Best songs of 1951: And the winners are?

April 10, 2014

1951 FilmsAfter reviewing the best songs of 1955 and 1953, which were gap years in the Filmfare Awards (Baiju Bawra, 1952 was the first film to get the Filmfare Awards for the best music, but in the later years no films of 1953 and 1955 won these awards), I come to the pre-Filmfare era with 1951. This briefly explains my odd selection of years. Henceforth, it is going to be yearwise review in reverse order until 1945, which is the task given to me by the readers.

Musical landmarks

While there was some ambivalence with regard to the quality of the music of 1953, there should be no such doubt about 1951 with musical landmarks like Awaara (Shankar Jaikishan), Albela (C Ramchandra), Deedar (Naushad), Malhar (Roshan), Bahaar, Baazi, Naujawan and Saza (SD Burman) and Aaram and Tarana (Anil Biswas).

SJ had stormed the music scene with their debut with RK banner two years ago with Barsaat. They were young, in sync with Raj Kapoor’s musical sensibility; they had Mukesh and Lata Mangeshkar in their 20s, and a new team of lyricists Shailendra and Hasrat Jaipuri. If Raj Kapoor was the master of weaving dreamy romance with social message, SJ clothed that with their lilting music. Awara hun became an international rage and made Raj Kapoor the cultural ambassador of India to Soviet Union and several other countries.

C Ramchandra was a maverick in music. He could traverse from Western tunes to pure Indian classical; from Shamshad Begum to Lata Mangeshkar. His music was as unpretentious as the movie Albela, but he had awesome talent to compose great music effortlessly.

Naushad settles on Rafi for Dilip Kumar with Deedar. It has remained a puzzle for me why he jettisoned Mukesh and Talat Mahmood after having spectacular success with them in Anokhi Ada and Andaaz (Mukesh) and Babul (Talat Mahmood). Naushad-Rafi combination has earned great fame for Baiju Bawra, which came a year later. But it is in Deedar where you first see the fluid vocals of Rafi tune so perfectly with Naushad. Naushad continues another jettisoning, albeit with some face-saver songs to his erstwhile favorite singer, Shamshad Begum, in favour of the new girl Lata Mangeshkar.

Lata Mangeshkar bandwagon grows with Roshan, who gave superlative music a year earlier in Baawre Nain without her, but switches completely to her in Malhar for the female voice. Roshan continues his magic with Mukesh with some of his career best songs in this perfectly B-grade film, starring Shammi, Arjun, Moti Sagar etc.

One thing which distinguishes SD Burman from his peers is that he was never fixated on any Singing Emperor or Empress. He was himself the Emperor and chose a mix of singers all through his career. So, while there is no Lata Mangeshkar in Bahaar and Baazi, he gave the iconic Ye thandi hawayen lahra ke aayen and Tum na jane kis jahan mein kho gaye for her in Naujawan and Sazaa. The multifarious talent that he was, he could also create the iconic Shamshad Begum song Sainya dil mein ana re (Bahaar) and a good number of everlasting songs for Geeta Dutt in Baazi.

Anil Biswas in the 50s makes almost a complete break with his singers of the 40s – Surendra, Parul Ghosh and Amirbai Karnataki – and goes full force with his protégés Mukesh and Talat Mahmood, and, like everyone else, with The Female Playback Singer Lata Mangeshkar, to create some immortal music in Aaram and Tarana.

Other important musical compositions

The above list is enough to transport you to a blissful world. But there is much more to 1951. Outside RK Banner too SJ created great music for Baadal, Kali Ghata and Nagina. SJ would be credited with composing some of the greatest film songs for CH Atma – Roun main sagar ke kinare and Dil beqaraar hai mera dil beqaraar hai (Nagina). C Ramchandra-Lata combination in the early 50s had a stamp entirely his own. You see it in Khazana (Ai chaand pyar mera) and Sagaai (Koi kisi ka deewana na bane). Naushad gave another superhit score in Jadoo, continuing his mix of Shamshad Begum and Lata Mangeshkar. Talking of Lata Mangeshkar bandwagon, Madan Mohan had started a year earlier without her with Ankhen, but you see his special tuning with Lata in Saanwri surat man bhai re piya and Preetam meri duniya mein do din to rahe hote (Ada). He also comes up with some great Talat Mahmood songs in the year. I reckon Meri yaad mein tum na aansoo bahana (Madhosh) as one of his greatest. It was a bumper year for SD Burman too. Jhan jhan jhan jhan jhan payal baje (Buzdil) is a career landmark of Lata. So is Roshan’s Bahe ankhiyon se dhar for her in Hum Log. And so is Sajjad Hssain’s Aaj mere naseeb mein (Hulchul)

I have to repeat that even this is not all. Among the Lata songs that mesmerize me is Khushiyon ke din manaye ja.. abhi to main jawan hun (Afsana; Husnlal Bhagatram). And who can forget Sulochana Kadam’s Chori chori aag si dil mein laga kar chal diye (Dholak, Shyam Sundar), or Mukesh-Lata Mangeshkar duet Kahe nainon mein kajra bharo (Bari Bahoo, Anil Biswas) and Rafi-Amirbai Karnataki duet Aansoo thi meri zindagi (Bikhare Moti, Ghulam Mohammad). One can go on and on like this. Contrast this with how many songs you remember of the year just gone by i.e. 2013, their singers and music directors? Even youngsters clued to the current music would be hard pressed to name a few compared to the dozens we can recall of 1951.

Debut, Fact-file and Trivia

Jamal Sen had a remarkable debut as the music director of Shokhiyan. We have seen him earlier in my series on Forgotten Composers Unforgotten Melodies. He could not achieve his full potential in the heavily crowded field of great composers. But the debut of Vyjayanthimala in AVM’s Bahar (which was a remake of the Tamil film Vazhkai) was the beginning of her glorious career as the leading lady for about two decades. Kalpan Kartik in Baazi and Beena Rai in Kali Ghata also debuted this year. Having been forced to sever all connections with Suraiya, a dejected Dev Anand found solace in Kalpana Kartik and married her. Bina Rai, who was renowned as one of the most beautiful woman of her time, also had some landmark films in later years such as Anarkali. Incidentally, the year also brought the curtain down finally on Dev Anand-Suraiya romance, with Do Sitare being their last movie together.

If the year marked the end of Dev Anand’s romance with Suraiya, it heralded the beginning of his friend Guru Dutt’s love affair with Geeta Dutt at the song recording of Baazi, which was incidentally his first directorial venture. Guru Dutt would go on to be known as one of the greatest film makers, but his personal life, as of his love and wife Geeta Dutt, would end up in shambles.

Chic Chocolate, who had been C Ramchandra’s assistant, got his first assignment as an independent composer on the latter’s recommendation in Nadaan. Goa gave to Bombay film music a large number of talented musicians who played a variety of instruments or worked as assistant or arranger. Chic Chocolate was among the more prominent ones, who was the man behind many of C Ramchandra’s Westernised songs.

Sahir Ludhiyanvi, a renowned Urdu poet, entered the film world as a lyricist in the year and started his great association with SD Burman in Naujawan and Baazi. (Note: Venkataramanji corrects that Sahir Ludhiyanvi’s association with SDB started this year, but he debuted as a lyricist in 1948 in the film Azaadi Ki Raah Par. See comment #17.) So did Indivar with Malhar (though I recall reading somewhere that he had debuted earlier, but he used the name ‘Indivar’ for the first time in this film). A very interesting debut of a lyricist is of Kaifi Azmi, who wrote his first song Rote rote guzar gayi raat re (Buzdil) jointly with ShailendraOn Kaifi Azmi’s debut in films, an interesting anecdote has been mentioned by Moti Lalwani earlier on this blog.  The requirement of writing lyrics to a pre-set tune bewildered him no end: it was as if, he said, the grave has been already dug, you lie down in it, the only thing remains is to put a coffin on it.

This year saw the first duet of Lata Mangeshkar-Asha Bhosle, Ye ruki ruki hawayen ye bujhe bujhe sitare (Daaman, K Datta).  K Datta would also be associated with the debut of Jagjit Kaur, in a duet with GM Durrani, in the film Gumashta (Dil naache aur gaye jawani).

In Pyar Ki Baatein Khayyam gave music in the name of Sharmaji, alonwith Bulo C Rani (though the songs are separately identified). As per HFGK, Bulo C Rani sang some songs in Hindi films under the name Bhola though he composed only under the name Bulo C Rani, but in some songs the name of music director has been mentioned as Bhola. Khayyam’s first song for Asha Bhosle was also in this film – Humein chhod ke na jana, hua dil ka nishana.

Mere dil ke tadapne ka tamasha dekhanewale by Lata Mangeshkar from Ek Thi Ladki (1949) was reused in 1951 Sabzbagh made by the same team.

Amjad Khan had his first acting role as a child artiste in Naazneen.

Multiple version songs make an appearance in this year too. While Qusoor aapka huzoor aapka is a Twin version song (Kishore Kumar/Shamshad Begum solo versions in Bahaar), Aa teri tasweer bana lun (Naadaan) has a fast and slow version by the same singer, Talat Mahmood and Dheere se aa ja ri (Albela) has a Lata solo and a Chitalkar-Lata duet version. A unique song is Jagmagati diwali ki raat aa gayi (Stage), which has happy and sad versions by Asha Bhosle, and a third sad version by Lata Mangeshkar

The Central Board of Film Censors was established in 1951.

The year also saw the tragic death (on 25 April 1951) of the dashing hero of those days, Shyam, of injuries suffered due to falling off a horse while shooting for Shabistan.


Let me present a long list which I think captures all the songs of the year which can be considered worthwhile and memorable. But as we have seen in the earlier years, Songs of Yore forum has some amazingly knowledgeable people, and I would not be surprised if they add many more beyond this list and which need to be brought out of hidden vaults.

