Namaskaar. Tomorrow, i.e., on 6th Feb 2023, it will be exactly a year since Lata Mangeshkar left for heavenly abode. The whole year has gone by, but not a single day without Lata's songs. Such is the magic and treasure she has left behind for millions of her fans. Her songs have accompanied us in every mood of our life - happy or sad, cheerful or frustrated, angry or calm, excited or bored.
I would like to pay homage to her memory by presenting some of her best songs in a 3-part series (Part 1 - Solo, Part 2 - Duets and Part 3 - non-Hindi).
This is how I remember Lata!
Part 1
To begin with, let's look at what some of the legends have said about Lata.
Ustad Bade Ghulam Ali Khan: "Kambakht she never sings tuneless or unmusical"
Sajjad Hussain: "Only Lata and Noorjehan are the real singers, rest all are secondary"
S. D. Burman: "When we have original Lata with us, why should we rely on a duplicate?"
O. P. Nayyar: "To not acknowledge the greatness of her (Lata's) singing is like not acknowledging the power of the Sun, it is only Lata who can sing a melody"
In this part, I would be presenting 12 of her best solo songs. I am thankful to my cousin brother - Shridhar Kulkarni from Belgaum (who is also a good classical singer himself) - for helping me identifying the Raag of many of the songs. All photos are from the internet while videos are courtesy YouTube.
Hope you would like the songs. Please leave a comment. Thanks.
1) Gaaye Lata, Gaaye Lata from Daman (1951), Lyrics: Raja Mehndi Ali Khan, Composer: K. Datta
Datta Korgaonkar was one of the leading music directors of his times. He had mainly worked with Noorjehan, however he gave Lata some of his best compositions. Many of the songs that Lata sang in early '50s were tragedy songs, this one comes as a surprise as it creates a happy mood.
2) Dard Ki Yeh Raat Gujar Jaa from Baghi (1953), Lyrics: Majrooh Sultanpuri, Composer: Madan Mohan
The film "Baghi" (1953) was based on a story from Arabastan. The film contained 5 songs of Lata. Madan Mohan, who was considered to be the king of Ghazal compositions, surprises us with a completely different genre in this song which was based on Arabian music with Mandolin as a major. Lata's rendition touches the heart, particularly the way she pronounces the word "Betaab"in the line "Ai Dil-e-Betaab Thahar Jaa".
3) Bedard Tere Dard Ko Seene Se Laga Ke from Padmini (1948), Lyrics: Wali Saheb, Composer: Ghulam Haider
This is one of the very early songs in her career. We often hear Lata-Ghulam Haider's "Dil Mera Toda" song from the film "Majboor" (1948) on the Radio. Master Ghulam Haider had called Lata for the recording this song; however, he was so busy with other recording that he forgot about Lata. She had to wait for 8 hours before she finally recorded the song. This is the last recorded song of Master Ghulam Haider in India since he went to Pakistan after partition. Listen to the young Lata and her sharp yet melodious voice.
4) Toote Hue Armanon Ki from Lahore (1949), Lyrics: Rajendra Krishna, Composer: Shyamsundar
This 1949 film Lahore was based on the pains of partition. Shyamsundar had composed 10 songs for this film out of which Lata sung 4 solo songs. "Baharein Phir Bhi Aayengi" is an all-time hit. "Ik Aans Bandhaye Jaati Hai", and "Toote Huye Armanon Ki Ik Duniya Basaye" are other two wonderful songs. In this particular song, please listen carefully its prelude music and words. The song is based on Raag Shivranjani. Nargis' act and Lata's voice are perfect match.
5) Dheere Se Aajaa Ri Ankhiyan Mein from Albela (1951), Lyrics: Rajendra Krishna, Composer: C. Ramchandra
The greatest Lori (lullaby) ever composed in a Hindi film. It is composed in Raag Mishra Pilu. Another one equally great Lori that comes to my mind is in Marathi "नीज माझ्या नंदलाला" by the great Shriniwas Khale saheb. Master Bhagwan, Rajendra Krishna and C. Ramchandra created a magic in Albela. All of its songs are still very popular with the audience. C. Ramchandra composed yet another gem for Lata in "Shin Shina Ki Bubla Bu" (1951) viz. "Tum Kya Jaano Tumhari Yaad Mein Hum Kitna Roye".
