Continuing Anil Biswas Centenary Year celebration, a tribute to his most famous protégé, Mukesh, on his birth anniversary, July 22
And the rest is history. A worn-out cliché, but nothing describes Anil Biswas’s role in the emergence of Mukesh better. Mukesh was a struggling singer-actor in the period 1941-1945, when his brother-in-law, Motilal, took him to his close friend, Anil Biswas, and requested him to try out the young boy. Impressed with Mukesh’s singing, Anil Biswas suggested that in Motilal’s forthcoming film, Pahli Nazar, the boy could be given a chance. The producer of the film, Mazhar Khan, was furious at the prospect of his film being ruined by this new singer. So, Motilal said, that in that case, ‘I would sing my songs’. Anil Biswas, who was familiar with Motilal’s singing for him earlier, told him in his inimical style, ‘Tu rahne de, ye gana main khud gaaunga’.
That would have been the end of Mukesh’s career – at least for the time being. Disappointed, he lamented with his friends, ‘what would happen to the singers if music directors started singing their own songs’. This reached the ears of Anil Biswas, who took an indulgent view of the young boy’s carping, and persuaded Mazhar Khan to let him try out Mukesh. Thus, it was decided to give Dil jalta hai to jalne de to him.
There were more twists in the story. On the day of the recording, Mukesh developed cold feet at the prospect of facing the greatest music director of the time, and hid himself in a bar, drinking away to glory. A furious Anil Biswas stormed into the bar, took him by the scruff of his neck, and after giving him a good slap, thrust him under a shower. Coming to his senses, Mukesh apologised profusely, and promised to come back the next day well prepared. Ignoring his protests, a still-angry Anil Da said, nothing doing, Tu abhi gayega. Thus was born Dil jalta hai to jalne de, and the rest, as they say, is history.
There is something special about Anil Biswas. Five years later, Talat Mahmood sang Ae dil mujhe aisi jagah le chal for him, and again, as they say, the rest is history. Venkataramanji mentioned that the total number of songs Anil Biswas composed for Talat Mahmood was 16. For Mukesh, the number is about 24 – not much larger, but Anil Biswas would, forever, be known as the Maker of Mukesh.
Continuing my series of tributes to Anil Biswas in his Centenary Year, let me present his songs for Mukesh on the latter’s 91st birth anniversary.
1. Tai kar ke badi door ki purpench dagariya from Pahli Nazar (1945), lyrics Dr. Safdar ‘Aah’
By now we are very familiar with Dil jalta hai to jalne de, and it has been discussed enough on this blog too earlier. Therefore, let me start with another solo from this film. I should acknowledge the contribution of Sudhir Kapurji, who has done intensive research on the early songs of Mukesh and posted a number of articles on Atul Song A Day. Many of Mukesh’s early rare songs are coming in public view because of him.
2. Pahli nazar ka teer re laga pahli nazar ka teer (duet with Naseem Akhtar) from Pahli Nazar (1945)
But the real gem is this vintage duet with Naseem Akhtar from the same film, composed in folk style.
3. Jeevan sapna toot gaya from Anokha Pyaar (1948), lyrics Zia Sarhadi
After a gap of a couple of years, Mukesh makes big impact in Anil Biswas’s remarkable score in Anokha Pyaar. He also comes out of the KL Saigal effect, and establishes his own identity as the most melodious and soulful singer. Naushad would take to Mukesh in a big way in 1948-49 in Mela, Anokhi Ada and Andaaz.
4. Wo teekhi nazaron se mere dil par from Veena (1948), lyrics Prem Dehalvi
We are now seeing what can be called the quintessential Mukesh. I recall this song has been mentioned by readers earlier, but it is so good and so rarely heard that it deserves to be repeated.
5. Mere sapnon ki rani re from Veena (1948), lyrics Narendra Sharma
Mukesh switches to a fast-faced song in the same movie effortlessly.
6. Zamaane ka dastoor hai ye purana (duet with Lata Mangeshkar), from Laajawaab (1950), lyrics Prem Dhavan
Anil Biswas crafts a honey-laden duet with two of his most favourite singers. This is a song you would like to listen in the tranquility of night when you are by yourself.
7. Ae jaan-e-jigar dil mein samaane aa ja from Aaram (1951), lyrics Rajendra Krishna
A Mukesh song on the piano became the ultimate in melody. This supreme melody by Anil Biswas is one of the best ever songs of Mukesh. This figures prominently in the discussion on the best male solos of 1951.