Aaraam: Lyrics – Rajendra Krishan, Prem Dhawan; Music Anil Biswas
1.  Ae jaan-e-jigar dil mein samane aa ja – Mukesh
2.  Shukriya ae pyaar tera shukriya – Talat Mahmood
3.  Balamwa nadaan.. balmaa ja ja ja – Lata Mangeshkar

Aawara: Lyrics – Shailendra/Hasrat Jaipuri; Music – Shankar Jaikishan
4.  Aawara hun – Mukesh
5.  Ek do teen aja mausam hai rangeen – Shamshad Begum
6.  Jab se balam ghar aye – Lata Mangeshkar
7.  Dam bhar jo udhar munh phere O chanda – Mukesh and Lata Mangeshkar
8.  Ghar aya mera pardesi – Lata Mangeshkar
9.  Aa jao tadapate hain armaan – Lata Mangeshkar
10.  Ek bewafa se pyar kiya – Lata Mangeshkar
11.  Hum tujhse mohabbat karke sanam – Mukesh

Ada: Lyrics –Prem Dhawan, Saraswati Kumar ‘Deepak’, Behzaad Lakhnavi, Raja   Mehdi Ali Khan; Music – Madan Mohan
12.  Main na jaanu – Lata Mangehskar
13.  Sanwri surat man bhai re piya – Lata Mangeshakr
14.  Jise dil mein basana chaha tha – Talat Mahmood
15.  Preetam meri duniya mein do din to rahe hote – Lata Mngeshkar

Afsana: Lyrics – Asad Bhopali, Saraswati Kumar ‘Deepak’, Gafil Harnalvi, Chandar Oberoi;     Music – Husnlal Bhagatram
16.  Kismat bigdi duniya badli – Mukesh
17.  Wo aye baharein laye baji shahnaai rut piya milan ki ayi – Lata Mangeshkar
18.  Mohabbat ka dono ke dil pe asar hai – Shamshad Begum
19.  Khushiyon ke din manaye ja..abhi to main jawan hun – Lata Mangeshkar
20.  Chowpaati par kal jo tumse ankh matakka ho gaya – Rafi and Shamshad Begum
21.  Wo paas bhi rahkar paas nahi hum door bhi rahkar door rahe – Lata Mangeshkar

Albela: Lyrics – Rajendra Krishna; Music – C Ramchandra
22.  Dheere se aa ja ri ankhiyan mein – Lata Mangeshkar/ Chitalkar and Lata Mangehskar
23.  Deewana parwana shama pe le aya dil ka nazrana – Chitalkar and Lata Mangeshkar
24.  Haseenon se mohabbat ka bura anjaam hota hai – Chitalkar
25.  Dil dhadke nazar sharmaye – Lata Mangehskar
26.  Sham dhale khidki tale – Lata Mangeshkar and Chitalkar
27.  Balma bada nadaan re – Lata Mangeshkar
28.  Bholi surat dil ke khote – Lata Mangehskar and Chitalkar
29.  Shola jo bhadke dil mera dhadke – Lata Mangeshkar and Chitalkar

Baadal: Lyrics – Shailendra, Hasrat Jaipuri; Music – Shankar Jaikishan
30.  Aaj maane, aaj maane na mora jiya – Lata Mangeshkar
31.  Main raahi bhatakanewla hun – Mukesh
32.  Unse pyar ho gaya – Lata Mangeshkar
33.  Ae dil na mujhse chhupa – Lata Mangeshkar and Mukesh
34.  Do din ke liye mehman yahan – Lata Mangeshkar
35.  Duniya badal rahi hai aansoo bahanewale – Lata Mangeshkar

Baazi: Lyrics – Sahir Ludhiyanvi; Music – SD Burman
36.  Sharmaye kahe ghabaraye kahe – Shamshad Begum
37.  Ye kaun aya ki mere dil ki duniya mein bahaar aayi – Geeta Dutt
38.  Tadbeer se bigdi hi taqdeer bana le – Geeta Dutt
39.  Aaj ki raat piya dil na todo – Geeta Dutt
40.  Mere labon pe dekho aaj bhi tarane hain – Kishora Kumar
41.  Dekh ke keli mohe barsa sataye – Geeta Dutt
42.  Lakh zamanewale daaleyn dilon pe taaley – Geeta Dutt
43.  Suno gajar kya gaaye – Geeta Dutt

Bahaar: Lyrics – Rajendra Krishna; Music – SD Burman
44.  Duniya ka mazaa le lo duniya purani hai – Shamshad Begum
45.  Chhodoji chhodoji chhodoji Kanhaiya kalaiyan hamaar – Shamshad Begum
46.  Qusoor aapka, huzoor aapka – Kishore Kumar/ Shamshad Begum
47.  Bhagwan do ghadi zaraa insaan ban ke dekh – Geeta Dutt
48.  Saiyan dil mein ana re – Shamshad Begum
49.  O pardesiya, pyar ki bahaar le ke – Shamshad Begum

Badi Bahoo: Lyrics – Narendra Sharma, Prem Dhawan, Rajendra Krishna, Bharat Vyas, Safdar ‘Aah’, PN Rangeen, Meerabai; Music – Anil Biswas
50.  Kaahe nainon mein kajraa bharo – Mukesh and Lata Mangehskar
51.  Badli teri nazar to nazaare badal gaye – Lata Mangeshakr
52.  Ramaiya bin neend na aawe – Rajkumari

Bedardi: Music – Roshan
53.  Dil ne to diya dhokha – Mukesh (lyrics – Kedar Sharma)

Bikhare Moti: Music – Ghulam Mohammad
54.  Aansoo thi meri zindagi – Amirbai Karnataki and Rafi (Lyrics – Akhtar-Ul-Iman)

Buzdil: Lyrics – Shailendra, Kaifi Azmi; Music – SD Burman
55.  Jhan jhan jhan jhan payal baje – Lata Mangehsar
56.  Dar laage duniya se balma ho – Lata Mangehskar and Talat Mahmood
57.  Rote rote guzar gayi raat re – Lata Mangehskar

Daaman: Music – K Datta
58.  Yaad aane lagi dil dukhane lagi – Lata Mangeshkar, Rafi (Lyrics – Ehsaan Rizvi)
59.  Ye ruki ruki hawaayen ye bujhe bujhe sitaarey – Lata Mangeshar and Asha Bhosle (Lyrics – Rajendra Krishna)

Dashavtaar: Music – Avinash Vyas
60.  Khel re khilone teri kaya aani jaani re – Rafi and Sulochana Kadam (Lyrics – Saraswati Kumar ‘Deepak’)

Deedaar: Lyrics- Shakeel Badayuni; Music – Naushad
61.  Bachpan ke din bhula na dena – Lata Mangeshkar and Shamshad Begum
62.  Hue hum jinke liye barbaad – Rafi
63.  Nazar phero na humse – GM Durrani and Shamshad Begum
64.  Naseeb dar pe tere aazmane aya hun –  Rafi
65.  Chaman mein rah ke veeraana mera dil hota jata hai – Shamshad Begum
66.  Le ja meri duayein le ja pardes janewale – Lata Mangehskar
67.  Dekh liya maine kismet ka tamasha dekh liya – Rafi and Lata Mangeshkar
68.  Meri kahani bhulnewale tera jahan abaad rahe – Rafi

Dholak: Lyrics – Aziz Kashmiri, Shyamlal Shams; Music – Shyam Sundar
69.  Ki ek pal ruk jana sarkar –  Lata Mangeshkar and Rafi
70.  Chori chori aag si dil mein laga ke chal diye – Sulochana Kadam
71.  Mausam aya hai rangeen – Sulochana Kadam and Satish Batra

Ek Nazar: Lyrics – Rajendra Krishna; Music – SD Burman
72.  Dard laagey pyara pyara pahla pahla pyar ka – Lata Mangeshkar
73.  Bus chupke hi chupke se pyar ho gaya – Geeta Dutt

Ghayal: Music – Gyan Dutt
74.  Hazaron khwahishein aisi ki har khwahish pe dum nikle – GM Durrani (Lyrics – Ghalib)

Hulchul: Lyrics – Khumar Barabanqvi; Music – Md Shafi, Sajjad Hussain
75.  Ek jhoothi si tasalli wo mujhe de ke chale – Lata Mangeshkar
76.  Aaj mere naseeb ne mujhko rula rula diya – Lata Mangeshkar
77.  Haye sadke tere O baanke mere – Lata Mangeshkar

Hum Log: Lyrics – Vishwamitra Aadil-Udhav Kumar; Music – Roshan
78.  Chhun chhun baaje payal mori – Lata Mangeshkar
79.  Apni nazar se unki nazar tak – Mukesh
80.  Bahey ankhiyon se dhaar jiya mera beqaraar – Lata Mangeshkar
81.  Gaaye chala ja gaye chala ja ek din tera bhi zamana aayega – Lata Mangeshkar and GM Durrani

Jadoo: Lyrics – Shakeel Badayuni; Music – Naushad
82.  Ae ji thandi sadak hai thandi sadak – Shamshad Begum
83.  Gin gin taarey main haar gayi raat ko – Lata Mangeshkar
84.  Jab nain miley nainon se aur dil pe rahey na qaaboo – Shamshad Begum
85.  Roop ki dushman paapi duniya maarey mohe – Shamshad Begum
86.  Lo pyar ki ho gayi jeet – Lata Mangeshkar
87.  Nadaan mohabbatwalon ke armaan badalte rahte hain – Lata Mangeshkar

Kaali Ghata: Lyrics – Shailendra, Hasrat Jaipuri; Music- Shankar Jaikishan
88.  Dil mein tu dil mein tu sapnon ki mahfil mein tu – Lata Mangeshkar
89.  Humse na poochho koi pyar kya hai pyar kya – Lata Mangeshkar
90.  Kali ghata ghir ayi re – Rafi and Lata Mangeshkar

Khazana: Lyrics – Rajendra Krishna; Music – C Ramchandra
91.  Ae chand pyar mera mujhse ye kah raha hai – Lata Mangeshkar

Malti Madhav: Lyrics – Pt Narendra Sharma; Music – Sudhir Phadke
92.  Baandh preeti phool dor – Lata Mangeshkar

