hathon’. In film Mohabat Isko Kahte hain, Khayyam has<span style="mso-spacerun: yes;"> </span>again used the voice of Suman Kalyanpur for
this beautiful song, ‘Jo hum pe guzarti hai tanha’ to reveal her natural talent
for singing melodies. In film Chirag Kahan Roshni Kahan, music director Ravi
has brought the best in Suman in the song ‘Ab to ankh lad chuki’. Music
maestro<span style="mso-spacerun: yes;"> </span>Madan<span style="mso-spacerun: yes;"> </span>Mohan, known for his preference for Lata, had
made Lata sing ‘Haal-e-dil yoon unhen sunaya gaya’ for film Jahan Aara, a <span style="mso-spacerun: yes;"> </span>sort of cover version of Suman’s song,
‘Haal-e-dil’, from film Faryad. To many listeners the version by Suman was the
better of the two. She had also sung several solo songs for music directors
Duttaram, N,Dutta and so on.</span></b><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikCD7BQJCtWL87l9WuTYAo4XeRvi96QLkraY4k7PW8kAK-kIjNmxm_EcV3RVKjd7LqJdTih0CXAQNumFNlS_B-9NLLEq6iGNPuRVVKZEkDPzCCMbj8s5YrFrI_600JFPDHNnOqfSRH-sFl/s1600/.title+songs+Dil+ne+phir+yaas.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikCD7BQJCtWL87l9WuTYAo4XeRvi96QLkraY4k7PW8kAK-kIjNmxm_EcV3RVKjd7LqJdTih0CXAQNumFNlS_B-9NLLEq6iGNPuRVVKZEkDPzCCMbj8s5YrFrI_600JFPDHNnOqfSRH-sFl/s200/.title+songs+Dil+ne+phir+yaas.JPG" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKQ0lIyhyphenhyphenkrY-_UfIZt9NDe7iIVFxTTpUKXa_uDP9s-k42VRSvsWBlSwXa1pfAGL0xq2UbUpZFz8UWSKkI-hla6SPjQYrabT2rposUUb26phNUb5khaVhcf2yd3PFxkO9ssjhBeSvqUxjn/s1600/.Nrahmacharo.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKQ0lIyhyphenhyphenkrY-_UfIZt9NDe7iIVFxTTpUKXa_uDP9s-k42VRSvsWBlSwXa1pfAGL0xq2UbUpZFz8UWSKkI-hla6SPjQYrabT2rposUUb26phNUb5khaVhcf2yd3PFxkO9ssjhBeSvqUxjn/s200/.Nrahmacharo.jpg" width="172" /></a><b><span style="color: blue;">Suman Kalyanpur’s versatility and range were
evident in several semi classical songs she had beautifully rendered. The first
song coming to<span style="mso-spacerun: yes;"> </span>mind is ‘Mere sang ga
gunguna’, a duet with Rafi, from film Janwar with music by Shankar Jaikishen.The
beautiful ghazal, ‘Baad muddat ke yeh ghadi aayee’ from film Jahan Ara with
music by Madan Mohan<span style="mso-spacerun: yes;"> </span>and the Sonik Omi <span style="mso-spacerun: yes;"> </span>title song with Rafi from film ‘Dil ne phir
yaad kiya’ show her control over semi-clasical songs and ghazals. The song, Ajhun
na aaye balamwa’ ‘ for S&J in film Sanj aur Savera is another semi-classical
number of Suman. Her talent <span style="mso-spacerun: yes;"> </span>for singing
fast happy numbers is amply evident in a few duets with Rafi<span style="mso-spacerun: yes;"> </span>like ‘Aajkal tere mere pyar ke charche’ (Film
Brahmachari-Music S&J) and ‘Tumse oh haseena’(Film Farz-Music Laxmi Pyare)
and ‘Tumne pukara aur hum chale aaye’ (Film Raj Kumar- Music S&J).</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTxpWEmvsglRVhnvZZ4oKkYXVPsZjE2-3FgorlRpAM38-BPR3Cp_QvJFuvT81a4Hpfzf-VphkpRfHQXNk13_OBTpSiQaFfasLmfjEt03q__mYdOHjSoARQps_I-2va54hEgObvNokw7x9m/s1600/.Dil+hi+to+hai.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTxpWEmvsglRVhnvZZ4oKkYXVPsZjE2-3FgorlRpAM38-BPR3Cp_QvJFuvT81a4Hpfzf-VphkpRfHQXNk13_OBTpSiQaFfasLmfjEt03q__mYdOHjSoARQps_I-2va54hEgObvNokw7x9m/s1600/.Dil+hi+to+hai.jpg" /></a><b><span style="color: blue;">Probably the major contribution of Suman
Kalyanpur to Hindi film music is the large number of melodious duets she had
rendered with Hemant Kumar, Manna Dey, Mukesh and above all Muhammed Rafi. Her
contribution will be remembered and taken forward through generations more by
these duets than through her solo songs.In film Pyase Panchi with music by
Kalyanji Anandji, there is this flowing duet with Hemant Kumar,viz., ‘Na jaane
kahan tum the’.With Mukesh she had sung a few duets and the first coming to mind
is,’Mera pyar bhi tu hai’ from Film Saathi (Music:Naushad).In film ‘Dil hi Tu
Hai’ Mukesh and Suman sang this lilting ‘Chura le na tum ko mausam suhana’, the
two voices complementing each other to the delight of listeners. Again under
music director S.D.Burman in film Meri Surat Teri Ankhen Mukesh and Suman had
sung the soft melody,’Yeh kitne geet chehda’which was very popular those days.
With Manna Dey there are a few popular duets the prominent being ‘Na jaane kaha
tum the’ from film Zindagi aur Khwab’ with music by Duttaram.The song ‘Tum jo
aao to pyar aa jaye’ composed by Robin Banerjee for film Sakhi Robin was
another popular duet of this duo. There is yet another duet ‘Yeh nasheelee
hawa’ from film Neeli Aankhen (Music:Duttaram) emphasising the harmony of
voices in duets which is missing in present day music in general.</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkzmjuh79KEpwGDB006zSioObuZN5fIkPDqRoNvP5pRDUP8kjOu7dmwjl-ewr4c5rzFTsK4NydK-K2pA6OPR6j6mX-0whfdlxSL3MVeemlzugJMvlqoU3Klu3oMmI8UJ5RQybfIDgZ4MM5/s1600/Syman+Rafi.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkzmjuh79KEpwGDB006zSioObuZN5fIkPDqRoNvP5pRDUP8kjOu7dmwjl-ewr4c5rzFTsK4NydK-K2pA6OPR6j6mX-0whfdlxSL3MVeemlzugJMvlqoU3Klu3oMmI8UJ5RQybfIDgZ4MM5/s200/Syman+Rafi.JPG" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGZcvw60k4fnD25Ky2_Kz2eMVd_IDoKjN7aS4wcZHBG3wnAgkq2Xt3mBpOFcYn7ackD5tztqcVNS2dnGLLrZNUiHjpEi4CoZdkmUxXCAeARJZGDJnzdEIasQK0hGARRKO9hJWbqisV3f7G/s1600/Shankar+Jaikiahen.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGZcvw60k4fnD25Ky2_Kz2eMVd_IDoKjN7aS4wcZHBG3wnAgkq2Xt3mBpOFcYn7ackD5tztqcVNS2dnGLLrZNUiHjpEi4CoZdkmUxXCAeARJZGDJnzdEIasQK0hGARRKO9hJWbqisV3f7G/s200/Shankar+Jaikiahen.JPG" width="189" /></a><b><span style="color: blue;">Suman Kalyanpur’s duets with Muhammed Rafi<span style="mso-spacerun: yes;"> </span>are many and varied bringing out the best in
the singers. It is noteworthy that Suman Kalyanpur could sing<span style="mso-spacerun: yes;"> </span>these songs at a time when the preferred
voice for composers and producers<span style="mso-spacerun: yes;"> </span>for
singing all types of songs was that of Lata Mangeshkar. Probably the difference
of opinion between Lata and Rafi over certain trade issues resulting in their
not singing together over a period of time could have also helped. For the
composers if Lata was not available the next best option was Suman Kalyanpur
with the similarity in voices and singing style. It was for this reason that
Suman Kalyanpur was often referred to as the ‘Poor man’s Lata’! Rafi and Suman
had sung duets under most of the leading com[posers of the time. Apart from the
duets mentioned earlier in this post<span style="mso-spacerun: yes;"> </span>she
had sung for Khayyam the song, ‘Parbeton ke pedon par sham ka basera hai’from
film Shagoon; for Roshan the song, ‘Aise to na dekekho ki’ in film Bheegi Raat
and ‘Rehena na rehenn hum’ for film Mamta; for Shankar Jaikishen several songs
including, ‘Itna hai tumse pyar mujhe’ for film Suraj and for Kalyanji Anandji,
the song ‘Na na karte pyar tumhe se kar baiten’ for film Jab Jab Phool Khile
and so on.</span></b><br />
<br />
<b><span style="color: blue;">In spite of her huge singing talent Suman
kalyanpur could not reach the heights she richly deserved and she always
remained as a second option mainly for the image that got rubbed on her as the
poor man’s Lata. Her voice and ability to sing like Lata, instead of helping
her, in fact, proved to be a handicap in her way upward. The whims,fancies and
‘polytricks’ in<span style="mso-spacerun: yes;"> </span>the music industry of
the period<span style="mso-spacerun: yes;"> </span>also stood in the way. The
bottom line is, regrettably, ‘loss’ to music lovers!</span></b><br />