8. Dam bhar ka tha daur khushi ka from Maan (1954), lyrics Safdar ‘Aah’
Safdar ‘Aah’ was the person who wrote Dil jalta hai to jalne de. He again writes a beautiful song. He was also the director of Maan. A less-heard song, but ‘Aah’-Mukesh-Anil Biswas create a similar magic with this poignant song.
9. Nahi kiya to kar ke dekh tu bhi kisi pe mar ke dekh from Chaar Dil Chaar Raahen (1959), lyrics Sahir Ludhiyanvi
This atypical Anil Biswas-Mukesh song is interesting because its opening instrumental composition seems to be the inspiration for Ravi’s Tujhko rakhe Ram tujhko Alla rakhe and his other ‘beggar’s songs’ in later years.
10. Zindagi ka ajab fasana hai, rotey rotey muskurana hai (duet with Lata Mangeshkar) from Chhoti Chhoti Baatein (1965), lyrics Shailendra
When many years of creativity was still left in Anil Biswas, he found the film world had no need for him. This was his last film for which he composed music, before he packed his bags and joined the AIR in Delhi. But he seems to have poured everything in this movie. The film had an everlasting Meena Kapoor song, Kuchh aur zamana kahta hai. He composed another immortal song, this duet in the voice of his protégé, Mukesh, and his favourite singer, Lata Mangeshkar.
11. Zindagi khwaab hai tha humein bhi pata from Chhoti Chhoti Baatein
The film did have a Mukesh solo too, which is more a recitation in slow tempo. Shailendra’s melancholic lyrics seem to reflect the inner sadness of Anil Biswas. The recitation ends with ‘Alwida’, ‘Alwida’, marking the end of the great combination of the Maestro and his Protégé. I can’t help thinking that Anil Biswas asked Shailendra to pen his own farewell to the uncaring film industry.
ज़िंदगी ख्वाब है था हमें भी पता
पर हमें ज़िंदगी से बहुत प्यार था
दुःख भी थे सुख भी थे दिल को घेरे हुये
चाहे जैसा था रंगीन संसार था
आ गई थी शिकायत लबों तक मगर
किसे कहते तो क्या कहना बेकार था
चल पड़े दर्द पीकर तो चलते रहे
हार कर बैठ जाने से इंकार था
चन्द दिन का बसेरा हमारा यहां
हम भी मेहमान थे घर तो उस पार था
हमसफर एक दिन तो बिछड़ना ही था
अलविदा अलविदा, अलविदा, अलविदा
Acknowledgements:
The anecdote about Mukesh’s first introduction to Anil Biswas is based on this DD interview with Shikha Biswas Vohra and Sudhir Kapur. As the readers are aware, Shikhaji launched the Year of Anil Biswas on SoY with her guest article on January 1, 2014.
{ 49 comments… read them below or add one }
AK ji,
Thanks. No surprises in the selection of songs, but that’s the case in hand.
Apart from Lata, I wonder how many duets Mukesh had with other singers for Anilda. I can only think of the songs from Anoka Pyar with Meena Kapoor which were replaced by Lata.
Finally crediting Sudhir ji for digging out almost all the rare songs of Mukesh in his first few years was generous, apt and truly deserving.
Quite a worthy addition to the already prosperous treasure.
Songs selected are simply marvellous.You can not think of replacing any (or adding other) song when the limit of ten songs only has already been exceeded in this case.Have done good to oblige readers with link of DD interview which many readers might not be aware about.My appreciations!!
Mahesh,
No surprises on the date either, because you had determined July 22!
Anil Biswas was among the composers who were very Lata oriented. The noteworthy duets of Mukesh would be mostly with her. For variety, we would need to look at the 40s.
Ashokji,
Thanks a lot.
Rakesh Srivastava,
Thanks a lot for your appreciation.
AK Ji,
Thanks for the post on Mukesh-Anil Biswas. Let me too pay my homage to Anil Biswas and Mukesh on his 91st Birth anniversary.
Mukesh must have been the favourite singer to many of us (mainly male) during our late teens and early twenties of our time. At least he was my favourite. Later the preference might have changed, but Mukesh never went out of my radar. He was the most soulful singer. His songs infused emotions, especially the melancholy sort. His popularity might have been due to his simple renditions which could be reproduced but it was difficult to create similar feelings of pathos. Mukesh was unique in that sense.