Madhosh: Lyrics – Raja Menhdi Ali Khan; Music- Madan Mohan
93.  Pagadi pahan ke turredaar akadta kyun hai – Shamshad Begum, GM Durrani & othrs
94.  Mere dil ki nagariya mein ana – Lata Mangeshkar
95.  Meri yaad mein tum na aansoo bahana – Talat Mahmood

Malhaar: Lyrics – Indivar, Kaif Irfani, Shyam Lal; Music – Roshan
96.  Bade armaanon se rakha hai balam teri qasam – Mukesh and Lata Mangeshkar
97.  Ik baar agar tu kah de – Mukesh and Lata Mangeshkar
98.  Kahan ho tum zara awaaz do hum yaad kartey hain – Mukesh and Lata Mangeshkar
99.  Hota raha yun hi agar anjaam wafa ka – Mukesh
100.  Tara Toote duniya dekhe – Mukesh
101.  Dil tujhe diya tha rakhane ko – Mukesh
102.  Mohabbat ki qismat banaane se pahle – Lata Mangeshkar
103.  Garjat barsat bheejat – Lata Mangeshkar

Mukhadaa: Lyrics – Aziz Kashmiri; Music – Vinod, Shyam Sundar
104.  Ankhiyan mila ke ankhiyon ki neend chura ke na ja – Sulochana Kadam

Naadan: Lyrics – PL Santoshi; Music – Chic Chocolate
105.  Aa teri tasweer bana lun – Talat Mahmood (fast/slow)

Nageena: Lyrics – Shailendra, Hasrat Jaipuri; Music – Shankar Jaikishan
106. Tune haye mere zakhm-e-jigar ko chhoo liya – Lata Mangeshkar
107.  Kaisi khushi ki hai raat, balam mere sath jiya lahraye re – Lata Mangeshakr
108.  Roun main sagar ke kinare sagar hansi udaaye – CH Atma
109.  Dil beqaraar hai mera dil beqaraar hai – CH Atma

Nand Kishore: Lyrics – Narendra Sharma; Music – Snehal Bhatkar
110.  Baajey badhaai aaj Nandji ke dwaar – Lata Mangeshkar

Naujawan: Lyrics – Sahir Ludhyanvi; Music – SD Burman
111.  Thandi hawayen – Lata Mangeshkar

Pyar Ki Baatein: Music – Bulo C Rani, Khayyam
112.  Mast chandni jhoom rahi hai – Mukesh and Geeta Dutt (Lyrics – ML Khanna; Music – Bulo C Rani)

Raajput: Music – Hansaj Bahal, Husnlal Bhagatram
113.  Rastey pe hum khadey hain dil-e-beqaraar lekar – Suraiya (Lyrics – Kaif Irfani)

Sabj Baagh: Lyrics – Aziz Kashmiri; Music – Vinod, Gulshan Sufi
114.  Apni tasweer se kah do humein dekha na kare – Rafi and Asha Bhosle
115.  Dilliwaaley burey nahi dil lete hain dil dete hain – Shamshad Begum
116.  Mere dil ke tadapney ka tamasha dekhnewaaley – Lata Mangeshkar
117.  Yaad teri aayi to main chori chori royi re – Asha Bhosle

Sagaai: Lyrics – Rajendra Krishna; Music – C Ramchandra
118.  Ek din Lahore ki thandi sadak par – Rafi, Chitalkar and Shamshad Begum,
119.  Haseenon ki gadi mein ashiq ka ghoda – Chitalkar and Rafi
120.  Martey ko maare duniya… jhukti hai duniya jhukanewala chaahiye – Rafi, Chitalkar and Lata Mangeshkar
121.  Dil ki kahani kahna to chaahey haye ri qismat kah na sakey – Lata Mangeshkar
122.  Mohabbat mein aise zamaaney bhi aaye – Talat Mahmood and Lata Mangeshkar

Sainyaan: Music – Sajjad Hussain
123.  Khayalon mein tum ho – Lata Mangeshkar (Lyrics – Hasrat Jaipuri)

Sanam: Lyrics – Qamar Jalalabadi; Music – Husnlal Bhagatram
124.  Dil le gaya ji koi dil le gaya – Suraiya
125.  Main tujhe pukaarun sanam sanam – Rafi and Suraiya

Sazaa: Lyrics – Rajendra Krishna, Sahir Ludhiyanvi; Music – SD Burman
126.  Ho gayi re teri ho gayi re – Lata Mangeshkar
127.  O Roopnagar ke saudagar – Lata Mangeshkar and Pramodini Desai
128.  Dhak dhak jiya kare dhak – Lata Mangeshkar
129.  Aa gupchup gupchup pyar karein – Hemant Kumar and Sandhya Mukherjee
130.  Tum na jaaney kis jahan mein kho gaye – Lata Mangeshkar
131.  Aa ja aa ja tera intezaar hai – Talat Mahmood and Lata Mangeshkar
132.  Ye baat koi samjhaye re kyun aaj nazar sharmaaye re – Sandhya Mukherjee

Shokhiyan: Lyrics – Kedar Sharma, Himmat Rai Sharma; Music – Jamal Sen
133.  Aayi barkhaa bahaar padey bundan phuhaar – Lata Mangeshkar and Pramodini Desai
134.  Sapna ban saajan aye – Lata Mangeshkar
135.  Door desh se aa ja re – Suraiya and Lata mangeshkar
136.  Raaton ki need cheen li aankhon ke intezaar ne – Suraiya

Stage: Lyrics – Sarshar Sailani; Music – Husnlal Bhagatram, Sardar Malik
137.  Jagmagati diwali ki raat aa  gayi – Asha Bhosle (happy/sad versions)/ Lata Mangeshkar (sad)

Tarana: Lyrics – DN Madhok, Kaif Irfai, Prem Dhawan; Music – Anil Biswas
138.  Nain hue nain miley baawrey – Talat Mahmood and Lata Mangeshkar
139.  Bol papeehey bol hai kaun tera chitchor – Lata Mangeshkar and Sandhya Mukherjee
140.  Mose rooth gayo mora saanwariya – Lata Mangeshkar
141.  Beimaan torey nainwa nindiya na aaye – Lata Mangeshkar
142.  Seeney mein sulagatey hain armaan – Talat Mahmood and Lata Mangeshkar
143.  Jali jo shaakh-e-chaman.. Ek main hun ek meri bekasi ki – Talat Mahmood
144.  Wo din kahan gaye bataa jab is nazar mein pyar tha – Lata Mangeshkar

Special songs:

Now I present some special songs of the year which may not figure in any conventional category for awards, but deserve mention either for some quirkiness, or some special feature about them, or simply because they are too good but hidden and need to be brought out.  Most of the songs in the list I heard for the first time while researching for this post.

1. Magar ae haseena-e-bekhabar by Rafi and Sulochana Kadam from Dholak (1951), lyrics Aziz Kashmiri, music Shyam Sundar

This is a fabulous duet by Rafi and Sulochana Kadam. Its beauty is enhanced by Rafi’s voice being exact copy of his once idol, GM Durrani. I have mentioned somewhere that Ajit got to ‘sing’ some of the best songs in films.


2. Hazaron khwahishein aisi ki har khwahish pe dam nikale by GM Durrani from Ghayal, lyrics Ghalib, music Gyan Dutt

Now let us have the originl GM Durrani, singing a famous Ghalib ghazal, which has been sung by many singers. His version has a sweetnes which was Durrani’s trademark. A top singer in the 1940s, this song shows that while he might have lost his position, he had not lost his talent.


3. Bogi bogi bogi by GM Durrani and Shamshad Begum from Humlog, lyrics Vishwamitra Aadil, music Roshan

Since he may not figure in the conventional top awards, let us have more of GM Durrani. Roshan and Rock n’ Roll is a very unusual combination in a film in which he gave Lata Mangehskar’s Bahe ankhiyon se dhaar.


4. Damdi damdi paisa paisa jod jod kar by Kishore Kumar, Talat Mahmood and GM Durrani from Hamaari Shaan, lyrics Anjum Jaipuri, music Chitragupta

Continuing the GM Durrani trip, here is an atypical triad song with Kishore Kumar and Talat Mahmood. They represent three entirely different styles. While Kishore Kumar was naturally funny, GM Durrani would have to make efforts, and Talat could never be. How many songs we can think of which are sung by three male singers? So let us have this unusual triad fun song. (Picturised on Aga, David and Maruti?)


5. Aa teri tasweer bana lun by Talat Mahmood from Nadaan, lyrics PL Santoshi, music Chic Choclate

Talat Mahmood is a misfit in a comic song.  So we come to a style which is his forte.This song has a fast and a slow version. In the slow version Talat is in his elements. This was his peak period, when he belted out a large number of such ghazals in his velvet voice. Chic Choclate was C Ramchandra’s assistant. Picturised on Dev Anand, but video is not of good quality. So I am presenting its audio.


6. Saqi saqi aa mere… dekho pyala mer chhalke by Shamshad Begum from Shabistan, lyrics Qamar Jalalabadi, music Madan Mohan

When Shamshad Begum starts with a slow preamble and comes out of a huge cup you don’t know what to expect, but she switches to a full-throated, yet extremely melodious Dekho pyala mera chhalke. Cuckoo’s dance is irresistible, making Shyam almost jump out of his box seat. Madan Mohan was later found copying OP Nayyar in some songs, but does this song have the seeds of Kaun pardesi mera dil le gaya?


7. Jagmag diwali ki raat aa gayi by Asha Bhosle from Stage, lyrics Sarshaar Sailani, music Husnlal Bhagatram

Early Asha Bhosle, before she found her feet, makes an interesting study. If you are not told, you would think it was Geeta Dutt.


8. Ae dil na mujhse chhupa sach bata kya hua by Mukesh and Lata Mangeshkar from Baadal, lyrics Shailendra, music SJ

Madhubala starts with a very slow call. As soon as she hears Premnath’s response, she knows he is nearby. They come together and the song turns into a joyous duet with beautiful dance by the couple.


