A tribute on Mukesh’s 92nd birth anniversary (22 July 1923 – 27 August 1976)
If someone had asked me a few years ago who the second most prolific male singer of Naushad was, I would have never guessed Mukesh. His songs number only 26 compared to 149 of Rafi. If you compare Mukesh songs by different composers, Shankar-Jaikishan and Kalyanji Anandji did about four times more. Naushad-Mukesh association is essentially limited to three films in 1948-49: Mela, Anokhi Ada and Andaaz. Thereafter, he seems to have forgotten Mukesh for about two decades, until he reappears with some songs in Saathi (1968). By that time, it was clear, Naushad was not too enamoured of him. In Jo chala gaya use bhool ja, a song which is right up Mukesh’s alley, the prelude at high notes has been sung by Mahendra Kapoor, because it was felt that he could not handle it. Not a very flattering revival of their association.
Songs of Yore Award for the Best Male Playback Singer goes to?
The year 1950 too shows, like 1951, that male solos were far outnumbered by female solos (by about a factor of 4), both in the total songs and in my Select List which comprised about 15% of the total songs of the year. There have been many additions by the readers to the Select List. These are overwhelmingly female solos, and within that Lata Mangeshkar songs. If we include those songs the Select list would be about 200, and the female solo dominance over male solos would be even more pronounced. Such overwhelming asymmetry was a feature of film songs in general across all the years. We leave the reasons for such difference for another time; we limit ourselves in this post to intra-male solos’ analysis.
Guest article by Ashok M Vaishnav
(Ashokji is coming to the end of his current enquiry into the songs that have a specific type of multiple version songs. He has covered songs that have a male solo and a duet or chorus in two parts – MVS (20) and MVS (21), and the ones having a female solo and such versions in MVS (22). Here he is presenting songs that have at least three versions. As the SoY regulars are aware, the Mega Series on Multiple Version Songs, has gone into many dimensions, including songs that have versions across different languages. You can be sure that with his indefatigable spirit and great capacity to look for details, ably supported by the knowledgeable readers, Ashokji would find many more variations in this umbrella category of songs. You can review the entire series here. – AK)
The journey to Male Solo and a Duet Or a Female Solo and a Duet or Chorus has one more fascinating side – the songs that have three versions.
The illustrations that I have been able to collect show that such a route has been used to vividly depict different moods or situations where the same song (or at least mukhda) serves to provide the common linkage.
Guest article by Ashok M Vaishnav
(Ashokji has been currently exploring a specific type of multiple version songs that have a solo and a duet or chorus versions. In his last two articles, Multiple Version Songs (20) and (21), he explored those songs that have a male solo and its duet/chorus versions. He continues the enquiry for female solos that have such versions. As the readers are aware, Ashokji has laid the foundation of the Mega Series on Multiple Version Songs, which has seen contributions from some other guest writers as well. I thank him for his unflagging interest in going to the depths of the subject. – AK)
We are onto the multiple versions of a solo song which has a pairing duet or a chorus. In the first sub-variation of this theme, we had a male solo and its duet or chorus version. Presently, we will take up multiple version songs where one song is a solo by a female playback singer and the other version is either a duet or a chorus.
A tribute on her 86th birth anniversary (15 June 1929 – 31 January 2004)
Our last singing star, Suraiya, attained incredible heights of popularity bordering on mass hysteria. She started her singing career, as a child artiste, with Naushad; subsequently, she sang playback for Mehtab in a few films; she graduated as an actor-singer and reached superstardom on the strength of the songs he composed for her. Out of her 300 odd songs, Naushad accounts for about 50. Husnlal Bhagatram might have done a few songs more; he, too, occupies a very important place in her career. But considering Naushad’s association from her debut to her grooming to her maturity, he is the single most important factor in creating the Suraiya legend. For all the superb Suraiya melodies we love, she was an untrained singer, with a limited range. The skilful master, Naushad, kept her in her basic range, and created a feeling in the minds of the viewer that The Girl Next Door was singing.
