Since I started this series, readers have been suggesting names of various composers. Some have been covered; others would follow in due course. But no one has mentioned the name of Pardesi so far. I am not surprised; no one fits the theme Forgotten Composers Unforgettable Melodies better than Pardesi. Pardesi who? I do not know, nor do I know anyone who knows anything about him. Yet there is one song composed by him which is so unforgettable that Pardesi merits a post in this series. That song is an incredibly sweet Mukesh-Lata Mangeshkar duet Chanda re mori patiya le ja from the film Banjarin (1960).
When all sources fail, you can trust our living encyclopaedia Arunkumar Deshmukhji (whom I had the pleasure to meet recently in Mumbai) would fill in some details. He informs me that the name of Pardesi was Chand Pardesi. He has given music to the following films:
Banjarin (1960),
Khufia Mahal (1964)
Parivartan (1973, with MK Pujari)
Kitne Paas Kitne Door (1976)
Banmanush (1979)
Ye Kaisa Nasha Hai (1981)
Bhai Akhir Bhai Hota Hai (1983)
Ek Baar Chale Aao (1983)
None of the films rings a bell. But the duet Chanda re mori patiya le ja from obviously an obscure movie would figure near top of my list of the best of Mukesh-Lata. It is songs such as these which induced me to start this series.
A search of YouTube yields some more songs, not in the same class but quite good in their own right. Here are some of Pardesi songs.
1. Kya doge dil le ke by Asha Bhosle from Bankelal (1972), originally started as Rasiya, lyrics Pandit Madhur
The video is not available. But very obviously it seems to be a fast-paced mujra song. I would rate it among one of the better Asha Bhosle songs, but sadly it is virtually extinct.
2. Zindagi hai to haseeno ka salam ayega by Manna Dey and Suman Kalyanpur from Khufia Mahal (1964), lyrics Zafar Rahi
This is an interesting qawwali from a B-grade fantasy film, picturised on an urankhatola. You can see Jairaj leading the men’s team. Tun Tun is a recognisable face in the ladies group.
3. Pyar hoga ji iqrar hoga ji by Asha Bhosle from Khufia Mahal, lyrics Shyam Hindi
A typical B-grade dance song. The lady (whom I do not recognize) is cavorting around Jairaj, who does not seem to be moved and appears suspicious of her intentions.
4. Sar se anchal dhalakne laga hai by Suman Kalyanpur from Khufia Mahal, lyrics Zafar Rahi
An unknown song, but it has quite a pleasant beat and typical Suman Kalyanpur melody.
5. Do lafzon ki hai mere sanam by Suman Kalyanpur from Khuafia Mahal, lyrics Shyam Hindi
Another Suman Kalyanpur song, but not much distinguishing about it.
6. Chanda re mori patiya le ja from Banjarin (1960), lyrics Pandit Madhur, music Pardesi
And now comes the song which puts everything in shade. Suddenly you have a Pardesi creation which ranks with the best by any great composer, and makes the song and Pardesi unforgettable for me. The credits mention Ratan Pictures as the producers, Jaswant Jhavei as the director, actors such as Kanchan Kamini, Manhar Desai, Lalita Kumari etc – a perfect recipe for an eminently B-grade movie.
My fascination for Chanda re mori patiya le ja has its origin in my abiding romance with Raga Durga, which calls for a post by itself. Suffice it to say during my early twenties someone gifted me an LP of Bismillah Khan-VG Jog jugalbandi, whose anchor piece of was Raga Durga. The impact was like nothing I had experienced before. Then started my love affair bordering on obsession with this Raga. It is surprising there are hardly any film songs based on Durga. But anything based on it would move me beyond words. Then I realised the reason for my great fascination for Pankaj Mullick’s Ye raatein ye mausam ye hansna hansaana. Here is a more accessible Raga Durga by Ghulam Mustafa Khan.
Jai Durge durgati pariharini by Ghulam Mustafa Khan
{ 35 comments… read them below or add one }
Dear AKji,
This is indeed a post which fits its title like a ‘T’.
I would be ratifying my weakness in putting an addditional adjective of ‘rarely heard’ in the title of this series for Pardesi, but would unhesitatingly appluad shri AKji’s marvelous research and knack of etching out trail-blazing choices.
Except for Chanda Re Mori, I am not surprised that all other songs are in the category of ‘first-timers’.
But, what is intersting is that majority are rendered by Suman Kalyanpur.