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JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com0tag:blogger.com,1999:blog-2372937692697241080.post-60822860814737991182012-11-15T01:46:00.002-08:002012-11-15T03:42:20.592-08:00MUSIC DIRECTORS LAXMIKANT PYARELAL.<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZemkoH0M-5nY3xorDEixbBjOcyaqRoDz-J0ZasuXFPIX0sLHg_1wCgAQLggQOPyMLozGI9TZcdM5TyElKaMoG6BKJVQOxyrkIwS5xmsxW3kIsQavN_087VX7m3uXMHbJV-cmbEu3wQEFH/s1600/DSC01290..............Laxmikand+&Pyaelal+picture.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZemkoH0M-5nY3xorDEixbBjOcyaqRoDz-J0ZasuXFPIX0sLHg_1wCgAQLggQOPyMLozGI9TZcdM5TyElKaMoG6BKJVQOxyrkIwS5xmsxW3kIsQavN_087VX7m3uXMHbJV-cmbEu3wQEFH/s320/DSC01290..............Laxmikand+&Pyaelal+picture.JPG" width="320" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMrt11DBpsPYeINEc-J7nMkOhyphenhyphenzrXBxIeIKZq4VJV7fEpyhGbiXUBJAdB9XgEq69UWD11DoHkpR4H5zrpH0wuycXSaxYm-AmioEtEmnhvsyUqN_LfD5RJuWvrR0w1NdzifNq0u8SCJAOHM/s1600/Parasmani+001.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMrt11DBpsPYeINEc-J7nMkOhyphenhyphenzrXBxIeIKZq4VJV7fEpyhGbiXUBJAdB9XgEq69UWD11DoHkpR4H5zrpH0wuycXSaxYm-AmioEtEmnhvsyUqN_LfD5RJuWvrR0w1NdzifNq0u8SCJAOHM/s200/Parasmani+001.jpg" width="193" /></a><b><span style="font-family: Arial, Helvetica, sans-serif;"> One of the delightful news items from the world of Hindi film music </span><span style="font-size: small;">this week was the release of the music album of the Hindi film AAWAAZ DIL SE. What makes the album significant for lovers of Hindi film songs, particularly the old timers, is the fact that the music is by none other than Pyarelal Sharma (Pyarelal) who formed the redoubtable duo of music directors with Laxmikant Kudalkar(Laxmikant) from the year 1963 till the demise of the later in 1998.</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIAXJsJXFWWTnThlthzmH-McDDWE5XsLS9cFpU5hflqmxJHLpy9CWfgqPOgLwB0DiTczywa31qXBseehMYwlZ1zUmuME5w4ko8HynxR0sfVWovxUH728aySK2ZTPs0tK88HG6aDzJn9skO/s1600/.Laxmikant+Milan.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIAXJsJXFWWTnThlthzmH-McDDWE5XsLS9cFpU5hflqmxJHLpy9CWfgqPOgLwB0DiTczywa31qXBseehMYwlZ1zUmuME5w4ko8HynxR0sfVWovxUH728aySK2ZTPs0tK88HG6aDzJn9skO/s200/.Laxmikant+Milan.JPG" width="198" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTEK6Wh8pmNG-QAxCASwUohrljdDVD-3zqI57L8a5UVgkx1Q3V9PWF6F9zyCghfpUn2m-p3796EW38HxuRDWNem2pmMz_Jrp9t605E1AxfR6bArKRTHn64ndFMEcL5iWPoE9BlPTx84SdM/s1600/.Dosti+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTEK6Wh8pmNG-QAxCASwUohrljdDVD-3zqI57L8a5UVgkx1Q3V9PWF6F9zyCghfpUn2m-p3796EW38HxuRDWNem2pmMz_Jrp9t605E1AxfR6bArKRTHn64ndFMEcL5iWPoE9BlPTx84SdM/s200/.Dosti+2.jpg" width="144" /></a><b><span style="font-size: small;">The news item took my mind back to those wonderful songs tuned by the duo, Laxmikant-Pyarelal(affectionately called Laxmi-Pyare) during a career of four decades beginning with the film PARASMANI and ending after about 600 films. They arrived at a time when the great musical duo of Shankar Jaikishan was dominating the world of Hindi film music along with the other great duo of Kalyanji-Anandji and the stalwarts like S.D.Burman, C.Ramachandra, Madan Mohan Ravi and so on. In the beginning of their illustrious career their music had a lot in common with that of Shankar Jaikishen and to a lesser degree with that of R.D.Burman.The songs of PARASMANI which catapulted them as one of the leading music directors of Hindi films are examples for this evaluation. But the fact remains that the songs of Parasmani is one of the best for an upcoming music director duo. The duet by Lata and Kamal Barot,'Hasta hua noorani chehra' was one of the most popular duets of the period heard over and over again on the radio.The other duet(Lata-Rafi), 'Voh jab yaad aaye , bahut..' was an outstanding number and the Rafi solo,' Salaamat Raho' was melody at its best.</span></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFuXnJCtJTxlJPql9IPkbw3JlAHhRwr87r0spx6Y8p7SEhNT9djSJ4GChpOd-V7jbS5PgLu8jnjnGSgpel0QJmgNlludTZNXwM65megw-dut5-nOwQvmVZv1KHAL1kz1-ryb8I9bbUldb_/s1600/.Laxmikant+Inteqam+front+.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFuXnJCtJTxlJPql9IPkbw3JlAHhRwr87r0spx6Y8p7SEhNT9djSJ4GChpOd-V7jbS5PgLu8jnjnGSgpel0QJmgNlludTZNXwM65megw-dut5-nOwQvmVZv1KHAL1kz1-ryb8I9bbUldb_/s200/.Laxmikant+Inteqam+front+.JPG" width="196" /></a></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6armjlU78314XBNg4_jFE3p-wYA6N4Cz56xSX5C09pCGj38iHyJFZMyGtdEcKE4qjD8qnOSYAIZJVXZcIKDDr22yFVxfOY6MUiySwbTR0qw5ggpONxOUL-AM4rKD-EQVnYf_A9mZUol4V/s1600/.Laxmikant+Jeene+ki+raah.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6armjlU78314XBNg4_jFE3p-wYA6N4Cz56xSX5C09pCGj38iHyJFZMyGtdEcKE4qjD8qnOSYAIZJVXZcIKDDr22yFVxfOY6MUiySwbTR0qw5ggpONxOUL-AM4rKD-EQVnYf_A9mZUol4V/s200/.Laxmikant+Jeene+ki+raah.jpg" width="190" /></a><b><span style="font-size: small;">The duo proved that the success of their music in PARASMANI was not a splash in the pan with their outstanding songs in DOSTI (1964) which fetched them their first Filmfare award for best music in the year 1964. The three songs by Rafi,viz.,'Jahoonga mein thuje saanj..'. Koi jab raaha .......mere dosti mere par' and 'Rahi manwa dukh ki chinta' established Rafi as the favourite singer of LaxmiPyare. Several Fiulmfare Awards followed with MILAN(1967) in which all the songs were by Lata and Mukesh. The duet, Sawan ka Mahina is one of the top duets of all time reviving nostalgic memories of Binaca Geeetmala and Radio Ceylon whenever it is heard even now. It was the top song of Binanca Geetmala in the year 1967.The solo,' Main to diwana diwana' is also a typical grief ridden Mukesh song. There were several other top of the chart songs of LaxmiPyare in Binaca Geetmala like 'Dil vil pyar vyar' from film Shagird(1968-Lata), Kaise Rahoon chup' from film Inteqam (1969-Lata), 'Bindiya chamkegi from film Do Raaste(1970-Lata) and 'Mehamgai maar gai' from film Roti Kapda aur Makan(1972-Lata, Mukesh, Chanchal, Jani Babu and chorus) during the period from 1963 to 1977.</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC8gqNMlaQ4tM58MojX4iwyJpAh2_5BNPUIXBrgit3xMKyo6MwKZxt9-F1GRl29QQecB2RKfx438VJfapyWyH4E0lQ0WVqR7N8v7hgvWz65ky-_A2HVdMn-XQB8hziyBWL_l6R_QWmM3Re/s1600/.Laxmijant+Sat,Siv+Sund.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="104" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC8gqNMlaQ4tM58MojX4iwyJpAh2_5BNPUIXBrgit3xMKyo6MwKZxt9-F1GRl29QQecB2RKfx438VJfapyWyH4E0lQ0WVqR7N8v7hgvWz65ky-_A2HVdMn-XQB8hziyBWL_l6R_QWmM3Re/s200/.Laxmijant+Sat,Siv+Sund.JPG" width="200" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkYp4mmWKBQpQmw_krgL-YObVDbieUGWE4WXr2f7D8_ay9O3cyZtIkCOTdWNb8V4jdHYdu5h9TV-aLOlUe3iwxzS4kqPwdEcMKmIS9c3mI0-Kzu2nJNW-Sczoa5R2d1As6cfjIabgwFIPE/s1600/.Laxmikant+SSS+front+cover.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkYp4mmWKBQpQmw_krgL-YObVDbieUGWE4WXr2f7D8_ay9O3cyZtIkCOTdWNb8V4jdHYdu5h9TV-aLOlUe3iwxzS4kqPwdEcMKmIS9c3mI0-Kzu2nJNW-Sczoa5R2d1As6cfjIabgwFIPE/s200/.Laxmikant+SSS+front+cover.JPG" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE_SsyqHW0jB0GU_g7peE8zjQSgyeevmPCAoVT8tuRGYpm-Kvc4XrDz40Pt7juPzPOzutp0MYG4C2ejRur6sgZHgj2B-g2n2Rl9iLk5fZu-UKdLo7LNByFx8_-q1OBs5jU6-jMqqHJGfTj/s1600/.Laxmikant+Amar,Akbar+Antony.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE_SsyqHW0jB0GU_g7peE8zjQSgyeevmPCAoVT8tuRGYpm-Kvc4XrDz40Pt7juPzPOzutp0MYG4C2ejRur6sgZHgj2B-g2n2Rl9iLk5fZu-UKdLo7LNByFx8_-q1OBs5jU6-jMqqHJGfTj/s200/.Laxmikant+Amar,Akbar+Antony.JPG" width="200" /></a><b><span style="font-size: small;"> In the year 1969 in spite of strong competition from films like Aaradhana(S.D.</span></b><span style="font-size: small;">Burman) </span><b><span style="font-size: small;"> and Prince(Shankar-Jaikishen) the film JEENE KI RAAH brought LaxmiPyare their next Filmfare Award with songs like 'Aane se uski aaye bahar(Rafi), 'Ek banjara gaaye(Rafi) and 'Badi mastani hai mere mehbooba(Rafi-Bhupinder). This was followed by Amar Akbar Antony in 1977 the famous Qawwali,' Pudhah hai purdha( Rafi)' topping the popularity chart and getting rated as one of </span></b><b><span style="font-size: small;">the best </span></b><b><span style="font-size: small;">film quawwalis. The Rafi-Amitab Bachhan number 'My name is Antony Gonsalves' is another popular number. Then came Raj Kapur's spectacular Sashi Kapur-Zeenat Aman starrer SATYAM SHIVAM SUNDARAM with the title song by Lata becoming the number one song in 1978. The childrens' song 'Yashomati maiya se bole nandlala (lata)'is another notable song of the film. The LP record of the songs is special for the collector for its beautifuly designed jacket with a magnificent centre spread!</span></b><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIOvgbiFT6cJajbR9f-OUQWHL0eXXiP_4xg93FDcGTaQJ34p9-i-7LzpppuTuS9k5oiFlq5yIMks2kO76mJS9nbyZoAieymYv1Nhyphenhyphenc6l2NNU9o9VbRKPZcrdJYJbeysPjdTlhyphenhyphenlggoc7l7/s1600/.Laxmikant+Sargam.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIOvgbiFT6cJajbR9f-OUQWHL0eXXiP_4xg93FDcGTaQJ34p9-i-7LzpppuTuS9k5oiFlq5yIMks2kO76mJS9nbyZoAieymYv1Nhyphenhyphenc6l2NNU9o9VbRKPZcrdJYJbeysPjdTlhyphenhyphenlggoc7l7/s200/.Laxmikant+Sargam.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUcW3V0nkYWCCufo1tJ1HohKT3YU2zV2Fc3I7U3bzAS1OFiuS0X4i1r_I3J0KF3TNLXcH980vZGKX_Nrxr5jcWTbMc_FssRPhw6NrEzNEB1kVSbENzpKY5-N3HNhyphenhyphen4XgcN_v6U7Zmp7P6f/s1600/.Laxmikant+Karz.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUcW3V0nkYWCCufo1tJ1HohKT3YU2zV2Fc3I7U3bzAS1OFiuS0X4i1r_I3J0KF3TNLXcH980vZGKX_Nrxr5jcWTbMc_FssRPhw6NrEzNEB1kVSbENzpKY5-N3HNhyphenhyphen4XgcN_v6U7Zmp7P6f/s1600/.Laxmikant+Karz.jpg" /></a><b><span style="font-size: small;"></span></b><br />