6) Mujhe Kisi Se Pyaar Ho Gaya from Barsaat (1949), Lyrics: Jalal Malihabadi, Composer: Shankar Jaikishan
The young duo of Shankar and Jaikishan produced the sheer excellence in their first film Barsaat (1949) with Raj Kapoor. Out of 10 songs, Lata has sung 7 solos and 2 duets with Mukesh. It is said that the recording of the songs used to happen late at night, after which the entire crew used to go for a Chai to a nearby Tapari. Barsaat created history and gave name and fame to Shankar, Jaikishan, Lata, Rajendra Krishna and Shailendra. What a team it was! Enjoy the extremely melodious song composed in Raag Bhairavi and picturized on Nargis.
7) Jaanewaale Se Mulaqaat Na Hone Paayi from Amar (1954), Lyrics: Shakeel Badayuni, Composer: Naushad
I consider this as one of the 3 best composition of Naushad for Lata, the other two being - "Tod Diya Dil Mera" from Andaz (1949) and "Haal-e-Dil Main Kya Kahoon" from Udan Khatola (1955). The song is composed in Raag Shuddha Kalyan and picturized on my favorite Madhubala. The use of Shehnai at the beginning of the song to depict the pains of the character shows the skill of the composer. The entire song has been sung by Lata with amazing ठहराव (voice control in crude terms). Watch and listen to this wonderful song.
8) Ai Dilruba Nazarein Mila from Rustom Sohrab (1963), Lyrics: Jan Nisar Akhtar, Composer: Sajjad Hussain
Sajjad was a genius, extremely talented composer yet very temperamental. He was a perfectionist. Yet, he used to praise Lata for her singing prowess like no one has done, and it meant a lot to her. This song is from the 1963 film Rustom Sohrab based on the poem by the same name by Persian poet Firdausi. Sajjad has used the Persian style of music so effectively that the song leaves a long-lasting impact on you even hours after you watch/listen to it. In my opinion, this is the best song Lata has ever sung. So difficult, yet so melodious. Hats off to the Lyricist, Composer and Singer for awarding us with this gem.
9) Haye Re Woh Din Kyon Naa Aaye from Anuradha (1960), Lyrics: Shailendra, Composer: Pt. Ravishankar
(L to R): Ali Akbar Khan (Sitarist) Lata, and Pt. Ravishankar
The world-famous Sitar Maestro - Pandit Ravishankar - has composed for very few films in Hindi. Anuradha released in 1960 happens to be his best film ever. The song is composed in Raag Janasammohini. The film is about the life of a Doctor (played by Balraj Sahni), his wife (played by Leela Naidu) and son. The Doctor is always engrossed in his work, considers his profession as noble one and likes to serve poor people, so much so, that he neglects his family, particularly his wife. The song penned by Shailendra correctly depicts the her plight. Lata has poured her soul in this song and hence brings tears to our eyes.
10) Apni Apni Kismat Hai from Wafa (1950), Lyrics: Aziz Kashmiri, Composer: Vinod
Vinod was one of the few composers who never made it big in spite of having the qualities. He composed around 200 songs in 27 Hindi films in his lifetime. However, credit goes to him for giving Lata some of his wonderful compositions. This particular song is considered to be his best. Lata produces sheer quality in her rendering specially in the stanzas.
11) Zulmi Sang Aankh Ladi from Madhumati (1958), Lyrics: Shailendra, Composer: Salil Chaudhary
This is my favorite song from Madhumati (1958). Picturized on beautiful Vaijayantimala. Salil Chaudhary has used the folk music to the greatest effect. This is one more Lata song in happy mood. And what a composition! Picturization, Vaijayantimala's act, Chorus, Music and Lata's voice everything looks so perfect. The use of chorus is pleasing and does not in any way interrupts the flow and beauty of the song. The use of Flute is very prominent. Listen to the sweet harkat by Lata on the words like Kaisi.
12) Tumhare Bulane Ko Jee Chahata Hai from Ladli (1949), Lyrics: Behzad Lakhnavi, Composer: Anil Biswas
Anil Biswas ruled the Hindi film industry from late 30's to early 50's and has given us some of the greatest melodies of all time. He was the one who taught Lata the breathing technique when standing in front of the microphone. With films like Gajre (1948), Anokha Pyar (1948), Ladli (1949), Jeet (1949), Girls' School (1949), Beqasoor (1950), Arzoo (1950), Lajawab (1950), Tarana (1951), Do Sitare (1951), Aaram (1951), Do Raha (1952), Fareb (1953), Waris (1954) and Naaz (1954), Anil Biswas and Lata duo enthralled the audience for years with their melodious sweet songs.