Would that be a coincidence or Shri Pardesi may have a set of specific reasons for this phenomenon. And two songs are by Asha Bhosle. One can ceratinly expect Asha to be a choice for a mujra song [even in those days!], becuase of a that verve in her voice. Manna Dey’s presence in a quawalli also supprts the trend of choice of other music directors .
Sometimes, AK, composers are forgotten simply because they did not match up to the stellar talent of their contemporaries. 🙂 In an era where each film had at least six songs, if not more, a song had to be more than merely ‘good’ to last. I think it is because we look at it from an age where music is good only in fits and bursts that we find these songs ‘unforgettable’ – we are comparing them to songs of today. Compared to the treasure trove of Hindi film music of the golden era, these songs wouldn’t hold up to scrutiny – they make for pleasant listening, that’s all. (And this will probably be a very unpopular view. :))
@Ashok Vaishnav
Thanks a lot for your compliments. Pardesi does seem to have used a variety of singers. So no particular pattern emerges, unlike the others in this series covered earlier – Daan Singh’s association with Mukesh was very pronounced, similarly C Arjun’s with Rafi.
@Anu Warrier
I agree with you broadly, except on Chanda re mori patiya le ja, which I regard among the best ever Mukesh-Lata duets in absolute or relative terms.
More than talent, some amount of internal politics, luck to be at the right place at the right time and the common phenomenon in arts and entertainment of the front runners grabbing disproportinately larger portion of the cake ( as also propounded in Freakonomics) would also be a factor. That would explain comparitively lower pecking order of Madan Mohan or Chitragupta who were hugely talented.
AK ji,
Thanks for your good words for me.
I would tend to agree with Anu ji,that compare the songs to the songs of peers of the time.Its not the quantity,but the superior quality that survives and surpasses the average and stands out.
There are many examples in HFM where composers less known,have given many everlasting songs.In the case of Chand Pardesi,hardly a song or two can be remembered.If the films do not succeed,yet the music can sustain and last longer in the minds of the public,if it is extraordinary.
Take the case of Madan Mohan.His most films were second rate or flops,but many songs survived and are remembered.
Even Daan Singh,stamped ‘panauti’ in the industry,had more than 2 songs which are remembered.
‘Al Hilal’ may not be remembered by most people,but the qawali ‘Hamen to loot liya mil ke husnwalon ne’ has become A class !
Such examples are not with Chand Pardesi
-Arunkumar Deshmukh
No, no you are conflating talent with success. I agree that for a person to be successful, one needs talent, a good amount of luck and proper backing. As in the case of Madan Mohan. But you see, one *remembers* Madan Mohan. One listens to his compositions over and over again. Whereas one truly doesn’t do so for many others. Arunkumarji is right –
one needs to see which songs stand the test of time. It is a rare song that is a *great* composition and has languished unknown for years. great compositions may not have been ‘successful’ then, but connoisseurs over generations would have made sure that it was heard. That songs can withstand differing tastes of differing generations is what differentiates a great song from a mediocre or even a pleasant one. I think the issue is that we inflate words like ‘great’ and ‘classic’ – so much so they lose their meaning.
Sorry for the long rant. It’s a pet peeve. 🙂
Permit me to butt in the debate.
There are n-number of songs that would in deed qualify as *great* but would just not become popular, enough.
It is also true that a great talent can whither out if not nurtured, properly, at right time, assuming that the person has all that takes to suastain all the odds.
I think the title of the series – Forgotten composers, unforgettable compositions – gas all the required semantic test to make a judgement. Each one of can, and must, have a different view.
We need to judge the recollected music directors and thier compositions from the point of view that do the compositions ring great toady, after the passage of time, whther they were popular at that point of time or were they acknowledged at that point of time.In fact, with so much of talent floating at that time, the chances of some particular talent getting lost can be quite high. One may argue that diamond shines out under all circumstances, but that that is after it has had chance to get polished and if it lands up in the hands of a worthy judge.
Anuji has taken up the discussions to a right pitch.
The views that will be shared on this platfrom will indeed be great to sanour and should enhance the undersatnding of what is great and what suceeds, in HFM world, then.