<b><span style="font-size: small;">In the year 1979 it was the film SARGAM which fetched them the Filmfare Award for the best music. The film, a remake of K.Viswanath's Telugu film Siri Siri Muwa, with Rishi Kapur and Jayaprada in the lead established the beautiful Jayaprada as a top heroine in Hindi films. All the seven songs of the film were rendered by Rafi, three of them with Lata the song 'Dafli wale dafli baja' by Rafi , the most popular of the lot. In the year 1980 it was the film KARZ, a Rishi Kapur-Tina Munim starrer , for which LaxmiPyare got the Filmfare Award , the record breaking fourth in a row. The song 'Om Shanti Om' by Kishore Kumar is rated as the best of the film. </span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghpSwqmvtnsdPCj_8Qwdseh3Rf5oCFXAFhSupb0nC4Z5SU4uHnoRw4uTMUfzJdG6G_8R3XU8_AZc0k-KJqPUpc-Dmy7F89hCQ1b_ybQYFXKMniud1dwbL9hF5DDqZ8-j3zvYjNcWJYDKbM/s1600/.Laxmikant+Bobby+front.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghpSwqmvtnsdPCj_8Qwdseh3Rf5oCFXAFhSupb0nC4Z5SU4uHnoRw4uTMUfzJdG6G_8R3XU8_AZc0k-KJqPUpc-Dmy7F89hCQ1b_ybQYFXKMniud1dwbL9hF5DDqZ8-j3zvYjNcWJYDKbM/s200/.Laxmikant+Bobby+front.JPG" width="200" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM9jBupBp0yIhU55JbJEp_MZ0vnxMdLvgBIPWxfj4gWybqPOojJlsFneZxhlOchLxhZqL0OT1Ek1Xl_P-jsRwEKUOWSp9SVrSShzytEbn48KVRkHC9kn5lqfq-9yFyEuayEcm55ODCJxCL/s1600/.Laxmikant+Bobby+sialogues.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM9jBupBp0yIhU55JbJEp_MZ0vnxMdLvgBIPWxfj4gWybqPOojJlsFneZxhlOchLxhZqL0OT1Ek1Xl_P-jsRwEKUOWSp9SVrSShzytEbn48KVRkHC9kn5lqfq-9yFyEuayEcm55ODCJxCL/s200/.Laxmikant+Bobby+sialogues.JPG" width="200" /></a><b><span style="font-size: small;"></span></b><br />
<b><span style="font-size: small;">Though the Raj Kapur's film SATYAM SIVAM SUNDARAM could get LaxmiPyare a Filmfare Award, it was film BOBBY(1973) that brought them to the RK fold ending the exclusive, longstanding and highly successful association of Shankar Jaikishen with R.K.Films.Apart from the debut of Shailendra Singh as the male voice of the songs with the pleasing song 'Main shair to nahim' , the songs ,in general, were not wholeheartedly accepted by listeners. Probably, the magic of Raj, SJ and Mukesh with which they had lived nostalgically for long was too strong to be shaken by the entrance of a new duo. For collectors of LP records there is this exclusive SOUL OF BOBBY giving the background music of the film and an introduction by Raj Kapur.</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkW3q_yeLpBrsLhvYGvrqXj1ZMQxI-eCOh9M_updh5bMgfOW7FgMYtX4I9hmxduBixnaH3CCJ9O2N6b_4BHW5ZHOIW5ARbSVFC8HX1e56Tu2yyEmJhbG2Pepn_VY3f1fPGs8abORogY_Nw/s1600/.Laxmikant+Anita.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkW3q_yeLpBrsLhvYGvrqXj1ZMQxI-eCOh9M_updh5bMgfOW7FgMYtX4I9hmxduBixnaH3CCJ9O2N6b_4BHW5ZHOIW5ARbSVFC8HX1e56Tu2yyEmJhbG2Pepn_VY3f1fPGs8abORogY_Nw/s200/.Laxmikant+Anita.JPG" width="197" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_10q1ZSODVd0-IP5t54D11DxYnLKyM9mCN0KalAV-Z8ZaKvXmnf9vI1vyU7pY4GrP9pK0c9sICGizEqy1lYJ2SovTJD_y-ICZD-aMAJkH7vzDLzN1VOxxzZBZ7L5sChcMLjfJKgBe20G0/s1600/Laksmikant+MrX.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_10q1ZSODVd0-IP5t54D11DxYnLKyM9mCN0KalAV-Z8ZaKvXmnf9vI1vyU7pY4GrP9pK0c9sICGizEqy1lYJ2SovTJD_y-ICZD-aMAJkH7vzDLzN1VOxxzZBZ7L5sChcMLjfJKgBe20G0/s200/Laksmikant+MrX.JPG" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6dEp4U8o22rFEysBOKSDh_ILbFip9RWIugenSx-gvbqHSZL7ovdBt5TCF7_Ngfl6WLnuvJUobc9Py3KHJn6jNg87prQgB8l1EY1p9kkkpqYAX3sVSvJEaxYsIC95sLzTIykz7MANIYS0O/s1600/.Laxmikant+Aaye+din.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6dEp4U8o22rFEysBOKSDh_ILbFip9RWIugenSx-gvbqHSZL7ovdBt5TCF7_Ngfl6WLnuvJUobc9Py3KHJn6jNg87prQgB8l1EY1p9kkkpqYAX3sVSvJEaxYsIC95sLzTIykz7MANIYS0O/s200/.Laxmikant+Aaye+din.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG0RodjCaeMKxfGJUxrhGKLGNtjMAxAYLOUarowHarHuAxhN44EnHmxZTq6Zbxr6h-8rqVOJn2zPxfb-a8GFLV-_eVyHW0v5TeYrI0VJiAmNw7CkdM6rkD5xztSvyuYJZlSzA2bZu9pGSI/s1600/Laksmikant+MrX.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><b><span style="font-size: small;">From the more than 600 films for which the duo had tuned music I have mentioned mainly those songs for which they had got the Filmfare Award and also those which had reached the number one status each year in Binaca Geetmala of Radio Ceylon which was the benchmark for the popularity of Hindi film songs those days. Let me mention a few others also before I conclude.The first song coming to my mind is Lata's title song of 'Suno sajana' from the film AAYE DIN BAHAR KE, a haunting melody in the Madan Mohan mould, which even now can take one nostalgically back to those melodious years.Then there is the pathos filled Mukesh song from film ANITA, viz., 'Gore gore chand se mukh pe' which is as good as many other top Mukesh numbers. Who can forget the melodious, 'Mere mehboob qayamat hogi', in two parts by Kishore Kumar from the film MR.X. IN BOMBAY?The song' Jhilmil sitaron ka' by Lata in Rajshri Film's production JEEVAN MRITYU was so popular that the tune still survives in the minds of discerning listeners. </span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlvz5o2EhHBNz7OQHaa7UXbP68J5RycEvV153zhkL7M6LpH6ZeFZDEjw-mBqzr6RLpP2-WuJ16kK5t2j3BpU2kmdAMA-ANmWnfBunn7YLwvtmXqpzp-Y2oW6olrXiaGV7HJmKB66HfNWJq/s1600/.Laxmikant+EkDhuje+ke+Liye.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlvz5o2EhHBNz7OQHaa7UXbP68J5RycEvV153zhkL7M6LpH6ZeFZDEjw-mBqzr6RLpP2-WuJ16kK5t2j3BpU2kmdAMA-ANmWnfBunn7YLwvtmXqpzp-Y2oW6olrXiaGV7HJmKB66HfNWJq/s200/.Laxmikant+EkDhuje+ke+Liye.JPG" width="192" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXTSIzZsAelE7XTYWShBsSwyeX0Jcsnzby8vlOAMWU4Ud1mLrapLUDWUFMiKMmHLQcd4yHuPRHrxKpkrep-AbflOjHPguEnKXvM8kDCKnlIqfxSrLLgiypGZFQAaspGLfiDG3zKpZzuk0o/s1600/.Laxmikant+Farz.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXTSIzZsAelE7XTYWShBsSwyeX0Jcsnzby8vlOAMWU4Ud1mLrapLUDWUFMiKMmHLQcd4yHuPRHrxKpkrep-AbflOjHPguEnKXvM8kDCKnlIqfxSrLLgiypGZFQAaspGLfiDG3zKpZzuk0o/s200/.Laxmikant+Farz.JPG" width="200" /></a><b><span style="font-size: small;">It is true that Rafi and Lata were the preferred singers of LaxmiPyare and to a lesser extent Mukesh, Kishore and Manna Dey. But it is also true that he had given chances to lesser known singers also like Kamal Barot, Bhupinder Singh and Shailendra Singh. It is a pity that in spite of the wonderful beginning in BOBBY with a number of popular songs he could not establish himself in Hindi films. In the Kamal Hasan Rati Agnihotri starrer, EK DUUJE KE LIYE he used the voice the Southern singer S,P Balasubramaniam to create a few melodious songs including three duets with Lata. The song 'Tere mere beech men' sung solo by SPB and as a duet with Lata was a pleasure to the ears with the sweet voice of SPB complementing that of Lata.The title duet 'Hum bane tum bane ek duuje ke liye' was another pleasantly popular song of the film. In Mahesh Bhatt's film NAAM Laxmi Pyare gave all the songs a ghazal touch and used the voice of singers like Mohammed Aziz, Kavita Krishnamurthy, Manhar Udhas and, of course, Pankaj Udhas. The song, 'Chithi aai hai' by Pankaj Udhas proved to be extremely popular with the masses as it touched a chord with the sentiments of the common man. I still nostalgically remember hearing this song for the first time in the year 1987 while travelling in a taxi from New Delhi to Agra with the driver tapping his fingers on the steering wheel to the tune of the song!Well a great song! Who can forget the two fast numbers in the ShankarJaikishen style from film FARZ,viz., Rafi's 'Mast Baharon ka' and the duet with Suman Kalyanpur, 'TumseO haseena'/</span></b><br />
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<b><span style="font-size: small;">I wish LaxmiPyare had used the voice of Manna Dey, Talat, Asha, Hemant kumar, Suman Kalyanpur Mahendra Kapur and so on more. The fact that they did not is surely the loss of the discerning listeners.</span></b><br />
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JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com2tag:blogger.com,1999:blog-2372937692697241080.post-7917356648034355272012-06-30T22:33:00.000-07:002013-05-06T20:16:39.244-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