9. Baaje badhaai aaj Nandji ke dwar by Lata Mangeshkar from Nandkishore, lyrics Narendra Sharma, music Snehal Bhatkar

Snehal Bhatkar, Sudhir Phadke and Avinash Vyas from Maharshtra/Gujarat brought elegance to film music. This is a beautiful chorus song heralding the birth of Krishna.


10. Hua Raam ka janm badhaai by Asha Bhosle and others from Ram Janma, lyrics Saraswati Kumar Deepak, music Avinash Vyas

What a delight! This year also had a very melodious Ram janma badhaai song, sung by an unrecognizable Asha Bhosle. It has the stamp of Avinash Vyas.


11. Khel re khilone teri kaaya aani jaani re by Rafi and Sulochana Kadam from Dashavataar, lyrics Saraswati Kumar ‘Deepak’, music Avinash Vyas

Another song from Avinash Vyas. While this song may not be very well known, the readers would instantly recall Tora manwa kyun ghabraye re by Geeta Dutt from Sadhana (1958), composed by N Datta. N Datta might have taken Avinah Vyas’s consent. Mr Ashok Vaishnav in his Gujarati-Hindi film version songs has mentioned that this tune goes back to Rakh na Ramakadaane by Geeta Dutt in Gujarati film Mangal Phera (1949).


12. Hamari gali aao Shyam ankhiyan bichhaye by Zeenat Begum from Mukhadaa, lyrics Aziz Kashmiri, music Vinod

When Lata Mangeshkar had overtaken, you have this courtesan style singing from a bygone era.


13. Koi kis tarah raaz-e-ulfat chuupaye by Rajkumari from Hulchul, lyrics Khumar Barabanqvi, music Sajjad Hussain

From the bygone era Rajkumari is my special favourite as well as of many SoY regulars. This old-world mujra sung by her is picturised on Geeta Nizami, who eancts the emotions by sitting. I believe, this meant in the mujra tradition that the performer had reached a high point in art, where she did not have to do a seductive dance. You also see a young girl learning the trade with beautiful rhythmic clapping.


14. Mohabbat jata ke aankhein lada ke ke chale aa rahe hain hajamat kara ke by Rafi and C Ramchandra from Sagaai, lyrics Rajendra Krishna, music C Ramchandra

C Ramchandra was becoming Lata-centric, but there was a lot of variety in him. He had a special talent for the comic and light-hearted. Here he sings a duet with the versatile Rafi, picturised on Gope and Yaqub.


15. Lagi aag hai dil mein…kismet ke sitare doob gaye by Rafi and Lata Mangeshkar from Hulchul, lyrics Khumar Barabankvi, music Mohammad Shafi

I started the special songs with a Rafi duet. I end with an unheard absolutely marvelous Rafi-Lata duet, picturised on Dilip Kumar and Nargis. Everytime I come across such a gem, I shudder to think that but for the internet these songs were lost forever.


My special songs have stretched to 15 instead of the usual ten.  There are still many more which I would have liked to include.  But I stop here, and throw it open for comments and your views on:

And the winners are?

Best male playback singer

Best female playback singer (You can suggest Lata Mangeshkar and others in two parts)

Best duets (which may include triads and higher, and all males or all female songs)

Best music director

{ 54 comments… read them below or add one }

1 AK April 30, 2014 at 10:59 pm

When I mentioned Ayega aanewala in that category, I had two things in mind. One was Lata Mangeshkar rendering this song in her concerts in later years when she didn’t sound the same. The second was my fascination for other songs in Mahal, namely Ye raat phir na ayegi by Zohra Amabalewali and Rajkumari, and Ghabra ke jo hum sar ko takraayein to achchha ho by Rajkumari; and Lata Mangehskar’s numerous songs from other movies in 1949: Meri ankhon mein bas gaya koi re (Barsaat), Saajan ki galiyan chhod chale (Bazaar), Haye chanda gaye pardes chakori yahan ro ro marey (Chakori), Tumhaarey bulaane ko ji chaahta hai (Laadli), Bahaarein phir bhi ayengi (Lahore), Dil se bhula do tum humein (Patanga), Dard jaga ke thes laga ke chale gaye haye chale gaye (Sipahiya). As a listener these songs have left a tremendous impact on me. But my views are of a lay listener, and obviously I have to bow to an expert’s views.

2 AK April 30, 2014 at 11:06 pm

I was not questioning your choice, nor there can be any concept of someone having better choice than others.

3 ksbhatia May 1, 2014 at 12:21 am

AK’ji, SSW’ji,Mumbaiker’ji,Venkatraman’ji and all other members of SoY family . I wish to thank all of you for making me rich thru the ” golden songs ” of the 50s . In fact all the songs listed by each one have been my favourits at one time or the other . I was hardly 7 or 8 years old when i could judge the MDs by just listenning to prelude of the song . To me all the songs were melodious and rich in lyrical quality. The songs of 1951 had extended lives of three or four years till other songs with overlapping quality joins and ride the wave . Like Awara followed by Shri 420 , Deedar followed by Amar etc. There was no measure of ranking of songs during 50s . It was only thru Binaca geet mala and radio ceylon later when all these measures of ranking started . As an 8 year boy I had my own system which was based on…….1. the number of times the song played on the radio ….2. the number of times the song was played on the HMV record players thru Loud speakers in marriage functions and …..3. number of times the song played as sample in Record player or Music stores . In those times songs of Awara and Deedar were most popular. The choice could vary from area to area but my observation stands from central new delhi area . With such rich music of the 50s it is indeed very difficult to pinpoint the best . I have not listed my choice of the best ; will convey as early as possible.

4 mumbaikar8 May 1, 2014 at 12:27 am

You seem to be in very serious mode right now:)

5 SSW May 1, 2014 at 12:29 am

AK all those songs you mentioned are marvellous and if you look at the main melody some are more intricate than Ayega Aanewala. However, I like this song a lot because of the whole musical package.

6 AK May 1, 2014 at 6:13 am

KS Bhatiaji,
The factors you have mentioned helped the songs register in our consciosness. But now when we are making our choices, a very important factor is the musical quality of the songs. That is why you find Sapna ban saajan aye figure very prominently in everyone’s choice. I don’t know what is your recollection, but I do not remember having heard this song in those days. I first heard the song in the Internet era.

I am looking forward to your selection.

7 N Venkataraman May 1, 2014 at 3:05 pm

Nice thought (#98). It reminds me of the round in one of those reality shows where the contestants were asked to render a song in a different beat other than the original one. Say 4-4 in place of 3-2-2 etc. The meter could also be different. I would prefer Ravi’s composition.

8 SSW May 1, 2014 at 3:56 pm

Mr. Venkatraman
A group of us music lovers, used to play this game . Of course one had to fit the lyrics to a tune that diametrically opposed the mood. Like transposing “yahoo chahe koi mujhe junglee…” to “gam diye musht-a-qil, kitna nazuk hai dil” . Very irreverent.:-)

9 mumbaikar8 May 1, 2014 at 10:53 pm

One more unknown Rafi song from unkwown Movie, as well as, relativelly unknown MD.

10 mumbaikar8 May 4, 2014 at 7:06 am

Time for male singers.

Naseeb dar pe tere aazmane aya hun – Rafi

Meri yaad mein tum na aansoo bahana – Talat Mahmood

Shukriya ae pyaar tera shukriya – Talat Mahmood

Ek main hun ek meri bekasi ki – Talat Mahmood

Aa teri tasweer bana lun – Talat Mahmood

Jise dil mein basana chaha tha – Talat Mahmood

Apni nazar se unki nazar tak – Mukesh

Hota raha yun hi agar anjaam wafa ka – Mukesh

Hum tujhse mohabbat karke sanam – Mukesh

Roun main sagar ke kinare – CH Atma.

Music Director # 4
Naushad, Shankar Jiakishan and C. Ramchandra

11 AK May 4, 2014 at 12:04 pm

So Awara hun is your ‘Songs that became a surprise sensation’, too?

Happy to see CH Atma in your list. I think he had his best film songs in this year.

You must have given a thought to Mere labon pe dekho aaj bhi tarane hain. Personal choice obviously. Same with Ae jaan-e-jigar and the Malhaar choice from Mukesh’s three solos, I guess? Another song I like a lot is Main rahi bhatakanewala hun.

You have given the choice of best music directors in instalments. It would be helpful if you can give consolidated choice, with some observations.

Thanks a lot for sharing your selection.

12 mumbaikar8 May 5, 2014 at 6:05 pm


The element of surprise sensation is obviously there, not only in songs but also in singers and MDs, otherwise how can you explain the hysteria of singer Kuman Sanu for almost a decade and music director, singer Himesh Reshammiya’s success, I thank god for planting a seed of hero in his brain otherwise he might have been churning hits after hits till date.
Personally I feel, all the other singers were better than Kishore this year, C H Atma has 2 good songs his other song Dil beqaraar is equally good, the choice was almost a coin toss, but I do not agree that this was his best year, for me he had his best songs with O.P. Nayyar.

Mai rahi bhatakne walo hoon, yes I like that one too but I could not drop any of Talat’s song to accommodate that one, same with Ae jane jigar, Talat’s Shukriya ae pyaar won over. Malhar song that is my first choice of the three
Thanks for analyzing my choice.

13 N Venkataraman May 5, 2014 at 10:12 pm

Back with my comments on duets.
The MF duets account for roughly 20% of the total songs. 35% of the MF duets were shared between Md.Rafi-Lata (11%), C Ramchandra-Lata (9%), G M Durani-Shamshad (7%), Mukesh-Lata (4%) and Md.Rafi-Shamshad (4%). Rest (65 %) was shared between 60 male-female combinations.

If we look at it exclusively from the male singer’s angle, roughly 63% was shared between Md.Rafi (25%), G M Durani (14%), C Ramachandra (10%), Talat Mahmood (8%), and Mukesh (6%). Another 30 male singers shared the rest of the pie (37%).

How do the female singers fare in this respect? Lata Mangeshkar (35%), Shamshad Begum (18%), Asha Bhosle (11%) and Geeta Dutt (11%) together shared 75% of the total duets. Anoter 10% was shared between Sulochana Kadam (7%) and Suraiya (3%). Another 20 female singers shared the rest of the pie (15%).