Out of the 24 songs Mukesh sang for Anil Biswas. 12 were solos, 9 duets (2 with Naseem Akhtar, 5 with Lata Mangeshkar and 2 with Meena Kapoor), 2 triads and one quartet. In the film Anokha Pyaar (1948) Meena Kapoor provided the playback with Mukesh for the two duets, but for the recorded version Lata Mangeshkar rendered the songs with Mukesh. (Ak Ji correct me if I am wrong) The first triad was for the film Arzoo (1950) rendered by Batish and Shamsad Begum with Mukesh. The other triad was for the film Beqasoor (1950). Mukesh, Durrani and Md. Rafi rendered the song. Mukesh sang the quartet with Mahendra kapoor, Meena Kapoor and Manna Dey for the film Chaar dil Chaar Rahen (1959).
The first song from Pehli Nazar is not the typical Mukeshish song (which were my favourites), more light hearted, fun song. I had heard it for the first time in 2012 at ASAD site, posted by Sudhir Ji.
Pahli nazar ka teer re, is a splendid song. It is more of a Nazeem Akhtar’s song. Beautiful composition and equally beautiful voice and rendition. Mukesh seems to be a bit hesitant here.
Jeevan sapna toot gaya- Here we can find the typical Mukesh in his elements. This was the voice, full of pathos, which I used to inflict upon myself during my times of affliction. Slowly the whole thing is getting contagious. That is the beauty and problem with the typical songs of Mukesh.
wo tikhi nazro se mere dil par kuch aise bijli gira rahe hai
jalan to pahle hi thi magar ab wo dard dil me bhada rahe hai
kabhi wo aanchal hata rahe hai, kabhi wo parda gira rahe hai,
jawab unka hai mahbub unka, wo har ada se lubha rahe hai
nashili aankhe gulabi daure, ye madbhare do hansi katore
jawani unki zamana unka, bana rahe hai mita rahe hai
mai unke hatho me aarzu ki, wo ek sama hu prem jisko
jala jala kar bhuja rahe hai, bhuja bhuja kar jala rahe hai.
AK Ji, Saanp ke jahar se bachna mumkin sahi, magar ishq ki dard se bachna na-mumkin hai!!! I am getting transposed to my days of youth and amour. Manas Vraman. Ye Ishq bahut zalim cheez hai, pecha nahi chodta. Yaad na Jaaye beeton dinon ki! Thanks for this Prem Dehlvi-Anil Biswas-Mukesh combo.
Sach maniye, maine Koi jafaa nahi kiya tha, na to maine kisi ka aashiyana jalaaya tha, Phir bhi mujhe baar- baar , Har- baar is ilzam sunne pada! Akji , you have a touched a raw nerve within. This is going to linger for some (prolonged) time. Bahut purane yaadoon ko jagadiya. Kaise mein is ko, is umar mein Sambhalu!!! Let me see what is in store next?
Ae jaan-e-jigar dil mein samaane aa ja – I lamented the same feeling then, the only difference was it was addressed to the young lady on the first floor, who is now in Patna, but the nishaana chook kar chipak gaya ground floor par!!! Thank god my wife doesn’t visit this site unless I ask her to!!! Any way, a wonderful composition of AB, beautifully rendered by Mukesh.
Mere dard bhare daastan of the past continues with song Dam bhar ka tha daur khushi ka. Safdar Aah-Anil Biswas –Mukesh combo creates another heart-rending Nagma.
By this time everybody must be thinking I have become loony. Even some of you may be chuckling at my pitiable plight, as many had done (then). Certainly not all! Ak ji understands such situations!!!
kaun tujhe kya kehta hai, kyon usaka ghum sehta hai
arey kutte bhaunkate rehte hain, kafila chalata rehta hai
bhayee kafila chalata rahata hai
kabhee apne mann kee kar key dekh, too bhee kisee pe mar key dekh
nahee kiya toh karke dekh, too bhee kisee pe mar key dekh
husn key bikhare phulo se, dil kee jholee bhar key dekh
But ultimately one has to face up to the truth and realise,
‘zindagi kaa ajab fasaanaa hai ,rote-rote bhi muskuraanaa hai,
ishq me jaanate hai jaan gai, phir bhi kahate hai aazamaanaa hai’
After this last song ‘Alvida, Alvida, Alvida’ , kahne ko baki kuch na raha. What a song?