Celebrating with some discovered gems, Jaunpuri, Darbari and Mukhtar Begum
The fifth year of Songs of Yore has been more eventful than any preceding year. The year saw centenaries of four great music personalities – Anil Biswas, Begum Akhtar, Khursheed and Kavi Pradeep (the last one in the current calendar year). We remembered all of them – Anil Biswas in a grand manner, befitting his status as the Bhishm Pitamah of film music, with inaugural post by his daughter, and eight other posts on his combinations with different singers. Coincidentally, he also emerged as the Best Music Director, for 1951, which was reviewed in detail last year. The mega-series on SD Burman also concluded last year, notching up 15 posts in all. Arunji’s guest article on Hindi-Telugu in the meta-series on Multiple Version Songs completed the quartet of South Indian languages. Hindi-Bengali similar songs have many dimensions, some of which had been covered earlier. In the year gone by, SSW made a debut as a guest author with his article on Salil Chaudhary, which is likely to be the beginning of a series on him, as he is one of the most versatile talents in films and music. The Master of Multiple Version Songs, Ashok Vaishnav, resumed his super-fine explorations with songs that have hybrid multiple versions. Subodh kept up his date with his series on classical music, with his article on Pilu.
After the year-wise review of the best songs of 1955 and 1953, I entered the era of pre-Filmfare Awards with 1951 last year. Continuing the year-wise review I come to 1950, i.e. the beginning of the glorious 50s. End of the 40s marked the end of an era of the vintage singers, and consolidation of the hold of Lata Mangeshkar. Now there was no doubt who the reigning queen of female playback singing was. The male playback domain did not show a similar one-star dominance. The two reigning monarchs of music, Naushad and C Ramchandra, who are incidentally being felicitated in tandem on SoY, dominated the year. The lesser stars too shone bright, with some landmark scores, matching the titans in brilliance. Enough to give music lovers hours of delight in contemplation and nostalgia. For the analytically-minded, the year gives enough material for intra-year and inter-year comparison.
Guest article by Ashok M Vaishnav
(Ashokji has been recently exploring songs that have a solo version and a duet or chorus version. In this series within the Mega series on Multiple Version Songs, he wrote on January 20, 2015 on songs that have a male solo and a duet or chorus version. This guest article is a sequel to that post, arising out of the comments and responses of the readers to his last article. Ashokji’s perseverance in exploring a subject to the minutest detail is quite impressive. – AK)
‘Multiple Versions Songs (20): Male Solo and Duet or Chorus’ received an overwhelming feedback from the very learned, active and passionate SoY fraternity. That makes a writer like me overwhelmed by a sense of great joy and deep gratitude. The feedback has thrown up quite a few more songs for this particular variation of A Male Solo and its Duet or Chorus Version as well as for other variations. So, it is matter of a great pleasure to do this sequel to the ‘Multiple Versions Songs (20): Male Solo and Duet or Chorus’.
Book Review as a tribute to Naushad on his 9th death anniversary (25 December 1919-5 May 2006)
By Raju Bharatan
Hay House India (2013)
The most important thing about Raju Bharatan’s Naushadnama is that it is Raju Bharatan’s Naushadnama. Which means, if you are familiar with his writings, that there is a good deal of Raju Bharatan in the book, besides its principal character, Naushad. And as you expect from him, he is not only an observer and chronicler of Naushad, he was also his trusted friend and confidante, as he was of C Ramchandra, Anil Biswas, Shankar-Jaikishan, SD Burman, Mohammad Rafi, Mukesh, Talat Mahmood, Lata Mangehskar, Shamshad Begum, Suraiya, and all the major characters that appear in the book. The blurb on the book modestly describes him as “widely recognized as the last word on Hindi film music in India – as the only one physically there ‘on the scene’, through the decades, when music sittings and song recordings took place”.
A tribute to Shamshad Begum on her 2nd death anniversary (14 April 1919 – 23 April 2013)
This year started with Naushad, who was followed by C Ramchandra. We have since seen their close duel with Amirbai Karnataki. Consequently, some readers were surprised not to see a similar comparison in my last post on Shamshad Begum’s songs by Naushad on her 96th birth anniversary. Indeed there is a comparison, but their work with her is so important and large that fitting them in one post would not have done full justice. So here is Shamshad with Naushad’s formidable rival, C Ramchandra, for the readers to judge the match.