.<b>H I N D I F I L M S -N O S T A L G I C Q U A W A L I S . </b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg08umpq4WOhSUGqsDVVticKG6OIBZKKZ6Z-Q27loOxaRWgt7JxBUowK9fNrbfGa2alSALKgR99BUXCdtvGCj_PM-JR0QkA6TegiVFsbiyY1rImng6BEZ4HRxRJvceHT-UBjAiaCt4JzIZP/s1600/Quawalis+from+films.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg08umpq4WOhSUGqsDVVticKG6OIBZKKZ6Z-Q27loOxaRWgt7JxBUowK9fNrbfGa2alSALKgR99BUXCdtvGCj_PM-JR0QkA6TegiVFsbiyY1rImng6BEZ4HRxRJvceHT-UBjAiaCt4JzIZP/s200/Quawalis+from+films.JPG" width="200" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJEe6yFEaKNLwjIorjqN6uWielxbAAlKaL8ASbRu4Q0fDPH90-yte6JRqYiV_jus9tVxaxCQPz0-KIKrXnP5Pig0ZPelDaMs0RkUloILTgh23IlIrLdtwSZ6zdzgv3mlVgDfiTkJFfJD21/s1600/Quawali+Muqabala.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJEe6yFEaKNLwjIorjqN6uWielxbAAlKaL8ASbRu4Q0fDPH90-yte6JRqYiV_jus9tVxaxCQPz0-KIKrXnP5Pig0ZPelDaMs0RkUloILTgh23IlIrLdtwSZ6zdzgv3mlVgDfiTkJFfJD21/s1600/Quawali+Muqabala.JPG" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTgCE-g9OIlo9gQPzyOr8Tgfc1tkP08d8gQFB_SJjVDspzlKKv6cUf7bxA6jOyn6Yy4ohKCYiJeEPcpfhi2SPVHcddjCXwPyrsg_ht-_z3tj0mWVCRW5GN7jvnZ9Fso0ETaoxG2Yb9ELeS/s1600/Quaali+Ghulam+Shabari+and+MMaqbool+Sabri.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTgCE-g9OIlo9gQPzyOr8Tgfc1tkP08d8gQFB_SJjVDspzlKKv6cUf7bxA6jOyn6Yy4ohKCYiJeEPcpfhi2SPVHcddjCXwPyrsg_ht-_z3tj0mWVCRW5GN7jvnZ9Fso0ETaoxG2Yb9ELeS/s200/Quaali+Ghulam+Shabari+and+MMaqbool+Sabri.JPG" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7u7aXINy54-Le-Jo7MYpirkWJ8ptJZnCoOMCP4ectZ6oQNuZMuObyxB5PM6_ELBEJ_51JxzyGYcPnLFXp0JaYo89zbtyVibhks3YBTZCsaNQBORTz-9EnZ22GSl5W8QBpTpOj03Kpk3Eo/s1600/Jani+Babu+quawal+&+chorus.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7u7aXINy54-Le-Jo7MYpirkWJ8ptJZnCoOMCP4ectZ6oQNuZMuObyxB5PM6_ELBEJ_51JxzyGYcPnLFXp0JaYo89zbtyVibhks3YBTZCsaNQBORTz-9EnZ22GSl5W8QBpTpOj03Kpk3Eo/s200/Jani+Babu+quawal+&+chorus.JPG" width="200" /></a><b><span lang="EN-IN" style="font-family: "Calibri","sans-serif";">In
the golden era of Hindii film songs, i.e., the 50s, 60s, and the 70s, one of
the very popular forms of filmy music was the Quawali which had its
origin in the Persian countries. In India it was very popular among
the masses during the years of Mughal rule. In our younger days we
used to hear Urdu traditional quawalis on the radio frequently and in the
commercial services of the Radio Ceylon there used to be special slots
for quawalis especially filmy quawalis. In the early decade of the Doordarshan
again Urdu quawalis were frequently seen on the screen. The names of
prominent Quwals like Habib Painter,Yousuf Azad Quawal, Rani Ruplata, Razia
Banu, the Sabri brothers( Karachi), Aziz Mian Quawal and so on were familiar among
lovers of Hindi music. . The simpler and melodious quawalis of popular Quawals
like Jani Babu Quawal and Shankar Shambhu Quawal who had sung in films were more
popular among listeners.</span></b></div>
<br />
<div class="ecxmsonormal" style="margin: 1em 0cm;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPAuXS5HQDgn2iNzisWNRNztOrQ0hLBsAsAe8LTA1LHqNuahXEdhWpRCg4ZnVfg-Y-Si68Kv3YNl6vKoQYgxZ-lpk9NR34yog4MrD80Fg9QY7_UfmFzD657d8XmZAHJOujQonua4fx0SM6/s1600/Quwali+Habib+Painter.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPAuXS5HQDgn2iNzisWNRNztOrQ0hLBsAsAe8LTA1LHqNuahXEdhWpRCg4ZnVfg-Y-Si68Kv3YNl6vKoQYgxZ-lpk9NR34yog4MrD80Fg9QY7_UfmFzD657d8XmZAHJOujQonua4fx0SM6/s1600/Quwali+Habib+Painter.JPG" /></a><b><span lang="EN-IN" style="font-family: "Calibri","sans-serif";">While
the appeal of quawalis to the masses is essentially its rare lilt and
rhythm imparting a large measure of vitality and vigour to the songs its
visual entertainment value revolved around the singers . The traditional quawali
group consisted of a lead singer assisted by one or two side
singers and the chorus including the instrumentalists playing mainly the
harmonium and the tabla. The all- male participants in their traditional
attire squatting on the stage singing , clapping and gesturing with infectious
enthusiasm and happiness with the appreciating and knowledgeable audience
in the front complete a normal quawali scene. Successful quawali groups all
had great ability to carry the listeners along with them throughout the
program.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjykPNn9odVz-zUc3YOa-rHQVptyv5jSP01VyqI81RLPD9jLFr7LCUVnIJVq-z1T-k1W9lUplq0A-Ux5V_Uy61fY0W3NLWa4GyuWAqCIQpK6LPRz2TkjMeGRk-zSkMT3IIxuBYmBkS2i-Mw/s1600/QuawaliGuldasta+e+naat.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjykPNn9odVz-zUc3YOa-rHQVptyv5jSP01VyqI81RLPD9jLFr7LCUVnIJVq-z1T-k1W9lUplq0A-Ux5V_Uy61fY0W3NLWa4GyuWAqCIQpK6LPRz2TkjMeGRk-zSkMT3IIxuBYmBkS2i-Mw/s200/QuawaliGuldasta+e+naat.JPG" width="200" /></a><b><span lang="EN-IN" style="font-family: "Calibri","sans-serif";">While
the traditional Urdu quawalis appealed more to lovers of Hindustani classical
music the quawalis of Hindi films had wider appeal to the filmgoers as
film quawalis were more melodious and the lyrics contained less Urdu
words. Besides, the quawalis rendered in the sweet voice of their
favourite play back singers like Rafi, Manna Dey, Mahendra Kapur, Lata, Asha,
Shanshad Begum and so on and the scenes
picturised on their favourite lead artistes and comedians easily gelled with the
film enthusiasts. In film quawalis the female characters not only sang
and played instruments but also danced
on the stage adding to the entertainment value. The usual alaap in the
beginning of the song followed by rendering of lines without background
music and followed by bold, rhythmic beats and claps so special to quawalis,
variations in the tempo of the song, repetition of lines/key words are all
characteristics of quawalis.The beats and, to a large extent the tunes, are
common to all quawalis. But what makes each quawali stand apart is the way the
singers delivered the lyrics, the subtlity with which the nuances are expressed,
variations introduced and the participants performed. In fact a filmy quawali
is more an audio visual entertainment than a pure audio de</span></b><span lang="EN-IN" style="font-family: "Calibri","sans-serif";">l<b>ight.<o:p></o:p></b></span></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBuuEq5pxtNOWvKIdXyVX4bkg3EDKoA8ntvoiTkCpE9ehS3qSSPabxWbv-kQHqqXUe8H-rutl3ObnQsulj_8xkQOqHFq2Iww8jjNzWhka_0rwv76wDtaZMV-hzvxp3WS3zeAJw5160pMRz/s1600/quawali+Palki.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBuuEq5pxtNOWvKIdXyVX4bkg3EDKoA8ntvoiTkCpE9ehS3qSSPabxWbv-kQHqqXUe8H-rutl3ObnQsulj_8xkQOqHFq2Iww8jjNzWhka_0rwv76wDtaZMV-hzvxp3WS3zeAJw5160pMRz/s200/quawali+Palki.JPG" width="196" /></a><br />
<div class="ecxmsonormal" style="margin: 1em 0cm;">
<b><span lang="EN-IN" style="font-family: "Calibri","sans-serif";">One
of the early film quawwalis coming to mind is the one from film Zeenat(1945)
composed by Meer Saheb,viz., ‘Aahen na bharain shikve na kiya’ rendered by Noor
Jahan, Zohra Bai, Kalyani and chorus .Strong shades of this song can be felt in
the quawali composed by Naushad for
film Mughal-e-Azam, ‘Teri mehfil, meri kismet asmakar ham bhi dekhenge’(
Lata-Shamshad Begum). There is another old quawali of Naushad in Naghma(1953),
an Ashok Kumar-Nadira(Fearless)film,’Badi mushkil se dilki bekharari ko farar
aayi’ by Shanshad Begum in her voice best suited for similar songs. Again in
the Rajinder Kumar-Wahida Rehman film Palki, Naushad had tuned a beautiful quawali, ‘Main
idhar jaaoon ya oodhar jaaoon’ rendered by Manna Dey, Rafi and Lata with Manna
Dey outstanding with pleasing voice modulation for which he was famous.<o:p></o:p></span></b></div>
<br />
<div class="ecxmsonormal" style="margin: 1em 0cm;">
<b><span lang="EN-IN" style="font-family: "Calibri","sans-serif";">Another
famous quawali of the 50s is the one composed by Bulo C.Rani for the
Mahipal-Shakeela film Al-Hilal(1958),viz., Hame to loot liya mil ke husne walon
ne, kale kale balon mein gore gore galon mein’ by Ismail Azad Quawal and
party.This was frequently aired on the Radio. Eventhough the lyrics consisted mainly of these lines the
spontaneous gestures and spirit on
view of the singers in the scene made it
very popular.<o:p></o:p></span></b></div>
<br />
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<b><span lang="EN-IN" style="font-family: "Calibri","sans-serif";">Another
very popular quawali heard repeatedly on Radio Ceylon is the one from Kala
Samundar(1962),’Tum meri tasveer laykar kya karoge, kya karoge’, composed by
the talented, but highly underrated, composer N.Dutta who had given several
unforgettable songs in films like
Sadhana and Dhool ka phool. The quawali was rendered by Rafi,Asha,
Balbir and chorus.Agian for film Dahrm Putra ( Shashi Kapur-Mala Sinha) N.