Lata has already achieved immortality through her songs. Let's remember the legendary artist on her first death anniversary and salute her work.
Hope you liked the songs. Please leave a comment. Thanks.
English version of the blog follows the Marathi version below. Please do read and share your feedback. Thanks.
Good News - Don't have time to read the entire blog? No worries. You can now "listen" to it below.
English Audio:
Marathi Audio:
या दुनियेत संगीत फार थोड्या जणांना येतं असा माझा ठाम समज आहे. म्हणजे लोकं गाणी ऐकतात पण त्यातल्या खाचाखोचा, बारकावे, सौंदर्य त्यांना कळतंच असं नाही (बऱ्याचदा त्याची गरजही नसते हेही खरेच). मग एखाद्या कवितेला किंवा गाण्याला चाल लावणं तर दूरच. बरं, एकटा माणूस कदाचित प्रयत्न करून चाल लावेलही पण तेच काम दोघे करू लागले तर किती अवघड असेल याची नुसती कल्पनाच केलेली बरी!
हिंदी चित्रपटसृष्टीत पडद्यावर गाणी प्रथम अवतरली ती १९३१ सालच्या "आलम आरा" या पहिल्या बोलपटात. या चित्रपटात तब्बल ७ गाणी होती. तेंव्हापासून ते १९४४ पर्यंत रायचंद बोराल, पंकज मलिक, अनिल बिस्वास, सरस्वती देवी, गुलाम हैदर, इ. एकल (Solo) संगीतकारांनी तो काळ अक्षरशः गाजवला होता. १९४४ साली पं. हुस्नलाल आणि पं. भगतराम या दुकलीने हिंदी किंबहुना भारतीय चित्रसृष्टीच्या इतिहासात प्रथमच एकत्र संगीत देण्याचा प्रयोग केला आणि तो कमालीचा यशस्वी झाला. या जोडीने पुढील २२ वर्षे म्हणजे १९६६ पर्यंत ५० चित्रपटातून जवळपास ४०६ सुमधुर गाणी रसिकांना भेट दिली.
पं. भगतराम यांचा जन्म १९१४ सालचा तर पं. हुस्नलाल यांचा १९२० चा, पंजाब मधील जालंधर जिल्ह्यातील काहमा या गावातील. त्यांचे वडील देवी चंद आणि थोरले बंधू पं. अमरनाथ (जे स्वतः त्याकाळचे प्रख्यात संगीतकार होते) यांच्या प्रेरणेने हुस्नलाल आणि भगतराम दोघांनी संगीताचे शिक्षण घ्यायला सुरुवात केली. हुस्नलाल यांनी शास्त्रीय संगीताचे शिक्षण संगीत महामहोपाध्याय पं. दिलीपचंद्र वेदी यांच्याकडे तर व्हायोलिनचे शिक्षण उस्ताद बशीर खान यांच्याकडे घेतले. त्यामुळे हुस्नलाल शास्त्रीय गायन आणि व्हायोलिन वादन दोन्हीत तरबेज झाले. भगतराम हे उत्तम हार्मोनियम वादक होते.
१९३९-४० साली पं. भगतराम यांनी ७-८ चित्रपटांना एकल (Solo) संगीत दिले होते. पण त्यांच्या गाण्यांप्रमाणेच लोकांनी त्यांचीही दखल घेतली नाही. पं. अमरनाथही त्यांच्या कामात खूप व्यस्त होते, त्यामुळे १९४४ साली जेंव्हा प्रभात फिल्म कंपनीने त्यांना "चाँद" या चित्रपटाच्या संगीतासाठी विचारले, तेंव्हा त्यांनी नम्रपणे नकार देत, आपला भाऊ हुस्नलाल यांचे नाव सुचवले. पण त्यासाठी हुस्नलाल यांना पुण्याला जावे लागणार होते, ते एकटेच कसे जाणार या काळजीपोटी पं. अमरनाथ यांनी कंपनीला हुस्नलाल यांच्याबरोबर भगतराम यांनाही घ्या म्हणून गळ घातली. प्रभातवाल्यांनी पैसे एकालाच मिळतील या अटीवर हुस्नलाल आणि भगतराम या दोघांनाही या चित्रपटाचे संगीत करण्याची जबाबदारी दिली. तेंव्हापासून हुस्नलाल यांच्या नावापुढे भगतराम यांचे नाव चिकटले ते कायमचेच! त्यानंतर १९५५ पर्यंत या जोडीने हिंदी चित्रपसृष्टीत आपले स्वतंत्र स्थानच नाही तर दबदबा सुद्धा निर्माण केला. अनिल बिस्वास, खेमचंद प्रकाश, सज्जाद हुसेन, नौशाद, सी. रामचंद्र, सचिनदेव बर्मन असे दिग्गज संगीतकार ऐन बहरात असताना स्वतःचे स्थान निर्माण करायचे ही काही सोपी गोष्ट नव्हती.