Pierces the heart so smoothly, even you do not feel the pain, just like a hot knife smoothly cutting through a slab of butter.
Magar, there is pleasure in this pain too. Thank you Akji for providing this Dard bare Nagme. Needless to say I thoroughly enjoyed your post and my eccentric streak down the memory lane.
Please pardone me for gibberish that I have dished out in, what shoud I say, Hindi, Urdu, Hinglish, whatever you call it?
Once again let me convey my tributes to Mukesh and Anil Biswas.
Nice anecdote about Mukesh’s first meeting with Anil Biswas. There is a duet from a 1957 film called Jalti Nishani which I had come across when I did my posts on Mukesh that I really, really liked.
https://www.youtube.com/watch?v=d7oRmSTTAAU
Venkataraman in love!
It is delightful to meet the adolescent Venkatarmanji. I could not have believed you switch to Urdu when in love. The world loves a lover. Thanks for baring your heart, and your compliments.
I am sure most of us would have gone through such Mukesh-moments. But today is your day for catharsis. I am sure others would also come out at some opportune time.
HFGK lists only one Mukesh-Lata/Meena Kapoor duet – Ab yaad na kar bhool ja ae dil wo fasana. But I remember to have heard a brief duet version of Yaad rakhana chaand taaro. So you must be correct on this score. Incidentally, I have also read that Anil Biswas had created the tune of the former song for KLSaigal, but he did not get a chance with him because of contractual problems. He later used the same tune in Anokha Pyaar.
Arre Baangru, pyar mein Urdu shaayari khud bakhud aa jaati hai..
Vidyapathi ji,
Ayyo, aapu Mujjhe Bangru kahha ji, Mujjhe ye accha nahhi laga ji, Mein tho tho tho Master Pillai ji. Ayyyayo, yesa mistaku aap kaisa kiya ji.
Vanakkam Pillai Masterji,
Even the original Pillai Master switched to Urdu sher in the park to convey his love to Bindu. Yours is original and fabulous.
Anu,
This is a very good song, though very rarely heard. It is interesting how Anil Biswas changes the tune from one line to another, including some recitation-style pieces by Mukesh. Thanks a lot.
Fantaaastic post on a magical pair. Anilda’s creations with Mukesh, Talat and Lata are ultimate pleasure in the world of music for an hfm lover, no doubt. Akji, as u said in a comment,’ others wud also come out at an opportune time..’ ..at least I will not let shatter ur hope today from the irregulars. Ultimately we have some good rain today in surat after 1 and half month’s sukha and i found some time to be here again into my favorite people.
Chand din tha basera hamara yahan,
Hum bhi mehmaan the ghar to us paar tha..
Kya baat kya baat…chhoti chhoti baatein was a Sixer at last ball by Anilda. Some of the MDs cud do this feat of last ball Sixer, like G.Mohd in ‘pakeezah’, Lachchiram in ‘main suhagan hun’, Bulo c rani in ‘sunahare kadam’, Sajjad in ‘rustom sohrab’, Pt. Amarnath in ‘Mirza sahiba’ etc.
Each piece of this pair is a classic…’ab yaad na kar bhul ja’, ‘jeevan sapna toot gaya, ‘yaad rakhna chand taaro’, ‘wo teekhi nazron se mere dil par’, ‘ai jaan e jigar’, ‘kaahe naino men kajra bhare’,’dam bhar ka tha daur’,’zamane ka dastoor hai yeh purana’,’zindagi khwab hai’…amazing !! Well done Akji,,,,,we miss u Anilda..
Jignesh,
Welcome back! Thanks a lot for your appreciation.
Jignesh Bhai,
Happy to see you back here.
Hi Venkataramanji, met after long time. Your devotion for musical research is unparalleled, we gain very much knowledge thru it, i salute.
But, i think u people r elder to me, so call me only jignesh, instead of jigneshbhai or jigneshji ! I am completing 37 yrs next wednesday (30th july 1977).
The rain is still going on firmly in surat started in afternoon drenching first time the land well enough and cooling the atmosphere and well-heated mind-body in last 4 months…
AK Ji,
Thanks once again for the excellent article and its timing.