Dutta had composed a flowing quawali,’ Chaahe yeh mano chaahe woh mano’ with
Mahendra Kapur, Balbir and chorus .<o:p></o:p></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOiKiX98jBqze43Kln-hriymiLckiLJaSh7SBQfhHFlaOS2FDMxaVEcb4xBhz3zBeGD-A3uTd2Fy-1cbvlWD3Ug-Y6g-ULaUJ8ud1kAf6nsCaM_agHnzAocYKs384eKxTf9PCxaFqC5j2Z/s1600/qawwali_ki_raat.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOiKiX98jBqze43Kln-hriymiLckiLJaSh7SBQfhHFlaOS2FDMxaVEcb4xBhz3zBeGD-A3uTd2Fy-1cbvlWD3Ug-Y6g-ULaUJ8ud1kAf6nsCaM_agHnzAocYKs384eKxTf9PCxaFqC5j2Z/s1600/qawwali_ki_raat.jpg" /></a><b><span lang="EN-IN" style="font-family: "Calibri","sans-serif";">There
is one ‘quawali studded’ film with the title, Quawali ki Raat.(1964)starring
Kamaljeet, Kum Kum and Mumtaz in which all the songs are quawalis composed by
the lesser known music director Iqbal Qureshi who had given a few beautiful
songs in films like Love in Simla. The one , ‘Aate jaate ek nazar par dekh lo
dekhlo’ and the other ‘Husnewale husn ke anjan dekh’are outstanding quawalis of
the film Quawali ki raat. But the pick of the lot is the Rafi, Asha. Manna Dey
title song, ‘Kahnewale tu bhi kahde, jo dil ke baat hai,quawali ki raat hai quawali
ki raat.’ The song picturised on Kamaljeet and a dancing cum singing Mumtaz, according to me, is one of the top
filmy quawalis of all time but without due popularity as the film was not a box
office hit.<a href="http://www.hindigeetmala.com/song/kahne_wale_tu_bhi_kah_le.htm">http://www.hindigeetmala.com/song/kahne_wale_tu_bhi_kah_le.htm</a><o:p></o:p></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbafSrh9-wJFXc1FCsSGDTRLiM4p_NCkOoH92XXl3RtEkGVLKDXgl4dvWgDVSPQ_lvzq37BjiWe2fQI9u2OZztdWZycoCtm46yo5LMfsDBxHwxYbCYw5n9-Y32HNNdLm3jlE4PGgrQFHJ4/s1600/Quwali+3+Waqt.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="182" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbafSrh9-wJFXc1FCsSGDTRLiM4p_NCkOoH92XXl3RtEkGVLKDXgl4dvWgDVSPQ_lvzq37BjiWe2fQI9u2OZztdWZycoCtm46yo5LMfsDBxHwxYbCYw5n9-Y32HNNdLm3jlE4PGgrQFHJ4/s200/Quwali+3+Waqt.JPG" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUk3DpIGwVqRWon_I1mWznlxicbmEThuETBDC5it6d_Jqpv1NwP6DLtbd4BSO9gfwGoWsFrWdiN3vbjrTit64EDcreImrtzXjJBq7gDRlysLvKyZIVSj1hXEiT6CmvhLMffFalNPxTCzPP/s1600/.Zanjeer.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUk3DpIGwVqRWon_I1mWznlxicbmEThuETBDC5it6d_Jqpv1NwP6DLtbd4BSO9gfwGoWsFrWdiN3vbjrTit64EDcreImrtzXjJBq7gDRlysLvKyZIVSj1hXEiT6CmvhLMffFalNPxTCzPP/s200/.Zanjeer.jpg" width="196" /></a><b><span lang="EN-IN" style="font-family: "Calibri","sans-serif";">Two
of the unforgettable quawalis of music director Ravi are from film Chaudvin ka
Chand and film Waqt. In the first film, there is this lengthy Asha-Shamshad
Begum number in two parts, ‘Sharma ke kyun pardanashi’ with Asha’s solo
interludes embellishing the song.. The pace, variations in tempo and the throw
of lyrics all make this a top
quawali reminding us of the
Mughal-e-Azam song,’Pyar kiya to darna kya’.In film Waqt, there is one of the best of Manna Dey,’Eh meri Zohra Jabeen, Tujhe
maloom nahi,Tu abhi tak hai hasi aur mein jawan, Tujhpe qurban meri jaan meri
jaan’. Picturised in colour on Balraj Sahni the quawali brings out the best in
Manna Dey who uses all of his versataliy to make the song a great hit. No
wonder Manna Dey was,along with Rafi, the most sought after singer of quawalis.
That brings to my mind another of Manna Dey’s super hit quawali, ‘ Yaari hai
imaan mera yaar meri zindagi’ composed by Kalyanji Anandji for Amitab Bachhan’s super hit movie,
Zanjeer. <o:p></o:p></span></b></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKNeqHGkvt-BTeHRbPkIZlhupn_z2yFUdmaWKgKrFl0ndoQ8341xhzbMlLHHXhrAYzOTIa9KNk_83IgaED4HV-IN040o1SiVmQiQUbYWuFBPlJFJb73sNwEGevlF0DnJgzlqPklxHYAbpH/s1600/qawwali_ki_raat.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><br />
<div class="ecxmsonormal" style="margin: 1em 0cm;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTYlSENyqUQoF-cbwzbxSn-yQUzlMuPgovVlZW8stADtSteBzG83uW176DR2rfPh0zNr5aos0rOjW1ndsTuV502VG-mXvf3u93XP3UjYK9_A8Njnpq1dcRyQ2e3FhyyFgNc039pJ1qxTg3/s1600/Quawali++Dil+ne+phir.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTYlSENyqUQoF-cbwzbxSn-yQUzlMuPgovVlZW8stADtSteBzG83uW176DR2rfPh0zNr5aos0rOjW1ndsTuV502VG-mXvf3u93XP3UjYK9_A8Njnpq1dcRyQ2e3FhyyFgNc039pJ1qxTg3/s200/Quawali++Dil+ne+phir.JPG" width="198" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq5ujy5wcmbxWMUUEZDwdmhZIV9u1-HNQ0uzhXB8ZRFfd1ekYwqapoZFrM51-rPHy7Oi8ZMfOQ0SNY_51Dh5DxwIUTm0GYOmk06nhHaNP_zqWbuhgr-75XiEERg3W2CsYKpM1EBPrkbCqN/s1600/220px-Dharma73.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq5ujy5wcmbxWMUUEZDwdmhZIV9u1-HNQ0uzhXB8ZRFfd1ekYwqapoZFrM51-rPHy7Oi8ZMfOQ0SNY_51Dh5DxwIUTm0GYOmk06nhHaNP_zqWbuhgr-75XiEERg3W2CsYKpM1EBPrkbCqN/s200/220px-Dharma73.jpg" width="142" /></a><b><span lang="EN-IN" style="font-family: "Calibri","sans-serif";">Music
directors Sonik Omi had composed an evergreen quawali, for the Pran, Rekha,
Navin Nishchal film, Dharma(1973), the Rafi-Asha quawali, ‘Raaz ki baaat kah doon to
jaane mehfil mein phir kya ho’. The speciality of the song is that it was a
rare song picturised on Pran who plays the role with gusto against the dancing
female singer artist Bindu both making the scene a huge hit.The voice
modulation of Asha and Rafi to suit the artists is the distinctive feature of
the song. Music director Sonik Omi had another hit in film ‘Dil ne phir yaad
kiya’, viz., ‘Hamne jalwa dikhaya to jal jaoge’ rendered by Asha and Manna Dey.<o:p></o:p></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNI0HjT4x0OA3q2hhGlrnABgMpc9qI8C-bpnrDt8wEBX4h8NUeb0hnXtXO8PBQxZczdl-UppOFqcPeODOT91MYK7bfpXrGfp3ftWgav5b_Ihjxs7ydLoDdreEy0pRQrmWSKl8_BPW_i8gP/s1600/Quawai+Bahu+Beggum.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNI0HjT4x0OA3q2hhGlrnABgMpc9qI8C-bpnrDt8wEBX4h8NUeb0hnXtXO8PBQxZczdl-UppOFqcPeODOT91MYK7bfpXrGfp3ftWgav5b_Ihjxs7ydLoDdreEy0pRQrmWSKl8_BPW_i8gP/s200/Quawai+Bahu+Beggum.JPG" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy95d08FB4joWp0RFh5faBBccE0pgYXdoqfgx3rB5GP8W9Fcd37COh_DXa7BtvT4FusrLSxLKHTv01W-N3ZKpDAWxGo86EHN_dSpatfeTt_MYlzhs09PN2S3_xtljGOJYOcNaRixUJQpBo/s1600/Quawali+Barsat+ki+raat.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy95d08FB4joWp0RFh5faBBccE0pgYXdoqfgx3rB5GP8W9Fcd37COh_DXa7BtvT4FusrLSxLKHTv01W-N3ZKpDAWxGo86EHN_dSpatfeTt_MYlzhs09PN2S3_xtljGOJYOcNaRixUJQpBo/s200/Quawali+Barsat+ki+raat.JPG" width="200" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFifeRTfrjhQ8lKKwWkDwNPJAPXcbHzWeyPIN-c0aNMEP5XYkFoLqB-r89fc-ioGyGoimQ9NAvNKNto_icwmWxm7ULGAlPf-G6KO0JwSdXbGwdk0zM0gM65mme-wF_emmqPBQ9tDdW2v3-/s1600/.Dil+hi+to+hai.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFifeRTfrjhQ8lKKwWkDwNPJAPXcbHzWeyPIN-c0aNMEP5XYkFoLqB-r89fc-ioGyGoimQ9NAvNKNto_icwmWxm7ULGAlPf-G6KO0JwSdXbGwdk0zM0gM65mme-wF_emmqPBQ9tDdW2v3-/s1600/.Dil+hi+to+hai.jpg" /></a><b><span lang="EN-IN" style="font-family: "Calibri","sans-serif";">There
are many more to mention. But let me stop by mentioning a few <i>o</i>f the other best ever quawalis .The first to mention is Roshan’s ,
‘Nato karavan ki talash hai’ made “the quawali” by Manna Dey, Asha, Sudha
Malhotra and S.D.Batish from film Barsat ki raat. In fact music Director
Roshan’s name is always remembered by the film Barsat ki raat and the beautiful songs he had tuned for the
film. There are three more equally popular quawalis in the film,viz., Yeh hai
ishq, (Rafi, Manna Dey, Batish, Sudha Malhotra),’Nigah-a-naaaz ke’(Rafi, Asha,
Sudha, Shankar Shambhu)and ‘Ji chhahta hai choom loon(Asha, Sudha Balbir, Bande
Hasan). In fact Roshan has a special place in filmy quawalis with such great
numbers like ‘Vaqif hun khub Ishqake’(Manna Dey-Rafi, film Bahu Begum),
‘Chaandi ka badan sone ki nazar’(Rafi-Asha-Manna Dey-Meena Kapur. Film TajMahal),
the great Manna Dey hit,’ Laaga chunri me daag’ and Asha’s ‘Nigahen milane ko