Roughly 20% of the total songs (144) in your short list too are MF duets. Lata Mangeshakar, with roughly 67% dominates. Md Rafi with 32% is the leading male singer in the duets category, with another 55% shared almost equally between Mukesh, Talat Mahmood and C Ramchandra.

Manna Dey did not have any significant presence (solos and duets) in 1951.

Here I present my best 10 MF duet songs for the year 1951. The final ten was selected on my personal preference and also on the frame of mind and mood at the time of listening.

1. Seene Me Sulagate Hain Armaan by Talat Mahmood and Lata Mangeshkar, film Taraana, lyrics Prem Dhawan, music Anil Biswas

2. Nain mile nain hue baawre by Talat Mahmood and Lata Mangeshkar, film Taraana, lyrics Prem Dhawan, music Anil Biswas

3. Mohabbat Mein Aise Zamane Bhai Aaye by Talat Mahmood and Lata Mangeshkar, film Sagai, lyrics Rajendra Krishna, music C Ramachandra

4. Dar Lage Duneeya Se Balma by Talat Mahmood and Lata Mangeshkar, film Buzdil, lyrics Shailendra, music S D Burman

5. Bade Armaanon Se Rakhaa Hai Balam Teri Kasam by Mukesh and Lata Mangeshkar, film Malhar, lyrics Indeevar, music Roshan

6. Dam Bhar Jo Udhar Munh Phere by Mukesh and Lata Mangeshkar, film Awara, lyrics Shailendra, music Shankar-Jaikishan

7. Magar Ai Hasinaa E Bekabar by Md.Rafi and Sulochana Kadam, film Dholak, lyrics Aziz Kashmiri, music Shyamsunder

8. Nazar Phero Naa Hamse by G M Durani and Shamshad Begum, film Deedar, lyrics Shakeel Badayuni, music Naushad

9. Dhire Se Aaja Ri Ankhiya Me (Sad) by C Ramchandra and Lata Mangeshkar, film Albela, lyrics Rajendra Krishna, music C Ramachandra

10. Chhabi Teri Madhur, Man Men Mere Angaare Hain by Sudhir Phadke and Lata Mangeshkar, lyrics Narendra Sharma, music Sudhir Phadke

This list is not in any particular order. If I had to choose the best duet singers on the basis of a particular song, I would go for Md.Rafi and Sulochana Kadam (Magar Ai Hasinaa E Bekabar). If it is on the basis of overall performance then my choice would be Talat Mahmood and Lata Mangeshkar

14 AK May 5, 2014 at 11:49 pm

Your statistics again gives a wonderful insight. Without any planning, the M-F duets have the same proportion in my list as in the total population. It is interesting to note that GM Durrani should have more duets than Talat Mahmood and Mukesh.

We often talk about hit songs as a percentage of total songs sung by a singer. While Lata Mangeshkar accounted for 35% in the total duets she has 67% in my list. The same predominance was seen in solos too. I have to repeat, everyone got to sing, but she was in a different class.

Coming to your selection, #10 I have not heard, nor could I easily locate it. Naturally it was not there in my list. I would appreciate if you could send its link.

Rest is a matter of personal choice. The duets I like immensely missing from your list are:

1. Kaahe naino mein kajraa bharo – Mukesh and Lata
2. Aansoo thi meri zindagi by Rafi and Amirbai Karnataki

15 N Venkataraman May 6, 2014 at 12:09 am

Both the songs are good and I would not dispute if the later finds a place in the final ten.
Here is the link to Chhabi Teri Madhur, Man Men Mere Angaare Hain

16 AK May 6, 2014 at 9:29 am

It is a fabulous song. Sudhir Phadke is a very special composer. Thanks for sharing the song.

Beautiful poetry too. You rarely hear words like, Asha ke pallav sookh gaye or Ye vikal praan path haarey hain.

It seems the first word is ‘Sudhi’ and not ‘Chhavi’.

17 N Venkataraman May 6, 2014 at 8:26 pm

I am happy that you shared my liking for this song. Although I am not that good in Hindi, the lines that you have mentioned did influence me while listening. While selecting the best solo and duet songs, my first emphasis was on the rendition of the songs by the singers, since we are deciding on the best singers. But besides the rendition, the composition, the music and the lyrics do play an important role. Good lyrics are important for the singer(s) to bring about the essence and emotion within. I do not think the artist or for that matter the MD can bring out their best with ordinary lyrics. Just loud thinking

Yes, you are right. It is Sudhi. By the way the word ‘Sudhi’, in Bengali, means erudite or wise. Is the meaning same in Hindi. Or is it ‘wise friend’? Can you give me the meaning of the line ‘Sudhi teri madhur madhur pyare, par aansu mere khare hai’.

Thank you

18 arvindersharma May 6, 2014 at 9:08 pm

Venkataraman Ji,
Many thanks for this gem of a song.
And what a melodious voice Sudhir Phadke had. When he joined Lata,for a second or two, it seemed Rafi of vintage era was singing. But Sudhir Phadke had a distinct, very sweet tonal quality, which I found very soothing.
What a song, Venkataraman Ji, thanks once again.

19 AK May 6, 2014 at 9:41 pm

‘Sudhi’ has two distinct meanings – one which you have mentioned. The other which is the connotation here is ‘awareness’. You can appreciate its meaning by its derivative as an antonym, ‘besudh’.

20 N Venkataraman May 6, 2014 at 9:57 pm


Thank you very much. Now it is clear.

Here is a sample of my eccentricity.

I could trace the names of 107 films that were released in the year 1951. I feel there may be another 10-20 or even more (may be B and C grade films). I am not sure. One or two films may not belong to 1951 or it can be from some other language. I found the name Biyyallis (42) in one of the lists. It was a Bangla film. Similarly I found Parnetar, most probably a Gujarati film, in another list. I was not sure whether they had a Hindi version or not.
Out of the 107 films, I could not find even the first line of the songs for 21 films. The name of the MD was available for 20. I could not obtain any other details. That leaves us with 86 films.
I could trace the entire details (MD, singers, lyricist etc.) for roughly 711 songs (solos, MF duets, other duets, triads etc.) and for another 121 songs I could not get the name of the singers, other details were available. These songs were form the 86 films mentioned above. These songs may not be all. The details of some of the songs from these films too may be missing. That means we have 711+121=832 songs. On an average of 10 songs per film the songs from these 86 films could be (86X10) 860.I had based my percentage calculation on the 832 songs mentioned above. Female solos (50%), Male (10%), MF Duets (20%), other duets, triads etc (5%) and singers name not known (15%)
In one of my earlier comments, I had mentioned that the total songs and films for 1951 will be more 1000 and 110 respectively. In my final analysis the total number of songs can be much more than 1200.

Will be back soon on Best MDs

21 AK May 6, 2014 at 11:39 pm

Hindi Film Geet Kosh lists 97 films released in 1951 which had a total of 841 songs (average of 8.67 songs per film). If we take its margin of error as 5% (generally error of omission), we are talking about 102 films and 883 songs.

Your assessment of the total number of songs is on the higher side on account of two factors: you are adding a generous margin to the number of films, and you are taking an average of ten songs per film. I think the long term average number of songs per film is a little less than 9, even taking into account the humungous numbers of ‘songs’ in early films like Indrasabha. I would hesitate to put the number beyond 900. However, the distribution between types, i.e. male solos/female solos/duets/ mixed etc. should generally be the same over 900 or 1200.

The total number is more of academic interest. Once we cull out the good/memorable songs, say about 150 in the present case, the analysis becomes worthwhile. Your analytical interest (it is far from ‘eccentricity’) is adding an important dimension to the understanding of the overall picture of the songs in a particular year.

22 N Venkataraman May 6, 2014 at 11:42 pm

Sorry, I did not notice your comment earlier.
Yes, initially I too thought that the uploader had made a mistake.
I am happy that you liked the song. Thank you

23 mumbaikar8 May 7, 2014 at 4:15 am

Thanks for sharing beautiful Lata Sudhir Phadke duet.
Chhabi teri madhur madhur makes more sense to me, than Sudhi teri madhur madhur, as AK corrected it, it is Sudhi, but he did not give the meaning of the line, I would appreciate if any SOY member can explain it.

24 mumbaikar8 May 7, 2014 at 4:21 am

I am very sorry for misspelling you name, please pardon me for my error.

25 AK May 7, 2014 at 10:57 am

Ref you comment #122. Here is my attempt:

सुधि तेरी मधुर मधुर प्यारे और आँसू मेरे हारे हैं

Your sweet memory is in my heart, O my love!
But my tears have lost hope

26 N Venkataraman May 7, 2014 at 11:20 am

Thanks for your response.
Is it Aansu mere ‘hare’ hai or Aaansu mere ‘Khare’ hai?
To my ears it sounds Khare and I believe that the meaning of Khare is pure ore genuine. Please correct me if I am wrong.

27 arvindersharma May 7, 2014 at 11:56 am

I just heard the song again, and to my ears, it is ‘Khaare’ indeed.
AK Ji,
I have a feeling that ‘Sudhi’ in this context refers to a sad memory and in Hindi/Urdu poetry, ‘Khaare Aansu’ is used when we refer to extreme sadness, borne out of bitter memories of a great tragedy or personal loss.

28 AK May 7, 2014 at 5:07 pm

Venkataramanji, Sharmaji,
Yes, I heard it carefully; the word is खारे.

The word has been used as an antonym of ‘madhur’ (as in खारा पानी – ‘hard’/’saline’ water).

The only problem is that it is an odd word to be used in a poetic context. If you listen carefully, the word is never repeated again in the song, though it comes in the mukhadaa. I would have been happy with ‘haarey’. Did Narendra Sharma realise that the word does not sound too good?

Now the translation could be:

Your memory in my heart is sweet, my love!
But my tears are bitter

29 N Venkataraman May 7, 2014 at 5:46 pm

For a change we were discussing lyrics.
Thanks everybody and sorry for the trouble.