पं. हुस्नलाल-भगतराम जोडीचा पहिला चित्रपट "चाँद" यातील गाणी खूप गाजली, विशेषतः "दो दिलों को ये दुनिया मिलने भी नहीं देती" हे गीत. या चित्रपटाच्या यशानंतर प्रभात फिल्म कंपनीने या जोडीला १९४६ सालचा "हम एक है" हा चित्रपट दिला. यात विशेष म्हणजे हुस्नलाल-भगतराम यांनी "ओ नदिया किनारे मोरा गांव रे" हे गाणे आपल्या मराठमोळ्या माणिक वर्मा यांच्याकडून गाऊन घेतले!
१९४६ ते १९४८ दरम्यान या जोडीने आणखीन काही चित्रपटांना संगीत दिले, पण त्यांनी प्रचंड यशाची खरी चव चाखली ती १९४८ साली प्रदर्शित झालेल्या "प्यार की जीत" आणि १९४९ सालच्या "बडी बहन" या दोन चित्रपटांनी. या दोन चित्रपटात मिळून एकूण १४ गाणी होती, त्यातील ७ गाणी एकट्या सुरैय्याने गायली होती. "प्यार की जीत" मधील "इक दिल के टुकड़े हज़ार हुए" (रफ़ी), "तेरे नैनों ने चोरी किया", "ओ दूर जानेवाले वादा ना भूल जाना" (सुरैय्या) आणि "कितने दूर है हुजूर" (सुरिंदर कौर) ही गाणी, तर "बड़ी बहन" यातील "चले जाना नहीं नैन मिलाके", "जो दिल में ख़ुशी बनकर आये" (लता), "वो पास रहे या दूर रहे", "तुम मुझको भूल जाओ" (सुरैय्या) ही गाणी अजरामर झाली.
"तेरे नैनों ने चोरी किया" मधील मुखड्यानंतरचा तुकडा पुढे शंकर-जयकिशन यांनी "बरसात" मधील "जिया बेकरार है" गाण्यात जसाच्या तसा वापरला. ब्लॉगमध्ये पुढे हे गीत सादर केले आहे ते जरूर ऐका.
१९४९ आणि १९५० ही दोन वर्षे हुस्नलाल-भगतराम यांच्या सांगीतिक कारकिर्दीतील महत्वाची आणि प्रचंड व्यस्ततेची वर्षे ठरली. या दोन वर्षात दोघांनी तब्बल १८ चित्रपटातील १७३ गाण्यांना संगीत दिले, म्हणजे त्यांच्या एकूण ४०६ गाण्यांपैकी ४३% गाणी!! यात १९४८ सालच्या ४ चित्रपटातील २० आणि १९५१ सालच्या ५ चित्रपटातील ३९ गाणी मिळवली तर एकूण २३२ गाणी (६२%) ही १९४८ ते १९५१ या चार वर्षात संगीतबद्ध केली!
हुस्नलाल-भगतराम यांच्याकडे सोलो व द्वंद्व मिळून एकट्या लताने एकूण ११०, रफीने ९६ तर सुरैय्याने ६३ गाणी म्हटली आहेत. गीतकार क़मर जलालाबादी यांच्याशी हुस्नलाल-भगतराम यांचे खास नाते जुळले होते असे वाटते कारण त्यांनी या जोडीसाठी तब्बल १५१ गाणी लिहिली आहेत, म्हणजे एकूण गाण्यांच्या ३७%!