Dear AK,
Kudos for bringing Pardesi to limelight. He is one of those unfortunate talents who suffered due to lack of showmanship and solid PR. In ‘Banjarin’ “Chanda re mori patyaan le ja…” was no dobt the best and also the magnum opus of Pardesi but a few other songs were also well composed. Mukesh had one more sweet duet with Geeta Dutt in this movie, “Dil tune diya, dil maine liya…” Then there was a chorus led by Mukesh, “Ek baar dharati pe aakar dekh zara Bhagwan…” and a Lata solo, “Mor bole ho, chitchor bole ho…” which were sweet enough to pass as good songs. In ‘Khufia Mahal’ a dance duet by Asha Bhosle and Usha Mangeshkar “Mere dil men bhara hai pyar…” was splendid. His ‘Bankelal’ alias ‘Rasiya’ will also be remembered for a marvelous number by Mukesh, “Beraham ye zameen, beraham aasmaan…” He also composed music in a Rajasthani movie of 1964 ‘Dhola Marvan’ in which an Asha Bhosle number created sensation, “Chhayee hai udasi Shyam…” Again in ‘Kitne door kitne paas’ Chandrani Mukheerjee sang “Mere mehboob shayad aaj kuchh naraaz hai mujhse…” wonderfully well.
Thanks a lot for your compliments. You are right there are several more of Pardesi’s sweet songs which I passed up as I wanted to present his very best and which would stand up to any standard of outstanding songs. Dil tune diya reminded me of Dil lootne wale jadugar from Madari which came in 1959. Ek baar dharti par aakar bears uncanny resemblance to Pradeep’s Dekh tere sansar ki halat kya ho gayi Bhagwant from Nastik of 1954. Thus this would be double plagiarising, and it reduces the value of this song. But if you ignore this, the songs are very good. In fact Banajarin has a couple of more outstanding Lata Mangeshkar songs, though their music shows traces of reigning masters of the time. Here are some more songs from Banjarin
Dil tune diya dil maine liya by Mukesh and Geeta Dutt from Banjarin
Ek baar dharti par aa kar dekh zara Bhagwan by Mukesh from Banjarin
More bole ho chitchor bole ho by Lata Mangeshkar from Banjarin
Naino ne jo dekha ek rahi matwala by Lata Mangeshkar from Banjarin
Now the dance duet you have mentioned from Khufia Mahal by Asha Bhosle and Usha Mangeshkar Mere dil me bhara hai pyar
Now the Mukesh song from Bankelal alias Rasiya Beraham ye zameen beraham asman
You are right Mere mehboob shayad aaj kuchh naraz hain mujhse is a great song, and it was a clear omission that I missed it. This song seems so familiar to me and Chandrani Mukherji’s voice is so indistinguishable from Lata Mangeshkar that I feel there are a couple of other songs identical to it.
Mere mehboob shayad aaj kuchh naraz hain mujhse by Chandrani Mukherji from Kitne Door Kitne Paas
Thanks a lot again. Your comments have made this write-up on Pardesi more complete.
@Arunkumar Deshmukh, Anu Warrier, Ashok Vaishnav
I am coming back to the interesting discussion on successful vs great songs. One axis of class vs mass popularity is quite clear. Mere man ki Ganga aur tere man ki Yamuna ka was a wildly popular song of its time, but no one would claim that it is a great song. No one doubts that Lag ja gale ki phir ye haseen raat ho na ho is a great song. That essentially is the difference between SJ and Madan Mohan (this is not to suggest that SJ did not give great songs).
The series Forgotten Composers Unforgettable Melodies seeks to recognise those composers whose names are not known but they gave at least a few songs which became immortal. Why they did not achieve greater success – whether their talent was limited, or it was the harsh film world or luck or they did not have PR – it would be a combination of factors. Their immortal songs does show that a great song would stand out regardless of banner, film’s success or the composers’s stature. But this is not universally true. The internet has enabled us to discover many songs which we had never heard ( I am not talking of 30’s or 40’s, but 50’s 60’s), and today we realise these are great songs and we wonder how come we never came across these songs. I would give two examples, and there are numerous now – Humare baad ab mehfil mein afsane bayan honge by Lata Mangeshkar from Baaghi (1953), music MM and Dhalki jaye chundariya hamari ho Ram by Asha Bhosle from Nau Do Gyarah (1957), music SDB. I shared these songs with some of my very knowledgeable friends – they were astounded, how come they were unaware of such gems.
1930’s and 40’s are anyway huge hidden heirloom which we are discovering by and by thanks to the internet and some great souls who are putting these up.
Dear AK Ji…yeh apne kya kiya? You reminded me of the good old days where I can never go back. The songs that you have mentioned above touch my soul. Music is a deep sensation that stirs your soul. No matter what mood you are in, music lifts your spirit? I am correct, right? I was surfing the internet last night when I came across this: http://bit.ly/J9RVh8. A young girl with a guitar strapped around her neck and singing soulful songs. Who is she? But, what I can say is that her songs made my day…so peaceful yet peppy.