30 arvindersharma May 7, 2014 at 7:50 pm

AK Ji,
You have very lyrically ended this query. A hidden gem like this deserved such discussion.

31 N Venkataraman May 9, 2014 at 10:59 pm


My choice of best 5 music directors in order of preference for the year 1951 is as follows

1. S D Burman
2. Anil Biswas
3. Shankar-Jaikishan
4. Roshan
5. Jamal Sen

32 AK May 10, 2014 at 6:09 am

We have come to expect detailed answers from you.

33 N Venkataraman May 10, 2014 at 10:57 am

I had a long-drawn (self) deliberation, before I finalised my list, as was my practice. (Had I been that serious in other matters too in my life then…….hmmm) Then I started comparing it with your views and other comments. I found you have said it all in your keynote introduction under the captions ‘Musical landmarks’ and ‘Other important musical compositions’.
I thought I would turn off the wits out our readers and decided to place only the list.

34 mumbaikar8 May 11, 2014 at 6:52 am

Consolidating music director choice, so many music directors have their share this year I want to acknowledge as many as I can, I have divided them in groups

1 S D Burman I have given my reason for that.

2 Anil Biswas and Sajjad Husain the chachajis in one group

3 Roshan and Madan Mohan both of them promising with three movies each.

4 Naushad, Shanker Jaikishen and C Ramchandra for popular songs.

5 Jamal Sen and Shyam Sunder

Jamla Sen for significant debut and Shyam Sunder has given an outstanding album in Dholak.
I like all the songs and truly believe that not only, he gave remarkably good music but he made Sulochana Kadam sing so beautifully, had she continued singing the way she sang in Dholak she could have given run for their money to all the golden era singers including Lata and Geeta.

I have added my 5 best lyrics too.

Tadbeer se bigdi hui taqdeer bana le – Sahir

Tum na jaaney kis jahan mein kho gaye – Sahir

Dam bhar jo udhar munh phere O chanda – Shailendra

Meri yaad mein tum na aansoo bahana – Raja Menhdi Ali Khan

Bhagwan do ghadi zaraa insaan ban ke dekh – Rajendra Krishna

35 AK May 11, 2014 at 9:57 am

You have presented your favourite MDs in a very interesting grouping. This gives a new approach to look at this category. It would be useful when I write my Wrap-Up. Thanks a lot.

On lyrics, we have had a long discussion earlier. My offer still stands.

36 Ashok M Vaishnav May 28, 2014 at 5:07 pm

Best Playback Singer – Male
The first sorting, based on List of Memorable Songs, threw up Mohammad Rafi’s songs from Deedar only. However, when I have finally sat down to write down my views, I have had the benefit of further additionally distilled inputs from Shri N Venkataraman, Mohammad Rafi’s share was a good 27 % as compared to Talat Mahmood (18 %) and Mukesh (15%), which made me go for a wider search.
In that search, I did find several interesting songs by Mohammad Rafi, but only one that can cut the bar here. I would like to especially mention tow songs from Aawara – strictly not the solos – Naiya Teri Mazadhar and Pavitra Sita Mai Ko Tune Diya Vanavas. These songs seem to represent the future trend of songs in the similar genre – Male folk songs filmed other than on lead roles and so called background songs. These are the types of songs where versatility of Moahammad Rafi’s tonal variations would be play at its full variations, and make such genres as his almost exclusive domain.
I have short-listed two songs each for Mukesh, Talat Mahamood , Mohammad Rafi and Others.
Ae Jaan-e-Jigar Dil Men Samane Aa Ja – Aaram – Anil Biswas
Dil Tujhe Diya Tha Rakhane Ko – Malhaar – Roshan
Talat Mahmood:
Shukriya Ae Pyaar Tera Shukriya – Aaram – Anil Biswas
Ek Main Hun Ek Meri Bekasi Ki Shaam Hai – Tarana – Anil Biswas
Mohammad Rafi:
Naseeb Tere Dar Pe Aajmaane Aaya Hun – Deedar – Naushad
Duniya Ek Kahaani Re Bhaiyaa Duniya Ek Kahani – Afasaana – Husnlal Bhagatram
[N.B. This is song another version too.]
Roun Main Sagar Ke Kinare – CH Atma – Nageena – Shanker Jaikishan
Hazaron Khwahishein Aisi ki Har Khwahish Pe Dum Nikle – G M Durrani – Ghayal – Gyan Dutt
I hereby cast my vote for Ae Jaan-e-Jigar Dil Men Samane Aa Ja – Aaram – Anil Biswas – Mukesh in this category.

37 AK May 28, 2014 at 6:07 pm

Thanks a lot for your detailed comments. I was interested in seeing where you place Aawara hun. One more confirmation that it can be relegated to the category of ‘Songs that became a surprise sensation’.

38 Ashok M Vaishnav May 30, 2014 at 2:22 pm

Best Playback Singer – Female – Other than Lata Mangeshakar :

At a first glance, Lata Mangeshakar’s dominance appears so overwhelming that one would feel that very special efforts would be called for in putting together songs by other female singers in the numbers to match those of Lata Mangeshakar.

So, I made a double check with every possible song that I could lay hand from “Memorable Songs’ as well as choices indicated by other participants in the discussion, and then superimposing these with a through check from HFGK as well.

Here is what I would like to present here:

Parul Ghosh – Aandolan – Prabhu Charanao Men Aya Pujari – Pannalal Ghosh –

Shamshad Begum – Awara – Ek Do Teen Aa Ja Mausam Hai Rangeen – Shanker Jaikishan –

Geeta Dutt – Baazi – Aaj Ki Raat Piya Dil Na Todo – S D Burman –

Sulocahana Kadam – Bade Bhaiya – Ghadi Ghadi Dil Bhar Aaye – Premnath

Sulocahana Kadam – Bade Bhaiya – Sada Khush Rahe Tu – – Premnath

Shamshad Begum – Bahaar – Duniya Ka Mazaa Le Lo – S D Burman –

Sulochana Kadam – Damaad – Dil Mera Chain Na Paye – Shami –

Rajkumari – Badi Bahoo – Ramayya Bin Neend Na Aaye – Anil Biswas –

Suraiya – Do Sitare – Ho Mere Dil Ki Dhadkan Men Yeh Kaun Sama Gaya – Anil Biswas –

Amirbai Karnataki – Ghaayal – Yeh Nazarein Yeh Nazarein Milakar Bachana To Dekho – Gyan Dutt –

Asha Bhosle – Ghazab –Nazar Mila Ke Muska Ke – Nisar Bazmi –

Rajkumari – Hulchul – Koi Kis Tarah Raz Ulfat Ke Chhipaye –

Sulochana Kadam – Mukhadaa – Akhiyaan Milake Akhiyon Ki Neend Chura Ke Na Ja – Shyam Sunder –

Shamshad Begum – Saiyaan – Meri Jaan Muhabbat Karo Chupke Chupke – Sajjad Hussain –

Suraiya – Shokhiyan – Raaton Ki Neend Chheen Li – Jamal Sen –

Sandhya Mukherjee – Sazaa – Ye Baat Koi Samazae Re – S D Burman –

One can probably feel that most of the songs here have been forcefully fitted here. Well, that does seem to be the case. How can we afford not to meaningfully look at other than 40 % space that is occupied by Lata Mangeshkar ? In the 60 % of the space that is occupied by female singers other than Lata Mangeshkar, only Geeta Dutt (Baazi) and Shamshad Begum (songs of Bahar and one song from Awara) are in some sort of competition with Lata Mangeshkar songs in 1951.

Does this mean Lata Mangeshkar has occupied first slot in a manner where other filmmakers or music directors could no more afford (her the then price or livability of her time) ? Or is it that there are some vocal slots which Lata Mangeshkar could not measure upto (as in Baazi or Bahar or Awara songs) necessitating falling back on the best available option for such demands – the gap which Asha Bhosle seems to have exploited well in the future and created a respectable space so as to maintain a healthy duopoly ?

39 AK May 30, 2014 at 8:49 pm

I have to first thank you for really going beyond my list and give a wider list. My list covered almost all the songs, which can be considered memorable. Therefore, you are right, I would not like to include any song that seems laboured. Fortunately, 1951 was an year when singers other than Lata gave a number of absolutely memorable songs, and it is easy to find ten very good songs from the list, without appearing forced. Since it is very difficult to include and compare Lata with other singers, some readers suggested that I do the female solos in two parts.

Interesting question you have posed about Lata vis-à-vis other singers. It must be a combination of reasons: (i) Diversity – Some music directors, such as SD Burman, were very versatile with all kinds of singers. Plus, there could be situations demanding different style of singing; (ii) The Vintage Era singers still being in top form – As the songs of Rajkumari, Zeenat Begum, Shamshad Begum, Suraiya in the year show, there was no fundamental decline in their singing, and, therefore, some MDs would use them in the natural course; (iii) Necessity – It might be physically impossible for one singer to cope up with the entire demand; (iv) Need to create competition – The power equation was soon changing between MDs and Lata Mangeshkar, and this created an uncomfortable situation. Therefore, the MDs would deliberately use other singers to deter supply monopoly.