वरील दोन हिट चित्रपटांशिवाय या जोडीने "आज की रात" (१९४८), "बालम", "जलतरंग", "बांसरीया", "नाच", हमारी मंझिल" (सर्व १९४९), "आधी रात", "छोटी भाभी", "मीना बझार", "बिरहा की रात", "सरताज" इ. चित्रपटातूनही असंख्य सुमधुर गाणी रसिकांना भेट दिली.
१९५१ साली प्रदर्शित झालेल्या "अफसाना" चित्रपटाने हुस्नलाल-भगतराम यांच्या यशाची पताका आणखीन फडकवत ठेवली. या चित्रपटातील सर्वच्या सर्व म्हणजे ९ गाणी तुफान लोकप्रिय झाली. विशेषतः "अभी तो मैं जवान हूँ" (लता), "दुनिया एक कहानी रे भैय्या" (रफी) ही गाणी रसिकांच्या आजही स्मरणात आहेत. त्याच वर्षी "काफिला" चित्रपटात हुस्नलाल-भगतराम यांनी प्रथमच किशोर कुमार यांना संधी दिली, आणि किशोरने अवघी २ गाणी मिळालेली असताना त्यांचे सोने केले. ती दोन गाणी म्हणजे "लहरों से पूछ लो" (लताबरोबर) आणि "वो मेरी तरफ यूं चले आ रहे हैं" (सोलो). या जोडीचा शेवटचा नोंद घेण्यासारखा चित्रपट होता १९५५ सालचा "अद्ल-ए-जहांगीर".
पं. हुस्नलाल-भगतराम यांनी त्यांच्या संगीतात पंजाबी लोकगीते आणि ठेक्याचा यथेच्छ वापर केला. किंबहुना त्यांचा विशिष्ट पंजाबी ठेका हेच त्यांच्या बहुसंख्य गाण्यांचे वैशिष्टय ठरले. इतके की पुढे शंकर-जयकिशन, लक्ष्मीकांत-प्यारेलाल, ओ. पी. नय्यर यांनी याच ठेक्याला त्यांच्या पद्धतीने वळण देऊन आपले संगीत लोकप्रिय केले. त्यांनी आपल्या संगीतात हार्मोनियम, व्हायोलिन, हवाई गिटार, पियानो, ढोलकी आणि क्वचित मटका यांचा सढळ हाताने वापर केला. हुस्नलाल-भगतराम यांच्याकडे शंकर (शंकर-जयकिशन जोडीमधील), लक्ष्मीकांत (लक्ष्मीकांत-प्यारेलाल जोडीमधील), खय्याम, महेंद्र कपूर तसेच एस. मोहिंदर (व्हायोलिनवादक व संगीतकार) यांना शिकवण्याचे श्रेय जाते.
दुर्दैवाने त्यांचा विशिष्ट पंजाबी ठेका हाच त्यांच्या ऱ्हासाला कारणीभूत ठरला, कारण फार वेगळे संगीत ते देऊ शकले नाहीत, तसेच चित्रपटसृष्टीत टिकून राहण्यासाठी ज्या गोष्टी करायला लागतात त्या त्यांनी केल्या नाहीत. त्यामुळे १९५५ नंतर हळूहळू त्यांचे काम कमी होत गेले. त्यांचा शेवटचा चित्रपट होता १९६६ सालचा "शेर अफगाण".
त्यानंतर पं. हुस्नलाल कंटाळून दिल्लीला निघून गेले व उपजीविकेसाठी शास्त्रीय गायनाचे तसेच व्हायोलिन वादनाचे कार्यक्रम करू लागले. तर पं. भगतराम मुंबईतच राहून इतर संगीतकारांच्या ताफ्यात हार्मोनियम वाजवत राहिले. २८ डिसेंबर १९६८ रोजी पं. हुस्नलाल यांचे वयाच्या अवघ्या ४८व्या वर्षी निधन झाले. तर त्यानंतर पाचच वर्षांनी म्हणजे २९ नोव्हेंबर १९७३ रोजी पं. भगतराम वयाच्या अवघ्या ५९व्या वर्षी हे जग सोडून गेले. प्रसिद्ध सरोद वादक झरीन शर्मा (दारूवाला) या पं. भगतराम यांच्या सुनबाई.
जवळपास ११ वर्षे चित्रसृष्टी गाजवणाऱ्या आणि अनेक अप्रतिम गाणी देणाऱ्या या गुणी संगीतकार जोडीला विनम्र अभिवादन.