jee chahta hai’ both from the Raj Kapur film Dil hi to hai.<a href="http://www.youtube.com/watch?v=uD5Pe4k3myI&feature=related">http://www.youtube.com/watch?v=uD5Pe4k3myI&feature=related</a><o:p></o:p></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaFCUQdJuGWMqBSj2xi1YD_sn_O3wHAr_e15B5DvFblwRlrjhIHmuvTXOXJnjZJkHL5gRT_Mci3JlrARrr7Ag3_kA3c127MPlEAbj3Le2eKnd_L9k-Fbp5VcO3hW4Cy2mgpdcSRZaiIcWv/s1600/Quwqli+Hum+kisi+se+kum+nahin+.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaFCUQdJuGWMqBSj2xi1YD_sn_O3wHAr_e15B5DvFblwRlrjhIHmuvTXOXJnjZJkHL5gRT_Mci3JlrARrr7Ag3_kA3c127MPlEAbj3Le2eKnd_L9k-Fbp5VcO3hW4Cy2mgpdcSRZaiIcWv/s200/Quwqli+Hum+kisi+se+kum+nahin+.JPG" width="191" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt0varvhLSE9ZWPApuh3JslabiWp-uSdXado6K9GaLxlUhcVdPpv6LqKinXYN3odRO2P0Tm1nroaz2HUPyTad4m8eHkg5QIC3KUVyBmTgjdBYRSDBebgyuzdoNmC9dyUwgOs-VpCT1mlQY/s1600/quawali4+amar+akbar+antony.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt0varvhLSE9ZWPApuh3JslabiWp-uSdXado6K9GaLxlUhcVdPpv6LqKinXYN3odRO2P0Tm1nroaz2HUPyTad4m8eHkg5QIC3KUVyBmTgjdBYRSDBebgyuzdoNmC9dyUwgOs-VpCT1mlQY/s200/quawali4+amar+akbar+antony.JPG" width="200" /></a><b><span lang="EN-IN" style="font-family: "Calibri","sans-serif";">Film
Amar Akbar Antony could boast of the sizzling ageless quawali ‘Parda hai parda,
parda hai parda, parde ke peeche pardanashin hai, pardanashin ko be parda na
kar dun, to to Akbar mera naam nahin hai’ picturised on Rishi Kapur, Neetu
singh,Amitab Bachan and others(Music. Laxmikant Pyarelal). It is a wonderful song
scene with Rishi living the role with
gusto and Amitab in a lesser role jumping on to the stage with a garland of
currency notes! There is another equally
memorable Rishi Kapur-Zeenat Aman
quawali scene in film Ham kisi se kam nahin’(Music. R.D.Burman), ‘Hai
agar dudhman dushman zamana gam nahi.........Ham kisi se kam nahin’. <o:p></o:p></span></b></div>
<br />
<div class="ecxmsonormal" style="margin: 1em 0cm;">
<b><span lang="EN-IN" style="font-family: "Calibri","sans-serif";">With
the changing times and tastes, eclipse of costume/period films and even top
heroines eager to dance and sing in tastelessly revealing attire, it is no
surprise that there is no space in films for quawali scenes with female
characters clothed from head to toe and sideways almost upto fingertips besides
frequently covering the face with a transparent chunri! Yes, Item numbers have taken the place of quawalis.</span></b></div>
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JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com0tag:blogger.com,1999:blog-2372937692697241080.post-35769785532815345702012-06-11T02:39:00.000-07:002012-08-05T21:38:13.275-07:00HINDI FILMS :THOSE WONDERFUL TITLE SONGS.<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyxHdt8cED8iqb8TQl9dj54iZVtNUl_1Pcn0F_LebziaXdZFz8vfdwXaH9PhKUgehHUMsRZS-5vs_WUmnxqr7f5hboM9r8rVInoUNebhOdlbeqyNEFccogPMT1mSeJhwCDtl_8q5Obv-ah/s1600/Shankar+Jaikiahen.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyxHdt8cED8iqb8TQl9dj54iZVtNUl_1Pcn0F_LebziaXdZFz8vfdwXaH9PhKUgehHUMsRZS-5vs_WUmnxqr7f5hboM9r8rVInoUNebhOdlbeqyNEFccogPMT1mSeJhwCDtl_8q5Obv-ah/s200/Shankar+Jaikiahen.JPG" width="189" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBiU1cfhacP-ShOyod-1Z26jHHVphoNPfq4y-eH8hyphenhyphen6XzmilrFBo0Edn4nMHLVEtWiqd6hf2CUuPhyqIyIw9F1rXp6U6Vaso6RAZal2fFMsJcviGnz0m1Kwbcaildjr91gyBSjVCEayMEu/s1600/.title+song.+Barsat.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBiU1cfhacP-ShOyod-1Z26jHHVphoNPfq4y-eH8hyphenhyphen6XzmilrFBo0Edn4nMHLVEtWiqd6hf2CUuPhyqIyIw9F1rXp6U6Vaso6RAZal2fFMsJcviGnz0m1Kwbcaildjr91gyBSjVCEayMEu/s1600/.title+song.+Barsat.JPG" /></a> <b><span style="font-size: 12pt;">I was listening to
those evergreen Shankar Jaikishan songs on my record player the other day. The songs from film Barsat and Anari,
especially the title songs ( I mean songs with the title of the film in the
lyrics) ‘Barsat men ham…’and ‘woh chaand
khila……na samajhe oh anari hai’ took </span></b><br />
<b><span style="font-size: 12pt;">me to a different and nostalgic
world bringing back memories of seeing these films in the theatre, </span></b><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyBYqfByrDxpGQ5PPjhBnnq1bgmZ5UC14N_4qyP1piAb30mr-8PtTYFyhrHy53w_DtiDkFjLrGW2O5JN8jhh4vjpEc-UgBV5vfWMzpvuTjLKQN53uQQU_kpyLYaMDqGBZtQUkAon8Oyle9/s1600/title+songJunglee.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyBYqfByrDxpGQ5PPjhBnnq1bgmZ5UC14N_4qyP1piAb30mr-8PtTYFyhrHy53w_DtiDkFjLrGW2O5JN8jhh4vjpEc-UgBV5vfWMzpvuTjLKQN53uQQU_kpyLYaMDqGBZtQUkAon8Oyle9/s1600/title+songJunglee.JPG" /></a><b><span style="font-size: 12pt;">listening to the songs on the radio and reading news and reviews about
them, the performance of </span></b><br />
<b><span style="font-size: 12pt;">Raj Kapur and so on. It also made me think about
several beautiful title songs which were </span></b><br />
<b><span style="font-size: 12pt;">integral to the films and one
could not think of the film without thinking of the song.</span></b><br />
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<b><span style="font-size: 12pt;">The trend of
having a title song in the film continued strongly till the middle
of the 70s. Probably it was the combination of Raj
kapur,Shailendra/Hasrat and Shankar Jaikishen who started the trend in a big
way. For Raj Kapur Shankar Jaikishen was the music director till he switched over to LaxmikantPyarelal
with film Bobby. There used to be a title song in all RK films be it the Mukesh number ‘Awaara hoon’ from film
Awara or the Barsat and Anari numbers mentioned earlier. This continued
with the Mukesh number in Jis Desh mein Ganga Bahti Hai and the ‘Bol
Radha bol sangam hoga ki nahin’ number, again by Mukesh, in film Sangam.
In between there were several title songs by Shankar Jaikishen for Raj kapur
films. The ‘Ashique hoon baharaon ka’ from film Ashique, the racy number
(Mukesh-Sharda)from film Around the World, ‘Duniya ke sair karlo……Insaf ke dost
ban kar, Insaf ke pyar kar lo, Around the world in 8Dollars’ and the title song
by Rafi in that musical hit, Love in Tokyo, come to mind. ( The song ‘Sayanora
sayanora’ from the film Love in Tokyo was very popular in the campus and
an emotion filled, romantic word for the inevitable year end
autographs!!). There are a few other title songs also from the fold of Raj
Kapur –Shankar Jaikishen which come to mind readily. The ‘Oh
Kanhaiya oh kanhaiya’ (Lata) number from film Kanhaiya, ‘Ek dil aur sau afsane’(Lata) from the
film with the same title, ‘Mujhko
yaro maaf karna, mein nashen mein hoon’( Mukesh) from film Mein Nashe mein
hoon, and ‘Diwana mujhko log kahen, mein samajhoom jag hain deiwana’(Mukesh) from
film Diwana are some of them. These are
typical Mukesh numbers for Raj Kapur by Shankar Jaikishen though a similar number, ‘Chhalia mera naam, chalna mera kaam’
by Mukesh for Raj Kapur was composed by Kalyanji-Anandji for film
Chhalia.</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDXr5xj45jdzbAzGhjLpoHDV7bWe_T9-PVQKAbmmkfB-PgqBpjfidV9B3quTszVojw1mv9wwK0Ng-J8PonwlXJKr1CLIhcLgHN__5FKlyyw-q2oGi5komFrgSkS63tmH_fPQr8c-ZaVDIo/s1600/title+songs+Hari+aur+Raasta.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDXr5xj45jdzbAzGhjLpoHDV7bWe_T9-PVQKAbmmkfB-PgqBpjfidV9B3quTszVojw1mv9wwK0Ng-J8PonwlXJKr1CLIhcLgHN__5FKlyyw-q2oGi5komFrgSkS63tmH_fPQr8c-ZaVDIo/s200/title+songs+Hari+aur+Raasta.jpg" width="192" /></a><b><span style="font-size: 12pt;">In fact one of the
less noticed features of Shankar Jaikishen’s work is that they had
composed more number of title songs than any other composers of the past and
present.Many such songs were on Shammi Kapur
when the trio of he, Shankar Jaikishen and Rafi
formed a highly successful team with several hit songs. The title songs
in film, An Evening in Paris, Pagla Kahin Ka( Log kahein mujhe pahla kahinka), Dil
Tera Deewana( Dil tera deewana hai sanam), Raaj Kumar(Mein hoon Raj kumar) and
so on come to mind instantly.And who can forget the famous lung bursting
‘yahoooo....’ song, ‘Chaahe koi mujhe junglee kahein’ from film Junglee? By the
way, there is another typical song on Shammi Kapur, ‘Dil dekhe dekho, dil dekhe
dekho, dil delkhe delkho jee, dil denewalon ko .....’; but this is by debutant