40 Ashok M Vaishnav June 1, 2014 at 10:45 am

Best Playback Singer – Lata Mangeshkar’s Top Notch Songs

The task of selecting 10 songs may be a bit difficult, so I would list one song for a film, and then choose one of those as my favorite song. BTW, that also had turned out to be tough enough task, since there are quite a few films where there are more than one Lata Mangeshkar songs that can easily find place here.
Her we go:
Anil Biswas – Aaraam – Balamawa Naadan..Balamawa Ja Ja Ja
Anil Biswas – Badi Bahoo – Badli Teri Nazar To Nazare Badal Gaye
Anil Biswas – Tarana – Beimaan Tore Nainwa Nindiya Na Aaye

Shanker Jaikishan – Awara – Jab Se Balam Ghar Aaye
Shanker Jaikishan – Baadal – Do Din Ke Liye Mehamaan Yahan
Shanker Jaikishan – Kaali Ghata – Humse Na Poochho Koi Pyar Kya Hai
Shanker Jaikishan – Nageena – Tune Haaye Mer Zakhm-e-Jigar Ko Chhoo Liya

Madan Mohan – Adaa – Sanwari Surat Man Bhaayi Re Piya

C Ramachandra – Albela – Balama Badaa Naadan Re

S D Burman – Buzdil – Jhan Jhan Jhan Jhan Payal Baje
S D Burman – Sazaa – Tum Na Jaaney Kis Jahan Men Kho Gaye
S D Burman – Naujawan – Thandi Hawayen Laharaa Ke Aayen

Naushad – Deedar – Duniyane Teri Duniyawale, Sukhchain Hamar Chhin Liya
Naushad – Jadoo – Gin Gin Taarey Main Haar Gayi Raat Ko

Sajjad Hussain – Sainyaan – Khayalon Men Tum Ho
Sajjad Hussain – Hulchul – Ek Jhoothi Si Tasalli Wo Mujhe De Ke Chale

Roshan – Hum Log – Bahe Ankhiyon Se Dhar Jiya Mera Bequarar
Roshan – Malhaar – Garajat Barsat Bheejat

Jamal Sen – Shokhiyan – Sapan Ban Saajan Aaye

The task of choosing one out of these songs is still monumental! So, Let me apply the filter that I used to apply, when I used to buy records. I would have budget of buying only one Extended Play record a month or one Long Play every three months. So I would choose that recotrd which had a song which could be listened on the radio bery rarely. On that day, I had toss up between a Super EP ( nine songs) containing likes of Saanwari Surat Man Bhaayi and Beimaan Tore Nainwa and few others versus EP of Nageena, containing Tune Haye Re …

I would roll the dice on the same ‘rule’ and chose Tune Haye Mere Zakhm –e – Jigar Ko Chhoo Liya – – (Nageena – Shanker Jaikishan) as my most favorite among Best Female Singer – Lata Mangeshakr – song for 1951.

Of course, Khoosiyon Ke Din Manayae Ja .. Abhi To Main Jawan Hun – – Afsaana – composed by Husnlal- Bhagatram would require a classification by itself.

41 AK June 1, 2014 at 12:53 pm

You have done a thorough exercise again, but the criteria you have chosen for the final winner is very unusual! By whatever means you arrive at, Abhi to main jawan hun is a class by itself.

42 Ashok M Vaishnav June 3, 2014 at 9:55 am

Best Duet: Other Than Mohammad Rafi + Duets.

A detailed look at the duets available in 1951 also reveals quite interesting trends. Hence, I have, once again, chosen to go beyond the brief and presented here a wider base of selection.

The first and foremost, and also so obvious, observation is substantive dominance of duets, in which one singer is Mohammad Rafi. Among these, Mohammad Rafi + Lata Mangeshakr duets form the biggest block.

Hence, we first take a look at Other Than Mohammad Rafi + Duets.

Here is one of the most outstanding chorus- and also one of the most prominent versions of Bankimchandra Chattopadhyay’s iconic song Vande Mataram :

Sudha Malhotra, Parul Ghosh, Manna Dey, Shaliesh Kumar and chorus – Aandolan – Pannalal Ghosh – Vande Mataram –

We also have two of very well known all female duets :

Shamshad Begum / Lata Mangeshkar – Deedar – Naushad – Bachpan Ke Din Bhoola Na Dena –

Sandhya Mukherjee / Lata Mangeshkar – Taraana – Anil Bishwas – Bol Papihe Bol, Kaun Tera Chitchor –

For the rest of the songs I have restricted the selection to one song a film, where more than one song also would have qualified.

GM Durrani + appear in several duets songs, many of which do not seem to have crossed the magic line of popularity. But, the fact remains that in other than Mohammad Rafi, Mukesh and Talat Mahmood + subset duet zone, G M Durrani has quite respectable numbers.

G M Durrani / Shamshad Begum – Deedar – Naushad – Nazar Na Phero Hum Se, Hum Hai Tum Par Maranewalon Mein –

G M Durrani / Shamshad Begum – Ek Tha Ladka – Murari – Dil Poochhe Tumse Baat, Balma Tun Kahe Do Hum Se Saaf
G M Durrani / Shamshad Begum – Ek Tha Ladka – Raj Hans Kataria– Ek Din Tumne Kaha Tha, Hum Tumhare Aur Tum Hamare –

G M Durrani /Lata Mangeshkar, Chorus – Hum Log – Roshan – Gaaye Chala Jaa,… Ek Din Tera Zamana Aayega –

One can appreciate Kisore Kumar’s playfulness fully scaling up in SDB song, but song under Chitragupt baton is a good surprise! Remember we are in 1951, when Chitragupt has not yet carved out his niche….:

Kishore Kumar / Shamshad Begum – Bahaar – S D Burman – Qusoor Aapka, Huzoor Aapka –

Kishore Kumar / Shamshad Begum – Hamari Shaan – Chitragupt – Aayi Bahar Hai, Hum Bequarar Hai, Kaisi Musibat Hai –

Talat Mahmood / Geeta Dutt maintain pairing (in Sabistaan) even when music directors have changed:

Talat Mahmood / Geeta Dutt – Sabistaan – C Ramchandra – Kaho Ek Baar Mujhe Tum Se Pyar Hai –

Talat Mahmood / Geeta Dutt – Sabistaan – Madan Mohan – Hai Yeh Mausam-e-Bahaar, Sun Ja Jawani Ki Pukar –

Talat Mahmood /Lata Mangeshkar combination blaze the trail (and stand up to some of the greatest Mukesh/ Lata Mangeshakr duets)

Talat Mahmood / Lata Mangeshkar – Buzdil – S D Burman – Dar Laage Duniya Se Balama Ho –

Talat Mahmood / Lata Mangeshkar – Sazaa – S D Burman – Aaja Tera Inzaar Hai –

Talat Mahmood/ Lata Mangeshkar – Sagai – C Ramchandra – Mohabbat Mein Aise Zamaaney Bhi Aaye –

Talat Mahmood / Lata Mangeshkar – Taraana – Anil Bishwas – Nain Mile Nain Hue Banware –

Talat Mahmood / Lata Mangeshkar – Taraana – Anil Bishwas – Seene Mein Sulagate Hain Armaan –

Interestingly Mukesh is also paired with Geeta Dutt, in the duets other than those with Lata Mangeshakar.

Mukesh / Geeta Dutt – Pyar Ki Baaten – Bulo C Rani – Mast Chandani Zoom Rahi Hai, Naach Rahi Hai, Mastii Ki Barsaat Hai

Mukesh / Geeta Dutt – Pyar ke Baaten – Bulo C Rani – Aansoo Bahao Tum Udhar, Hum Is Taraf Aahen Bhare –

Mukesh / Lata Mangeshkar duets cast their usual charm:

Mukesh / Lata Mangeshkar – Awara – Shanker Jaikishan – Dum Bhar Jo Idhar Mounh Fere –

Mukesh / Lata Mangeshkar – Baadal – Shanker Jaikishan – Ae Dil Na Mujhse Chhoopa –

Mukesh / Lata Mangeshkar – Badi Bahoo – Anil Bishwas – Kaahe Nainon Men Kajra Bharo –

But three duets from Malhar, not only would force entry into any sets of filters – they are so different, and yet each one has its own aura of appeal. Whenever Roshan and Mukesh have collaborated, Hindi Film Music has been the greatest gainer…..

Mukesh / Lata Mangeshkar – Malhar – Roshan – Bade Armaanon Se Rakhaa Hai Balam, Teri Kasam –

Mukesh / Lata Mangeshkar – Malhar – Roshan – Ek Baar Agar Tu Kah De –

Mukesh / Lata Mangeshkar – Malhar – Roshan – Kahaan Ho Tum Jara Aawaz Do Hum Yaad Karate Hain –

In the also ran category, duet from Sazaa would break any barrier and qualify in the top rung, in almost any sort of classifications:

Hemant Kumar / Sandhya Mukherjee – Sazaa – S D Burman – Aa Gup Chup Gup Chup Pyar Karein –

Khan Mastana / Asha Bhosle – Gazab – Nissar Bazmi – Tere Karan Sab Ko Chhoda, Preet Nibhana Ho –

43 AK June 3, 2014 at 10:45 pm

You have put everything in one place. Are you discarding Chitalkar-Lata Mangeshkar duets?

Among the songs you have taken from outside my list, Vande Maataram from Aandolan is very melodious. Talat Mahmood-Geeta Duat’s Hai ye mausam-e-bahaar from Shabistan and Mukesh-Geeta Dutt’s Aansoo bahaao tum udhar from Pyar Ki Baatein are also excellent. Thanks a lot for adding these songs.

44 Ashok M Vaishnav June 5, 2014 at 1:15 pm

Best Duet: Mohammad Rafi+ Duets – Other Than Mohammad Rafi / Lata Mangeshkar.
Mohammad Rafi+ duets more or less follow the pattern of distribution of male playback singer solo songs, in so far as the quantitative stack up is concerned. In fact the universe of such songs is vast enough to further split this category in to Duets of Mohammad Rafi – with Others and Mohammad Rafi duets with Lata Mangeshkar

Mohammad Rafi seems to have built roads with quite a wide range of music directors. He already seems to have found the formula for his range, temperament and natural aptitude to blend with the co-singer, thereby creating a distinct synergy with the co-singer.