आज मी मला आवडणारी पं. हुस्नलाल-भगतराम यांची ४ गाणी खाली सादर करणार आहे. आशा आहे की ती तुम्हालाही आवडतील. प्रतिक्रिया द्यावी ही नम्र विनंती. धन्यवाद.
१) तेरे नैनों ने चोरी किया - प्यार की जीत (१९४८) - गायिका सुरैय्या - गीतकार क़मर जलालाबादी
२) मोहब्बत के धोख़े में कोई ना आये - बड़ी बहन (१९४९) - गायक मोहम्मद रफ़ी - गीतकार राजेंद्र कृष्ण
३) मनवा में प्यार डोले - सरताज (१९५०) - गायक जोहराबाई अंबालावाली आणि मुकेश - गीतकार मजरुह सुलतानपुरी
४) वो पास भी रहकर पास नहीं - अफ़साना (१९५१) - गायिका लता मंगेशकर - गीतकार असद भोपाली
लताच्या काही उत्कृष्ट गाण्यांपैकी हे एक गाणे. अभिनेत्री वीणावर ("चलती का नाम गाडी" मधील अशोक कुमारची प्रेयसी कामिनी, किंवा "पाकिजा" मधील नवाबजान) हे गाणे चित्रित झाले आहे. प्रत्येक अंतऱ्यातील पहिल्या दोन ओळी या तालवाद्यांशिवाय लताने काय अप्रतिम म्हटल्या आहेत! तिचा सूर, छोट्या छोट्या मुरक्या केवळ अप्रतिम. संबंध गाण्यात पियानो आणि व्हायोलिनचा सुंदर वापर हुस्नलाल-भगतराम यांनी केला आहे, आणि जोडीला आहे त्यांचा प्यारा ठेका!
Very few lucky ones in this world understand Music is my strong belief. Many of us listen to the songs everyday but not many would understand its nuances such as Raag, Taal, etc. It's true that to enjoy the song one does not need to understand it technically. But this explains why composing music is so difficult for one person, let alone a duo!
Since the films went vocal in the Indian film industry from 1931 "Alam Ara" the songs have been an integral part of the films. The first talkie "Alam Ara" itself had 7 songs in it and it created a buzz among the public at that time. From 1931 to 1944, a no. of music composers ruled the industry but all of them were solo music composers e.g. Raichand Boral, Anil Biswas, Saraswati Rane, Ghulam Haider, etc. None of them had even imagined to form a duo to compose music! Come 1944, and for the first time in the Film industry, the pair comprising of 2 brothers viz. Husnlal and Bhagatram, tried to compose the music, as a duo, for the film "Chand" produced by Prabhat Film Company from Pune. And the experiment was so successful that the duo carried on composing the music together for another 22 years!
Both, Husnlal and Bhagatram hailed from a small village Kahma in Jalandhar district of Punjab. While Bhagatram was born in 1914, Husnlal was born in 1920. Their father Devi Chand and elder brother Pt. Amarnath - who himself was an accomplished music composer in those days - were the real inspiration behind both the brothers taking up music as their career. Husnlal learnt Hindustani Classical Music from Sangeet Mahamahopadhyay Pt. Dilip Chandra Vedi. He also had Violin training from Ustad Bashir Khan of Patiyala. Bhagatram had been a good Harmonium player.
During 1939-40, Bhagatram worked as a solo music composer and composed music for about 8 films; however just like his music, people did not take notice of him. His elder brother Pt. Amarnath used to be extremely busy with his work. Thus, when Prabhat Film Company approached him to compose music for their upcoming film 'Chand' in 1944, he refused, but suggested Husnlal's name. Prabhat agreed to take Husnlal as composer. But when Pt. Amarnath learnt that Husnlal will have to go to Pune (erstwhile Poona) alone, out of anxiety for the youngest brother, he pleaded to Prabhat Film Company to allow Bhagatram to assist Husnlal in the music composing work. The company grudgingly agreed but on the condition that only Husnlal will be paid. Both agreed and thus came the first film of the duo Pt. Husnlal-Bhagatram. 'Chand' had in all 11 songs in it and all became reasonably popular.