Shri AKji,
You are right on the point.
Both the examples that you have narrated – that of Baaghi and NDG – do epitomize many real greats that never tasted popularity.
Whilst on the subject, I would have loved to get an apple-to-apple comparision at your SJ – MM point. SJ have a list of hugely popular, but ceratinly not great songs. One such was Baharon Phool Barsao – Suraj- which had gone onto clinch the Filfare award, at the cost of several others, which were far bteer and just marginally less popular.
Permit to come back to the origianl example. Even SJ’s own compostions from the same movie suffered at the altar of popularity. The Sangam had ‘O mere sanam’. Similarly, Woh Kaun Thi had Shauk Nazar Ki Bijaliyaan [Asha] which did not get as many numbers as its THE popular theme song Naina Barse Rimjhim.
It would be intersting to work on a list of 10 Greats as well as Popular and similarly 10 Greats but not Popular Ones.
AK ji,
You have rightly,once again,underlined the purpose of this series and I fully agree with you on this.Success,fame and its reasons are and can be a subject matter of another discussion.The important thing is to discover,rather rediscover,the hidden gems and enjoy them and recognise their makers is more important.
One more important point.
Discussions,additions,deletions,contradictions,opinions,corrections,criticisms,supplementations are possible with Facts,events,happenings,history and other tangible things,
but NOT on Opinions,judgements,likings,preferences,choices,love etc which are strictly voices of personal thoughts.
Everyone is free to have his opinions etc which can not be questioned.At most,one can register his own opinions etc and justify them himself.
-Arunkumar Deshmukh
AK,
Thanks to your blog I now have a list of over 40 songs in my Youtube playlist under the title ‘rediscovered gems’. I agree entirely with you that a huge number of great songs somehow got lost over time, and we are rediscovering them now thanks to the internet. There are films like Ardhangini, Jaali Note, and Anhonee that have excellent songs by known music directors, but have been overshadowed by more successful work of the same composers.
Coming to Pardesi, ‘Chanda re patiyan le ja’ and ‘Mera mehboob shayad aaj kuchh’ definitely deserve to be remembered better. The others sound pleasant, but haven’t made that kind of impact on me – at least on first hearing.
Keep up the good work.
@Renita Ghosh
Welcome and thanks for your appreciation. I am sure you would find huge stuff already posted on this site.
@Arunkumar Deshmukh, Ashok Vaishnav, Subodh Agrawal
Thanks again for your kind words. In 2×2 matrix, NP (Not Popular)-NG (Not Great) is trivial. Taking the other three combinations, let me off hand give some examples to illustrate the point.
PG (Popular/Great) – SJ
Lest someone should get the impression that I have been running down SJ, they did give some very popular and at the same time absolutely great songs. Here are some:
1. Jiya bekaraar hai
2. Meri ankhon mein bas gaya koi re
3. Jab se balam ghar aye
4. Ye sham ki tanhaiyan aise mein tera gham
5. Raja ki ayegi baraat
6. Rasik balma
7. Unse pyar ho haya-2, dil mera kho gaya-2
8. Kar gaya re kar gaya jadu sanwariya
9.Kahe ko der lagayi re aye na ab tak balma
10. Ajeeb dastaan hai ye
If you notice, they are all Lata Mangeshkar songs from his early films. They had equally outstanding songs for Mukesh, Manna Dey, Mohammad Rafi and Talat Mahmood. That shows the tremendous range of SJ. But my favourite composer for PG songs is Naushad by miles. You take any pair of his well known movies – Rattan–Dard; Anmol Ghadi–Anokhi Ada; Babul–Mela; Andaaz–Amar; Aan–Deedar; Baiju Bawra–Shabaab; Mother India–Mughal-e-Azam; Kohinoor–Dil Diya Dard Liya – you get about a dozen extremely popular and landmark songs.