Mohammad Rafi / Amirbai Karnataki – Bikhre Moti – Ghulam Mohammad – Ansoo Thi Meri Zindagi –

Mohammad Rafi / Sulochana Kadam – Dashavatar – Avinash Vyas – Khel Re Khilone Teri Kaya Aani Jaani Re –

Mohammad Rafi / Geeta Dutt – Hamari Shaan – Chitragupt – Ye Taaron Bhari Raat, Humen Yaad Rahegi –

Mohammad Rafi / Geeta Dutt, Chorus – Naujawan – S D Burman – Jhara Zoom Le Zoom Le, Jawani Ka Hai Jamana Suhaana –

Mohammad Rafi / Asha Bhosle -Mukhada – Vinod – Jaa Teri Meri, Meri Teri, Too Too Too, Kyon Dekhate Ho –

Mohammad Rafi / Asha Bhosle – Jauhari – Pandit Harnbans Lal – Kismat Ka Sun Faisla, Jab Lagi Chot Pe Chot –

Mohammad Rafi / Asha Bhosle – Sabz Baag – Vinod – Apani Tasveer Se Kahe do, Humein Dekha Na Kare –

Mohammad Rafi / Shamshad Begum – Naazneen – Ghulam Mohammad – Hum Teeri Ri….Nakharen Dikhala Ke Dil Le Liya –

Mohammad Rafi/ Suraiya – Sanam – Husnlal Bhagatram – O Sanam… Tuzko Pookarun O Sanam

45 AK June 5, 2014 at 11:59 pm

You have some knack for micro-analysis! Who could have thought that duets could be dissected in three parts – non Rafi duets, Rafi with ‘other’ singers, and now you are to come up with Rafi-Lata Mangeshkar duets?

From your list I have put Khel re khilaune in ‘Special’ songs. Aansoo thi meri zindagi and Tujhko pukaarun sanam sanam are there in my list. Among the other songs you have added, Apni tasveer se kah do and Ye taaron bhari raat are quite pleasant to hear. Thanks a lot for adding these songs. Looking forward to your further instalments.

46 Hans June 6, 2014 at 9:17 pm

I have been absent from SOY due to various reasons.

There was a discussion about meaning of the word ‘sudhi’ in the song ‘sudhi teri madhur-2’ (maalati maadhav). The meaning given by AK in the end is correct. Since I know some Hindi so I would like to explain things to supplement it.

‘Sudhi’ is written in Hindi in two forms one with short vowel ‘i’ and another with long vowel ‘ee’. The basic meaning of ‘sudhi’ with short vowel is memory, with many other meanings derived from the same. ‘Sudhi’ is also written as ‘sudh’ which also has the same meaning i.e. memory. This was used in the famous classic song by Lata ‘laage na mora jiya’ (ghoonghat – music Ravi). The word ‘sudh’ comes in the second antara, ‘tune meri sudh bisraai, bedardi tohe laaj na aayi’. The second word ‘sudhee’ with long vowel has the same meaning which was referred to by Venkatramanji in his post no. 116. It has the same meaning ‘a wise person’ in Hindi as in Bengali.

Narendra Sharma was a great poet and understood all this nuances and made use of this word very intelligently in the song. He has shown the contrast in the whole mukhda with intelligent use of words. The song is a ‘virah’ song where the heroine is remembering her lover and feeling sad. He shows the contrast in the first line where he says the memory is sweet but the tears which are flowing are khare (he refers to khare because the tears are saline in taste). In the second line also he shows the contrast when he says ‘nainon se bahe jal ki dhara, man men mere angarey hain’. What meaningful words.

Where are these poets and shayars now. Narendra Sharma was one of the poets who predominantly used hindi words in those days of urdu dominance. Bharat Vyas, Neeraj and later on Indeevar were the other prominent lyricists using hindi as base. Has anybody noticed that the renowned urdu lyricist Sahir Ludhianvi provided lyrics in pure Hindi for all the songs of the 1964 film Chitralekha (music by Roshan), which was based on the story of the classic novel of the same name by Bhagwati Charan Verma.

47 mumbaikar8 June 6, 2014 at 10:58 pm

Hans ji,
Thanks, for the detailed clarification of the song, Narendra Sharma did provide some very good peotry in HFM I was mesmerized by his choice of words in “Nian diwane ek nahin mane”.
Good poetry and shayri is thing of the past, the young generation I suppose does not have time to comprehend and enjoy the nuances.

48 Ashok M Vaishnav June 7, 2014 at 11:26 am

Best Duet: Mohammad Rafi / Lata Mangeshkar Duets.

The Mohammad Rafi / Lata Mangeshkar duets, here, easily establish the complete trend that we will witness in the future – each of the players tends to scale a different height, jointly and severally, with the support and healthy competition arising from the natural differences; music directors getting full play of the scale, rhythm and tone, by being able to synthesize male and female voice, thereby creating duet songs that match melody and quality of a solo; listeners getting sharply divided in to pro-Lata and pro-Rafi camps as they get to make direct comparison at one place, etc.

The songs here can be extrapolated into future, both quantitatively and qualitatively, in terms of the scale at which these two personalities shall straddle over the Hindi Film Music in the company of a new breed of music directors like Roshan, Madan Mohan, Ravi, Khayyam, OP Nayyar and the like, till the advent of that Aradhana event, barring some period of the mutual estrangement.

Mohammad Rafi / Lata Mangeshakr – Daaman – K Datta – Yaad Aane Lagi Dil Dukhane Lagi –

Mohammad Rafi / Lata Mangeshkar – Deedar – Naushad – Dekh Liya Maine, Kismat Ka Tamaashaa Dekh Liya –

Mohammad Rafi / Lata Mangeshkar – Dholak – Shyam Sunder – Aise Rasiya Ka Kya Aitbar –

Mohammad Rafi / Lata Mangeshkar – Dholak – Shyam Sunder – Ki Ek Pal Ruk Jaana Sarakar –

Mohammad Rafi / Lata Mangeshkar – Ek Nazar – S D Burman – Mujhe Preet Nagariya Jaana Hai, Koi Hai Jo Rasta Batalaa De

Mohammad Rafi / Lata Mangeshkar – Hulchul – Mohammad Shafi – Preet Jata Ke Meet Bana Ke Bhool Na Janaa –

Mohammad Rafi / Lata Mangeshkar – Kaali Ghata – Shanker Jaikishan – Kaali Ghata Ghir Aayee Re –

Mohammad Rafi / Lata Mangeshkar – Kaali Ghata – Shanker Jaikishan – Madhur Milan Hai Sajana –

Mohammad Rafi / Lata Mangeshkar – Khazaana – C Ramachandra – Mujhe Tum Se Bahoot Hai Pyaar, Nahin Jee Jara Jara –

Mohammad Rafi / Lata Mangeshakar – Nadaan – Chic Choclate – Aisa Kya Qasoor Kiya –

Mohammad Rafi/ Lata Mangeshkar / Geeta Dutt – Nakharen – Hans Raj Behl – Humne Bhi Pyar Kiya, Pyar Kiya –

Mohammad Rafi / Lata Mangeshakar – Sagaai – C Ramchandra – Udahr Se Tum Chale Aur Idhar Se Hum, Mohabbat Ho Gai Bas Ek Nazar Se –

Mohammad Rafi/ Lata Mangeskar / Chitalkar – Sagaai – C Ramchandra – Jhukati Hai Duniya, Jhukanewala Chaahiye –

Mohammad Rafi / Lata Mangeshakr – Sabz Baag – Vinod – Jo Koochh Kahena Hai Ishaaron Se Kahenge Hum –

Mohammad Rafi / Lata Mangeshkar – Stage – Husnlal Bhagatram – Dil Le Ke Dil Diya Hai, Ehasaan Kya Kiya Hai –

Mohammad Rafi / Lata Mangeshkar – Ustad Pedro – C Ramchandra – Duniyawalo Hosh Sambhalo –

Personally, my most favorite song among all these duets is Taraana’ Talat Mahmood + Lata Mangeshkar duet – Nain Mile Nain Hue Baanware.

49 Ashok M Vaishnav June 9, 2014 at 11:19 am

Best music director:

If we pick up first five music directors on the basis of their share, either on the basis of number of films or number of songs in the year 1951, S D Burman, Shanker Jaikishan, Anil Biswas and C Ramchandra would get selected in the first round itself. The contest for the fifth slot would be matter of photo-finish among Roshan, Naushad, Madan Mohan or Husnlal Bhagatram.

So, I would like to add an additional filter – number of songs that attained popularity (too) / out of the total songs composed. S D Burman scores 32 out of 47 (6 films), Shanker Jaikishan scores 28 songs out of 35 (4 films), Anil Biswas scores 12 out of 25 (3 films), Roshan scores 13 out 17 songs in 2 films. C Ramachandra could have gatecrashed into this club even if there was only Albela.

In an apparently non – A class film, C Rramachandra has, in one clean sweep of a baton, juxtaposed the record-breaking rocking duet songs – Shola Jo Bhadake Dil Mera Dhadake, Sham Dhale Khdiki Tale, Bholi Surat Dil Ke Khote, Deewana Parwana Shama Pe Le Aaya Dil Ka Nazrana – with superlatively sweet melodies – Balma Bada Naadan Re, Dil Dhadake Nazar Sharmaaye and Dheere Se Aa Ja Ri Akhiyan Mein. If the duets kept cash registers ringing in one of the greatest commercial success of its time, Lata Mangeshkar solos satisfied the appetite of the elite connoisseurs with as much composure as any of the best of Anil Biswas or SDB or Roshan or Madan Mohan song in the class would do.
If performance of any one single film has to be taken as the consideration, than the choice is a toss among S D Burman (Baazi), Shanker Jaikishan (Awara), Roshan (Malhaar), Naushad (Deedar) or C Ramchandra (Albela).

50 AK June 9, 2014 at 2:46 pm

Thanks a lot for your analysis. I would have to take a mix of parameters.

51 mumbaikar8 April 1, 2015 at 4:07 am

We had six songs from Sagai in our winner’s list, we still
missed this duet.
Try to listen to it more than once and see how it grows.

52 AK April 1, 2015 at 7:12 am

Good song, but I would put ignored after the six.

53 AK April 1, 2015 at 7:12 am

Good song, but I would put it after the six.

54 Satish April 28, 2015 at 10:46 pm

Dear AK ji, for 1951 best songs, 1 very beautiful and unusual melody structure is “Kaali Kaali Raat Ye Bada Sataaye from Sainyan in 1951″ by Sajjad Hussein..this is an amazing song, and in my view is the best song in 1951, although SJ,Madanmohan,Roshan, SDB etc are all my favourites.

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