Manik Verma
After this, Prabhat offered another film "Hum Ek Hain" in 1946 to Husnlal-Bhagatram duo. One of the songs in this film "O Nadiya Kinare Mora Gaon Re" was sung by the well-known Classical and Light Music singer from Maharashtra viz. Manik Verma.
Between 1946 and 1947, Husnlal Bhagatram did few more films, but nothing notable. However, 1948 changed their life forever with the superhit film "Pyaar Ki Jeet" starring Rehman, Suraiyya, Gope and Manorama. It had 7 songs out of which 3 were sung by Suraiyya. All songs like "O Door Janewale Vaada Na Bhool Jana" (Suraiyya), "Ik Dil Ke Tukde Hazar Hue" (Rafi), "Kitne Door Hai Huzoor" (Surinder Kaur) became extremely popular with the audience. Then came another super duper hit "Badi Behen" in 1949. It had 8 songs - 3 by Lata, 4 by Suraiyya and 1 by Rafi. Songs "Chale Jana Nahin" (Lata), "Woh Paas Rahe Ya Door Rahe", "Tum Muzko Bhool Jaao" (Suraiyya) were big hits.
From the song "Tere Nainon Ne Chori Kiya", the music piece just after the Mukhada has been copied as is by Shankar-Jaikishan in their famous song "Jiya Beqarar Hai" from their film "Barsaat". Listen to this song presented below.
Pt. Husnlal-Bhagatram experienced golden years of their career in from 1949 to 1951. During this period, they composed music for 212 songs from 23 films, i.e. ~52% of their total songs were composed in just these 3 years! Which also means they had composed and released 1 song every 5 days! Wow, how busy they would have been during this time, we can only imagine!!
Lata has sung total 110 songs (solo+duet), Suraiyya 65 songs and Rafi 95 songs under the duo's music direction. The composer duo seemed to have special association with Lyricist Qamar Jalalabadi - he wrote 151 songs for them i.e. whooping 37%.
Some of the other notable films by this musical duo were "Aaj Ki Raat" (1948), "Balam", "Jaltarang", "Bansariya", "Naach", "Hamari Manzil" (1949) and "Aadhi Raat", "Chhoti Bhabhi", "Meena Bazar", "Birha Ki Raat" and "Sartaj" (1950).
In 1951, Husnlal-Bhagatram gave 2 more hit films viz. "Afsana" and "Kaafila". "Afasana" had 9 songs in it and all are remembered even today. Particularly, songs like "Abhi To Main Jawan Hoon", "Woh Aaye Bahare Aayi", "Aaj Kuch Aisi Chot Lagi Hai" (Lata), "Duniya Ek Kahani Re Bhaiyya" (Rafi) were instant hits. In "Kaafila", Husnlal-Bhagatram worked with Kishore Kumar for the first and the last time and gave him 2 songs - "Lahron Se Pooch Lo" (with Lata) and "Woh Meri Taraf Yun" - and gosh! What wonderful melodious songs these are!! 1955 saw the last notable film from the duo viz. "Adl-E-Jahangir".
Husnlal-Bhagatram were the harbingers of Punjabi folk music and Punjabi Theka in the Hindi films. They widely used Violin, Harmonium, Hawain Guitar, Piyano and Dholak in their brilliant compositions. Shankar (of Shankar-Jaikishen), Laxmikant (of Laxmikant-Pyarelal), Khayyam, Mahendra Kapoor and S. Mohinder all were the disciples of Husnlal-Bhagatram.
Unfortunately, they got caught in their own style (Punjabi Theka) so much that they could not produce varied kind of music after 1955, which ultimately proved their undoing as they slowly saw the decline. The last Hindi movie they did was "Sher Afgan" in 1966.
After this, Pt. Husnlal went back to Delhi and started doing Classical music and Violin programs for earnings, while Pt. Bhagatram stayed back in Mumbai playing Harmonium for other Music composers. Pt. Husnlal died of cardiac arrest on 28th December 1968 at the early age of 48, and Pt. Bhagatram died on 29th November 1973 at the age of 59.
Let's remember these great melodious composers and remember their songs that entertained us till now.
Today, I am going to present below 4 of their songs which I consider to be their signature songs. Hope you will like it. Please do share your comments. Thanks.