P-NG (Popular-Not Great) – SJ
SJ are undisputed masters of this genre. Sometimes in 60’s they became loud. They lost their melody but they cracked the formula of mass popularity. They also managed to win all the awards for their average scores against much more deserving and worthy contenders. Here are some of their famous P-NG songs;
1. Ai ai ya karun main kya suku suku
2. Teri pyari pyari surat ko
3. Aha ayi milan ki bela dekho ayi
4. April Fool banaya
5. Janewale zara hoshiyar yahan ke hum hain Rajkumar
6. Mere man ki Ganga
7. Le gayi dil gudiya Japan ki, Japan love in Tokyo
8. Titli udi ud jo chali
9. Baharo phool barsao
10. Chhoti si mulaquat pyar ban gayi
NP-G (Not Popular-Great)
This is the most interesting category. As everyone agrees, thanks to internet, we are regularly coming across absolutely great songs which we had not heard before. They would have remained lost but for the technology. This blog and many of us on the blogosphere are bringing out such songs. Let me mention some which I have already included in my blog earlier:
1. Aise hain sukh sapan hamare – Lata; Ratnaghar
2. Ye baharon ka saman – Hemant Kumar; Milaap
3. Sun more rasiya sun man basiya – Mukesh, Suman Kalyanpur; Madan Manjari
4. Raton ki neend chheen li ankhon ke intezar ne – Suraiya; Shokiyan
5. Dhalti jaye chunariya hamri ho Ram – Asha Bhosle; Nau Do Gyarah
6. Dheere se gagri utar re – Lata Mangeshkar; Zindagi Aur Hum
7. Ai pyar teri duniya se hum bas itni nishani le ke chale – Lata Mangeshkar; Jhanjhar
8. Kaise bhaye sakhi rut sawan ki – Lata Mangeshkar; Pahli Jhalak
9. Na jane chand kaisa hoga – Mukesh, Kamal Barot; Rocket Girl
10. Beete hue din kuchh aise hi hain – Suman Kalyanpur; First Love
Shri AKji,
A very fitting quick take on the subject of the G P quadrants. This has only aggravated the apetite for the proverbial – Oliver Twist – “Something More”.
Each of the quadrant then can be expanded on the scale of music director or singer or the year. And each of such analysis would certainly throw up some real hidden gems as well as very intersing and lively discussions.
I would make it a point to note down such songs , in my own humbe view, and would keep you periodically updated. May be, we all can get the bounty of a new series of posts!
This idea of a GP quadrant is great. But there is a problem: Youtube keeps taking videos off every now and then. My playlist of Rediscovered Gems has lost one fourth of its songs! We need a more durable way of keeping such lists for the G-NP songs.
@Ashok Vaishnavji
NP-NG is obviously ruled out. Of the remaining three, I generally pass up P-NG; in my posts I tend to include P-G, and I also take special care to include NP-G. Thus the three quadrants are occuring in my posts without this label under various categories. Since singer, music director and P/G are overlapping categories, the issue is how do we make a string a posts based on quadrants without it appearing as an artificial category. I think the best is we confine ourselves to NP-G under the title ‘Hidden/Rare gems of….’, say singer (Lata Mangeshkar, Rafi, Mukesh) or composer (CR, MM, SJ, SDB etc) or year? Meanwhile let us keep compiling the hidden gems and exchange notes, when we can write up a post.
@Subodh Agrawal
We are all frustrated with this problem. It is difficult to understand YouTube’s or the content owner’s logic. We are doing it for the love of it. But the appearance of their music on our blogs attracts them listeners which can only benefit them commercially. The only saving grace is that most often alternative videos are also immediately available. But it does cause some irrittation.
Dear AKji,
I fully agree that the genesis of this blog has been to re-discover and discuss the G-NP gems.
When I aired my views in the previous comment, I just wondered loudly whether such a distinct focus may yield a different flavour than the focus on a music director and/or a singer.
That, in no way diminishes, even by an iota, the pleasure of savouring the posts in thier current forms.
Pardesi, a name unknown, brought to light by you!
Thanks, AK!
I also only knew the song Saiyan re mori. All other songs are totally new. Will come here again to lend it an ear.
you seem to have forgotten Bulo C Rani. can you forget the music of jogan and geeta dutt’s haunting renderings? Geeta was immensely talented but the sisters monopolised the music directors that mattered in different periods of time by hook or by crook and finished competition.
Another two great music directors your blog does not mention are N Dutta and Feroze Nizami. F Z migrated to pakistan. but songs of jugnu and Dupatta are unforgettable.Dupatta songs sung by Nurjehan are all time greats. it is one of the best soundtracks ever in the subcontinent. N dutta or Dutta Naik from Goa was class and a all time great.He should be given his due.
sir,
I think there is no mention of music director dataram. he too has given great music.
You are right. There is no post on Dattaram yet. He should come up later, though he is not exactly forgotten.
Akji, recently i came across with ‘Bankelal’ songs. The no. 1 song of this post ‘Kya doge dil le ke babuji bolo’ by ashaji is a wonderful song. Great selection at no. 1 place.