music director Usha khanna for Ash Parekh’s debut film Dil Dekhe Dekho.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTNDVA6I-nbzRj92FNyJNw3X3AQ_y5WGk0xiLDxjuFM7JpAE16Ov0YSGqBwY2QjjowzgNNkc9Ou3DZbaEJ1g5tO95lMbhItTfcSHI1oLBHGrtS1FAKrFaDM-s1wLSu7e6g8OV8G82ECrPU/s1600/title+song.dil+ek+mandir.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTNDVA6I-nbzRj92FNyJNw3X3AQ_y5WGk0xiLDxjuFM7JpAE16Ov0YSGqBwY2QjjowzgNNkc9Ou3DZbaEJ1g5tO95lMbhItTfcSHI1oLBHGrtS1FAKrFaDM-s1wLSu7e6g8OV8G82ECrPU/s1600/title+song.dil+ek+mandir.JPG" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6ojuJWpCmHOtW9Ctuyna8jebYW4wFPWx6jSnZwJvHGPA-V8HxF1udwQp8lFj63JXWCr1-gKXAuFP9jfM-62roNlzqmJojLuk4eFkuItl1jOIDwm5Jd4Ap1shsoFK8z4aBUZE7qwotIW8E/s1600/title+song+Asli+naqli.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6ojuJWpCmHOtW9Ctuyna8jebYW4wFPWx6jSnZwJvHGPA-V8HxF1udwQp8lFj63JXWCr1-gKXAuFP9jfM-62roNlzqmJojLuk4eFkuItl1jOIDwm5Jd4Ap1shsoFK8z4aBUZE7qwotIW8E/s1600/title+song+Asli+naqli.JPG" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3tgbHbdIrxHmbxhyOtv5xgKogC3BE8QQ9HewtzcBegg0P5bsaVcQs5uNvFeuPubyZo1zkJ9KTor6U8YA12YEHwkjptH5GxE5Uso5r7bm3IEUJV18NY7tMEbF5OgTzh5WMiUINd5pnKmTs/s1600/.title+songs+tere+mere+sapne.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3tgbHbdIrxHmbxhyOtv5xgKogC3BE8QQ9HewtzcBegg0P5bsaVcQs5uNvFeuPubyZo1zkJ9KTor6U8YA12YEHwkjptH5GxE5Uso5r7bm3IEUJV18NY7tMEbF5OgTzh5WMiUINd5pnKmTs/s1600/.title+songs+tere+mere+sapne.JPG" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnQRugU77Kmd8rIvuabwa6ywXQg3DKIA9IeNYu8MpLvD5RMOc5TOsYKl8PWRPwy7ASJ2PKU82GWhHtW9Tn6ZJwgmvzepBCIcHLPMxILRq3PPxwBvXrs7Olg8trGPSumjOEtKYvGKgbjMh7/s1600/title+song+Aayi+mi+ka+bela.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnQRugU77Kmd8rIvuabwa6ywXQg3DKIA9IeNYu8MpLvD5RMOc5TOsYKl8PWRPwy7ASJ2PKU82GWhHtW9Tn6ZJwgmvzepBCIcHLPMxILRq3PPxwBvXrs7Olg8trGPSumjOEtKYvGKgbjMh7/s1600/title+song+Aayi+mi+ka+bela.JPG" /></a><b><span style="font-size: 12pt;">There are several other
outstanding title songs of Shankar
Jaikishen like the sweet melodious,’Dil mera ek aas ka panchi’(Subir Sen)from
film Aas ka Panchi, , ‘Aayi Milan ki bela mein to aayi’(Rafi) from film Aayi
Milan ki bela, ‘April fool banaya”(Rafi) from
film April Fool,’Mujhko apne gale lagalo, yeh mere hamrahi’(Rafi-Mubarak
Begum)from Hamrahi, ‘Dil Ek Mandir hai’(Rafi- Suman Kalyanpur)) from film Dil
Ek Mandir and so on. In film Rangoli there is this soft melody of Kishor
kumar,’Rangoli sajao re’and in Roop ki Rani Choron ka Raja, there is the rare
happy song of Talat Mahmmod with Lata , ‘Tu roop ki rani , mein choroon ka
raja, yeh tera mera pyar nirala’and so on. There is the popular hit, Jab pyar
kisi se hota hai (Rafi) and the ‘Lakh chupao chupna........dil ki baath bada
detha hai Asli Naqli chehra’ from film Asli Naqli. In film Hariyali aur
Raasta,the speciality is that there are
two title songs, one byLata,’Yeh hariali aur raasta’ and the other by
Mukesh-Lata ‘ Bol meri taqdeer men kya hai................jeevan ki do pahloon
mein, hariyali aur raasta’’ In fact Lata has also sung this song solo and the
LP album with a distinctly designed jacket becomes a rare title songs’ album. Yes, Shankar Jaikishen were the most sought after
composers of title songs.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6GyCSh_NMvE9aaokOTtakDP3NqYj6p6-LSvKs6ICRZZqZ8Gz3D5Gy3uzMdk2CXdrad_pyS5HLdcG42N3OC9M6fM3BnAhySQvWLa1IDcW2rzPPDjtOP2WP537WtBEj6gxqyyN4jWhUznJu/s1600/yiyle+song+xhaudwin+ka+chand+and+mere+mehboob.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6GyCSh_NMvE9aaokOTtakDP3NqYj6p6-LSvKs6ICRZZqZ8Gz3D5Gy3uzMdk2CXdrad_pyS5HLdcG42N3OC9M6fM3BnAhySQvWLa1IDcW2rzPPDjtOP2WP537WtBEj6gxqyyN4jWhUznJu/s320/yiyle+song+xhaudwin+ka+chand+and+mere+mehboob.jpg" width="206" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7OHzbr8omSmhoQzqxZs5c8zXc1kZy6pHXeuWwa4xHBZrGidRRENdG1CkwoR2sdtACAE-Qof3uWH3boHnVtuv7xvmHttPHcBwwY07mFcZ5nQLV8ORNptmyMS5dfH_0HE0u_qcgTyu9M876/s1600/title+song+mere+mehboob.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><b><span style="font-size: 12pt;">Eventhough Naushad had
composed music for a large number of films, the number of title songs by him is
less. One of his much acclaimed title songs is ‘’Mere mehboob tujhe meri
muhabath ki kasam’(Lata as well as Rafi)from film Mere Mehboob, a Rajindra
kumar Sadhana starrer.The soulfully rendered song ‘ Dil diya dard liya,dilruba
maine tere pyar ne kya kya na diya, dil diya....’(Rafi) of film Dil Diya Dard Liya and the song, ‘Mere ghar se pyar ki palki chali gai’ (Manna
Dey)from film Palki which as a chorus
by Rafi, Manna Dey and Lata is also
there.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDCCZmX8gEBarzwUd9sHdAaVDXIK1eJSFDLjsM0EuR6TijCwy9ideMV9FLHIOBFKP0YRbXubG_H7wkeBRLRhROaI5LCOYxLrTIOluk8iYB_9BtMsTLawvIE1jIpc14ahJy5Bh_hAJJrCgB/s1600/title+songs+Palky.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDCCZmX8gEBarzwUd9sHdAaVDXIK1eJSFDLjsM0EuR6TijCwy9ideMV9FLHIOBFKP0YRbXubG_H7wkeBRLRhROaI5LCOYxLrTIOluk8iYB_9BtMsTLawvIE1jIpc14ahJy5Bh_hAJJrCgB/s1600/title+songs+Palky.JPG" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiryRqeL_6_Zc1XHVQTRF_gdBXog8DARuH_YxXpMHlfipEDGEiD5IbGwQleX98ZzX9PwhLoJkVz0sX-OynIn2PX__0CeCESHcVYaixdpVj9usOv2Ro4oe9NcspXHq-yz36azNbB-sk94P_r/s1600/.totle+songs+adon+ki+barat.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiryRqeL_6_Zc1XHVQTRF_gdBXog8DARuH_YxXpMHlfipEDGEiD5IbGwQleX98ZzX9PwhLoJkVz0sX-OynIn2PX__0CeCESHcVYaixdpVj9usOv2Ro4oe9NcspXHq-yz36azNbB-sk94P_r/s1600/.totle+songs+adon+ki+barat.JPG" /></a><b><span style="font-size: 12pt;">Music Director
R.D.Burman had tuned a few beautiful
title songs for films. One is from the
Super hit Rajesh Khanna film Kati Patang
,’Na koi umang hai.........eh kati patang hai’.There is another super hit song ‘Yadon
ki baraat nikli hai’ from the Dharmendra-Zeenat Aman starrer Yadon ki Barat and the famous ‘Hare
Rama Hare Krishna’ from the Dev Anand film with the same title.</span></b></div>
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<b><span style="font-size: 12pt;">Turning to music directors Laxmikant-Pyarelal the first
song coming to mind is ‘Suno Sajana .........Aaye din bahar ke’ from the Asha
Parekh starrer Aaye din Bahar ke.There is also the song ‘ Satyam Shivam
Sundaram’ from the film with the same
title and the song ‘Hum bane tum bane ek dhuje ke liye’ from the Kamal
Hasan-Rati Agnihotri starrer Ek Dhuke ke Liye to mention a few.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggU7Nu6k3b6HPEdxO66OKfJgWjGYaYQyMHG0Iudt1GjqRy8IfA_COD7joCf6tTH7abhUc2s6MVUDDHhB2Xf-yV6QUn5qordZQPlLZvb1lS39vTDeyP-W55xF376eAJu3yqucTuB5fZe3sx/s1600/title+songs++tusa+nahi+and+phir+wohi.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggU7Nu6k3b6HPEdxO66OKfJgWjGYaYQyMHG0Iudt1GjqRy8IfA_COD7joCf6tTH7abhUc2s6MVUDDHhB2Xf-yV6QUn5qordZQPlLZvb1lS39vTDeyP-W55xF376eAJu3yqucTuB5fZe3sx/s1600/title+songs++tusa+nahi+and+phir+wohi.JPG" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTyy6u_mNLcBVJZqWVmsF6qUsYdIJtJ1fQOt1sT_4M22KM00j_P4Dd2o73IxgsqLkAmgmUTiAhTx9C-lo_VVz1kcUonxD_uVOZOqWXCD-8Ea6fOx99CsBV7dMi36GNs9uIjjXRsnuHqHtS/s1600/title+song+sat+shic+sund.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTyy6u_mNLcBVJZqWVmsF6qUsYdIJtJ1fQOt1sT_4M22KM00j_P4Dd2o73IxgsqLkAmgmUTiAhTx9C-lo_VVz1kcUonxD_uVOZOqWXCD-8Ea6fOx99CsBV7dMi36GNs9uIjjXRsnuHqHtS/s1600/title+song+sat+shic+sund.JPG" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBdEqwIH3EhIzPuTFS_tvHfXXerr6choWWjr5-VtPTGBRRIg74MF9H3v-OSnH33fjxUPtkYnCKOfOSiI2PndHtDBqu6pHw7B14iXdEeN6UZBdmWc3Rme_P9OZr4g7ey8Kg1ii9L7360_gW/s1600/title+song+el+dhuje+ke+liye.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBdEqwIH3EhIzPuTFS_tvHfXXerr6choWWjr5-VtPTGBRRIg74MF9H3v-OSnH33fjxUPtkYnCKOfOSiI2PndHtDBqu6pHw7B14iXdEeN6UZBdmWc3Rme_P9OZr4g7ey8Kg1ii9L7360_gW/s1600/title+song+el+dhuje+ke+liye.JPG" /></a><b><span style="font-size: 12pt;">There are several
other title songs in films, viz., Jhanak Jhanak Payal Baje (Music: Vasant
Desai), Bin Badal Barsat(Music: Hemant kumar), Dil hi To hai (Music: Roshan)
Noorie( Music :Khayyam) Jeene ki Raah(Music: Laxmikant Pyarelal)and so on. From
music Director S.D.Burman there is the song ‘Tere ghar ke Saamne ek ghar