1) Tere Nainon Ne Chori Kiya - Pyaar Ki Jeet (1948) - Singer Suraiyya - Lyricist Qamar Jalalabadi
2) Mohabbat Ke Dhokhe Mein Koi Naa Aaye - Badi Behen (1949) - Singer Mohammad Rafi - Lyricist Rajinder Krishna
This is regarded as one of the best songs of Lata. It was picturized on the actress Veena ("Chalati Ka Naam Gaadi" and "Pakeezah" fame). First two lines of every Antara has been without any rhythm instrument hence depict the pure voice of the great Lata. Husnlal-Bhagatram has used Piyano and Violin throughout the song accompanied by their famous rhythm.
After a gap of almost a year, restarting my series - अनमोल रतन - wherein I present some of the great songs of yesteryears. Hope you would like this one too.
English version follows the Marathi version below.
Song #13: कश्ती का ख़ामोश सफ़र है (Kashti Ka Khamosh Safar Hai)
हे गाणं म्हणजे दोन प्रेमी जीवांमधला एका होडीतून जात असताना झालेला अप्रतिम संवाद आहे. त्याला तिला काही सांगायचे आहे, आणि तिचेही कान त्याचे म्हणणे ऐकून घ्यायला आतुरले आहेत. पण तिची "शर्मिली निगाहें" जोवर परवानगी देत नाहीत आणि त्याची "बेताब उमंगे" त्याला जोवर थोडी फुरसत देत नाहीत तोवर तो बोलू शकत नाही. "शर्मिली निगाहें" आणि "बेताब उमंगे" या शब्दांनी साहिरनी दोघांच्या मनाची अवस्था किती अचूक पकडली आहे! दोघांची तगमग होते आहे, आणि ती तगमग साहिर यांच्या समर्थ लेखणीने आपल्यापर्यंत व्यवस्थित पोचवली आहे. त्याला तितकीच सुंदर चाल हेमंत कुमार यांनी लावली आहे. किशोर कुमार आणि सुधा मल्होत्रा या दोघांनी दोन प्रेमी जीवांची तगमग आपल्या स्वरातून १००% जिवंत केली आहे.
गाणं सुरु होतं व्हायोलिनच्या आर्त सुरांनी आणि मग ऐकू येतात बासरीचे मंद हळवे सूर ज्यांनी गाण्याचा मूड परफेक्ट सेट होतो. साधारण २७व्या सेकंदाला किशोरचा खर्जातला आवाज ऐकू येतो. अतिशय नितळ आवाज, जोडीला बासरी आणि मग सुरु होतो दोघांमधला संवाद - ऐकण्यासारखा आहे. सुधा मल्होत्रा यांनीही सुरेल साथ दिली आहे. शेवटची ओळ किशोरकुमारने खास त्याच्या शैलीत अशी म्हटली आहे की बस्स!
चित्रपटाचा व्हिडिओ कुठेही उपलब्ध नाही, त्याचबरोबर चित्रपटाविषयी कुठेही माहिती मिळत नाही. त्यामुळे रेडिओ सिलोन वरील बिनाका गीतमालाचे सुप्रसिद्ध सादरकर्ते अमीन सायानी यांचे साधारण दीड मिनिटांचे निवेदन असलेला या गाण्याचा व्हिडिओ सादर करत आहे. गाणं कसं वाटलं ते ब्लॉगवर comment मध्ये जरूर लिहा. धन्यवाद.
This purely is a romantic song where the Boy wants to say something to the Girl, the Girl is equally eager to hear him; however, he cannot utter a single word until her "शर्मिली निगाहें" and his "बेताब उमंगे" permit/allow him to share his feelings. How beautifully Sahir, through these 4 words, has so aptly described the feelings of both the young love birds! The fact that both are travelling in a boat has been depicted wonderfully through the music composed by Hemant Kumar. And what a sweet, calm and excellent singing by both Kishore Kumar and Sudha Malhotra!
The mood of the song is set by beautiful pieces of Violin and Flute at the start, and what follows is a divine voice of Kishore Kumar in lower octave (which is rare). Sudha Malhotra too has sung well. This is perhaps the rarest of the songs of this duo. The last line of the song is sung by Kishore Kumar in his typical style. Please do also read the lyrics which are too good.
The video of the movie is not available on the internet; hence I have shared here an audio version with some great commentary by the legendary Amin Sayani famous for his Binaca Geetmala on Radio Ceylone once upon a time.
Hope you would enjoy the song. Please do leave a comment on the blog itself. Thank you.