Here is its video now available on YT. Great song.
‘Kya doge dil leke babuji bolo
Babuji bolo lalaji bolo
Chhaliyaji bolo rasiyaji bolo’
http://www.youtube.com/watch?v=rRUnYFBvYXE
Akji , i m waiting to see ur collection of such Remnants of Golden era in 1970-79 span with an individual post. I hope it will come soon.
Jignesh,
Noted. But please allow me time. As you know I belong to the-older-the-better school. But I do have at the back of mind Lata of 70’s and later, and KK’s songs that have become iconic. Some time I should be writing on that.
AKji, I think some of the yester years forgotten music directors like G S Kohli, Husanlal Bhaghatram, S N Tripathi , Usha Khanna , Sonik Omi , Kalyanji Veerji Shah should also be explored for their contribution to the film music . At one time or the other they all have worked as astt. to many music directors . Like Sonik Omi were Astt MD to Usha Khanna in her very first movie ……Dil Deke Dekho …..the superhit musical .
KS Bhatia,
From your list I would put GS Kohli and Sonik Omi in my label of “Forgotten Composers”. This primarily refers to 1950s and 60s, and to those who shone in a couple of films and disappeared. Husnlal Bhagatram, SN Tripathi, Kalyanji Anandji and Usha Khanna are among the very prominent composers. KA was of course among the top three in the 70s. HB and SNT, regardless of their commercial status, are among the greatest.
Akji, i think Sonik-Omi were not exactly forgotten composers….
But , MANOHARLAL Sonik , ONE Of That DUO , who had done some films (as Manohar) before making Pair with Omi (i think info abt Mahohar is brought here by Venkataramanji) , could be treated as Forgotten composer. One can listen Manohar’s great work in 1955’s ”Chingari”,, a melodious album having some masterpieces of Lataji like 1. Yeh dil ki majbooriya aur do pyase nain 2. Badi mushkil hai ajab mera dil hai 3. Raah na suljhe jaaun kahan
Also a Saahir’s writing is there in ‘Chingari’ sung by Talat…’jiyunga jab talak tere fasaane yaad aayenge’
And a bonus, A song sung by Nalini Jaywant ! … ‘manzil pe pahunchna ab dushwar hamara hai’ (Akji, we have already discussed abt songs sung by Nalini Jaywant)
AKji and JK ji, Sonic Omi’s magic was noticed in the beautiful background score of……Dil Deke Dekho……specially the title music — a beautiful combo of violin and mandolin . G S Kohli was excellent with his score for…. Shikari…… The songs —-Baje ghungroo cham cham , Tum ko piya dil diya and Agar main poochun jawab do gey . There were some good songs in Faulad and Char darwesh. There after he seems to have missed his class and I think he continued to assist O P Nayyar there after. Nalini Jaiwant singing is really a bonus to me . Old stalwarts were really gems ; very talented and magically beautiful. Nalini along with Madhubala have appeared in the famous LIFE magazine . Usha Kiron is another one which fits this class . Nutan is another one who sang the beautiful song …….Aye mere hum safar roke apni nazar……from Chhabili . Truly a very gripping melody. AKji, were Shanker Jaikishan and Chitragupt ever worked as astt to HB and SNT?
KS Bhatia,
Shankar played the tabla for Husnlal Bhagatram and learnt the finer points of music from the duo. Some sources also mention that he worked as their assistant in Pyar Ki Jeet. HB are regarded as mentors of SJ, though I am not sure if the latter (SJ as duo) worked as assistant to them in any film. Chitragupta was indeed assistant to SNT in several films. SJ and Chitragupta clearly have the imprint of their respective mentors in their music.
sir,
thanks for the information. although I know a lot of music directors’ names and their compositions,this was definitely a surprise.
Thanks AKji and R Mudliarji . Truly Husanlal Bhagatram left their trail for Shanker Jaikishan to pick the threads and what they wove is history . If one distinctly hear the interlude of the song ……tere naino ne chori kiya….. sung by Suraiya for….Pyar Ki Jeet….and hear the prelude of the song….Jiya bekarrar hai…..by Lata from Barsat one can easily find the influence and the similarity . Likewise SNT and Chitragupta had very close resemblance of their tunes and orcastraisation . Anyway all the music directors of that era have given their best for us to cherish for rest of our life .
Welcome to SOY. Thanks to Pardesi ji..Chand Pardesi ji for great music……chanda re..