banaoonga(Rafi) for film Tere Ghar ke Saaamne and a title song in film Tere
mere sapne(Kishor). The song beautifully
rendered by Mukesh in a grief striken
voice for film Saaranga, viz., ‘Saaranga teri yaad mein’ composed by Sardar
Malik is another memorable title song. How can we forget the award winning song
by Mubarak Begum, ‘Kabhi tanhayiyon mei yun, hamari yaad aayegi’ from director
Kidar Sharma’s film Hamari Yaad Aayegi? The music by the veteran Snehal Bhatkar
was the highlight of the film.Three title songs composed by O.P.Nayyar are
coming readily to mind. Rafi’s Tum sa nahin dekha and Phir wohi dil laaya hoon
and Mahendra Kapur’s Baharen phir bhi
ayengi, all three standing examples of O.P’s
famous rhythm.</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Eg-poW79oJAly9NmE7jhP_iwbiqK7EdVXdovxN2jZZJ37FXGsD2xziYM7RCd0IkuxyEPGUCBQESlacCsVsL5X-MJm-qZsP1Nzv4SsX0gN0dNmHpTx3KNQegvxiK3nJ5drncYkY9RUWqu/s1600/.mere+humsafar.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Eg-poW79oJAly9NmE7jhP_iwbiqK7EdVXdovxN2jZZJ37FXGsD2xziYM7RCd0IkuxyEPGUCBQESlacCsVsL5X-MJm-qZsP1Nzv4SsX0gN0dNmHpTx3KNQegvxiK3nJ5drncYkY9RUWqu/s1600/.mere+humsafar.jpg" /></a><b><span style="font-size: 12pt;">In film Kora Kagaz
(Vijay Aanand-Jaya Bhaduri) Kalyanji Aanandji has given the melodious song
‘Mera jeevan kora kagaz kora bhi rehgaya’(Kishor) and in film Mere Humsafar
there is the song ‘Kisi raha mein kisi mode par mere humsafar mere
humsafar(Lata-Mukesh)..</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7JxH6ZHstJdySgfzeNjXLItK78VWvikBCsI-5Rp6J3-BIoJ19GDZ32xcS3ZNUSf0v6FcII2ZQZmx2-UMPYj00lcCSeyfY_s6vN-ADB4GkZ-XEAeDyATmsMmSP3oJomSs3LXfnBrrp5Yqj/s1600/.Pyar+ka+sagar.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7JxH6ZHstJdySgfzeNjXLItK78VWvikBCsI-5Rp6J3-BIoJ19GDZ32xcS3ZNUSf0v6FcII2ZQZmx2-UMPYj00lcCSeyfY_s6vN-ADB4GkZ-XEAeDyATmsMmSP3oJomSs3LXfnBrrp5Yqj/s1600/.Pyar+ka+sagar.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUI1Zt600SY-vax9O3iR0HFBueRiGxDPWzxhLl8WYJYIiVAerBOsJ4_QFN2E3Svp-SM5skuTxv3j5tGz7QtlAbyt0AZgB_SZe9cYTn8zjrx0LCfw3eDYQ9bG28j2E41dCIOQGYkjGp0Gx8/s1600/.Pyar+Mohabat.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUI1Zt600SY-vax9O3iR0HFBueRiGxDPWzxhLl8WYJYIiVAerBOsJ4_QFN2E3Svp-SM5skuTxv3j5tGz7QtlAbyt0AZgB_SZe9cYTn8zjrx0LCfw3eDYQ9bG28j2E41dCIOQGYkjGp0Gx8/s1600/.Pyar+Mohabat.jpg" /></a><b><span style="font-size: 12pt;"> There are a few title songs in the ‘pyar’
series. The romantic melody, ‘Dekha hai kisi ke chanchal nainon men, pyar ka
sagar’(Mukesh-film:Pyar ka sagar. Music :Ravi)) is one song which even now
keeps one glued to the radio/tv when heard.
In film Pyar hi pyar, there
is this pleasant song, ‘Dekha hai teri ankhon me pyar hi pyar beshumar’(Rafi-Shankar
Jaikishen).In that highly successful remake of Tamil film Kathalikka neramillai
, in Hindi, Pyar kiye jaa’, ther is the song,’Din jawani ko char vyar pyar kiye
jaa’ with kishor kumar at his hilarious best. There is a similar song by Rafi
in film Pyar Muhabath with music by ShankarJaikishen.</span></b></div>
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<b><span style="font-size: 12pt;">Let me end this by listing ( not a ranking list)four
title songs, which according to me are a few of the best ever in Hindi films in
this category.</span></b></div>
<div class="MsoListParagraphCxSpFirst" style="line-height: normal; text-indent: -18pt;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbVNC8jxLBkb3ZBnYQv-nK3y7E3oKPtSIGdN42ov9mirIMi7WVKbRUrg4ChS7ldA-iE58Fs8zpBJwdHCcf_3EQZ9LGk12Bd2oYt4BlsqD9OzA14DZuxgCskNvn3USuuxW2i504WkMu01oQ/s1600/.title+songs+Dil+apna.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbVNC8jxLBkb3ZBnYQv-nK3y7E3oKPtSIGdN42ov9mirIMi7WVKbRUrg4ChS7ldA-iE58Fs8zpBJwdHCcf_3EQZ9LGk12Bd2oYt4BlsqD9OzA14DZuxgCskNvn3USuuxW2i504WkMu01oQ/s1600/.title+songs+Dil+apna.JPG" /></a><b><span style="font-size: 12pt;">1.<span style="font: 7pt "Times New Roman";">
</span></span></b><b><span style="font-size: 12pt;">Film : Kabhi Kabhi .
Singers: Lata- Mukesh:Music: Khayyam.</span></b></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: normal;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFJ66GDUMhyphenhyphen9-w16gkUGROSBVVLjT5TWGptFWyVhuRdHpZaz9s00gHzJLbDoyLlEd5o8DDHAGTAcZFAxCoKUdEHatOSYjalAOzqpLQteZeXD_ia9TiA5bLeeHRwile0dT5zijIhDcYEOpg/s1600/barsaat+ki+Raat.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFJ66GDUMhyphenhyphen9-w16gkUGROSBVVLjT5TWGptFWyVhuRdHpZaz9s00gHzJLbDoyLlEd5o8DDHAGTAcZFAxCoKUdEHatOSYjalAOzqpLQteZeXD_ia9TiA5bLeeHRwile0dT5zijIhDcYEOpg/s200/barsaat+ki+Raat.JPG" width="197" /></a><b><span style="font-size: 12pt;">Song: Kabhi kabhi mere dil mein khayal aata hai.</span></b></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: normal; text-indent: -18pt;">
<b><span style="font-size: 12pt;">2.<span style="font: 7pt "Times New Roman";">
</span></span></b><b><span style="font-size: 12pt;">Film: Choudwin ka
chand. Singer: Rafi Music: Ravi.</span></b></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: normal;">
<b><span style="font-size: 12pt;">Song: Chaudwin ka chaand ho.</span></b></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: normal; text-indent: -18pt;">
<b><span style="font-size: 12pt;">3.<span style="font: 7pt "Times New Roman";">
</span></span></b><b><span style="font-size: 12pt;">Film: Barsat ki raat.
Singer : Rafi .Music: Roshan.</span></b></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: normal;">
<b><span style="font-size: 12pt;">Song: Zindagi bhar nahin bhoolegi
woh barsaat ki raat.</span></b></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: normal; text-indent: -18pt;">
<b><span style="font-size: 12pt;">4.<span style="font: 7pt "Times New Roman";">
</span></span></b><b><span style="font-size: 12pt;">Film: Dil apna aur preet
parai. Singer: Lata Music: Shankar jaikishen.</span></b></div>
<div class="MsoListParagraphCxSpLast" style="line-height: normal;">
<b><span style="font-size: 12pt;">Song:Dil apna aur preet parai</span></b></div>
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<b><span style="font-size: 12pt;">It is a pity that by
the beginning of the 80s title songs began losing its space probably with the
eclipse of Shankar Jaikishen and the reluctance/lack of taste of the makers in
giving meaningful names to films. There was a sort of revival for title songs
by A.R.Rahman in films like Taal, Dil Se
etc. and the box-office success of films like Dil to pagal hai (Music: Uttam
Singh) and Dilwale dulhaniya le jayengi(Music:Jatin-Lalit)and so on. But the
revival was </span></b><b><span style="font-size: 12pt;">temporary. It now appears that film titles are no longer inspired
by poetry,traditional romantic feelings, sentiments associated with long
cherished values etc. thus limiting the scope for sweet, melodious, inspiring
and meaningful title songs.With titles like Dirty Picture, Jab we met, Pyar ka
side effects, Pyar mein twist,and numbered titles like Dhoom 1,2, 3, 3 Idiots etc, I am afraid, it
will be idiotic to expect a title song like ‘Dil ne phir yaad kiya dard ki
lahar aayi hai.(Rafi-music: Sonik-Omi. Film. Dil ne phir yaad kiya).</span></b></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhliEX9GZouVlLVx-8TQKEYhZ8Tg8lSyShrmMqem9somuJr2clDFASSA2VjzH2l_7RS6q1BW0_CMma_BP_6sLhXzaViTbdXHeY3lwOOx7I8rRii5Orb6oMjMMRMnFgz9caiq_uFDihyphenhyphen6ID_/s1600/.title+songs+Dil+ne+phir+yaas.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhliEX9GZouVlLVx-8TQKEYhZ8Tg8lSyShrmMqem9somuJr2clDFASSA2VjzH2l_7RS6q1BW0_CMma_BP_6sLhXzaViTbdXHeY3lwOOx7I8rRii5Orb6oMjMMRMnFgz9caiq_uFDihyphenhyphen6ID_/s200/.title+songs+Dil+ne+phir+yaas.JPG" width="200" /></a></div>
<b><span style="font-size: 10pt;">Tail piece:-The rains
are here again. While typing this, rain drops are falling on dry leaves outside
and my gramophone is playing the sweet song from film Barsat, ‘Than thi na
thim, barsat men, ham se mile tum sajan.....Than thi na thim.”</span></b></div>
<span id="goog_1102298042"></span><span id="goog_1102298043"></span></div>JAYSANKARANhttp://www.blogger.com/profile/12475757327252339813noreply@blogger.com3