The anecdote about Anil Biswas and Mukesh amply illustrates that apart from having a great musical talent, Anil Biswas was a legendary human being. The perusal of his belief in a talent he spotted, despite opposition of the Producer and the Hero of the film, gave Hindi Film Music a diamond, whose sparkle will only grow with passing time.
And he was not the only one Anil Biswas found.
Venkataraman Ji,
It was truly delightful to know the other Venkataraman Ji. Hilarious nok- jhonk between the stalwarts.
And lastly,
AK Ji,
‘Dil to bhar aaya par pet tabhi bharega jab Anil Biswas/ Lata ki post dekhenge’.
Thanks for this lovely post and a fitting tribute to two legends. Both Anil Biswas and Mukesh shine bright in the firmament of Hindi film music. Taken together they are impossible to beat.
My favourites in the list are number 6 and 7. I had never heard number six in original, but I have childhood memories of my father humming it. No. 7 deserves all the praise you have given it in your write-up.
Sharmaji,
Thanks a lot for your appreciation. In the vintage era, too, he discovered many singers, for example Zohra Ambalewali. He had a major role in the growth of Surendra. In Anil Biswas year, his combo with Lata Mangeshkar is bound to come.
In 1992 I Met Anil Da and we discussed lots of sweet memories about beloved Mukeshji. Pls. visit my web site http://www.SingerMukesh.com for more Mukeshji’s memories and join me at http://www.Facebook.com/SingerMukesh Thanks.
AK the first song “Tai kar ke” has a really lovely violin caprice at the begining. I have not heard this song before. I really like it.
The duet “Zindagi ka ajab fasaana hai” from Choti Choti Baatein is one of my favourite Anil Biswas songs and it is my favourite song in the film to me it shades “Kuch aur zamaana” .. The interludes are wonderful, the sarangi and flute used so beautifully above the violins. Mukesh has sung this very well and Anil Biswas has Lata sing in the lower registers with an occasional foray upwards. So wonderful.
SSW,
I guess the reason for the appeal of is Kuchh aur zamana kahta hai‘s picturisation. The protagonists in the boat in a river is inherently romantic. The lyrics are superb and reflect the state of their relationship. Easily one of the best songs of Meena Kapoor.
Akji, i think the toughest song to sing of “chhoti chhoti baaten” is definitely ‘zindagi khwab hai, tha hame bhi pata’. To imitate this mukesh song pursuing bit to bit is nearly impossible for even most suriley singers. The slow tempo song seems easy going at hearing only because of mukesh’s spontaneous magical throat…but when one tries to sing this song he literally perspires….
The unique quality of Mukesh voice have rendered many toughest songs too simple at hearing. Anilda has tested mukesh’s whole capacity from ‘dil jalta hai’ to ‘zindagi khwab hai’ he made toughest tunes for mukesh, and mukesh passed all the tests brilliantly.
AK,
Sab ne itna kochh kah diya ab kah ko baki kya raha?
Let’s talk about the title; I believe you take a lot of effort in selecting the title, this one tells it all. Good one!
Tai karke badi from Pehli Nazar is new to me, I like it a lot, without understanding the details SSW talks about.
Alvida Alvida I have always thought was written for Motilal, it was his thought put into words by Shailendra and Mukesh has poured out his heart in it.
Thanks.
Jignesh,
You are absolutely right on both the counts. We are very happy to have you back again. By the way, have you chopped off you age by ten years? 🙂 My earlier impression was you were in mid-40s.
Mumbaikar8,
Tanks a lot for your appreciation. But about the title, at one point I had some doubts, because the focus in the title was on Anil Biswas, whereas the post was more about Mukesh.
AK,
In fact I like it more because I find it articulates how AB influenced the singer as well as the man.
Sharmaji,
Did you notice Anu ne kaun sa song chuna hai?
Mumbaikar8,
Yes, and again it was a pleasant surprise, though I’ve never been in doubt about the musical tastes of both you and Anu Ji.
With you, I pointed out immediately because we were in the midst of a conversation.
With Anu Ji, I’ll say cheers with a cup of chai.
Mumbaikar8 , an example of a violin caprice played by a very great violinist of yore.
http://www.youtube.com/watch?v=vPcnGrie__M
Wonderful writeup ! I am a mukesh fan but now I am highly interested to know more about anil biswasji after hearing his songs here. All songs are brilliantly made. Thank you very much for this article.
SSW
Amazing, it is the same instrument but how does it sound so different at times?
I went back to the song tai kar ke badi door and could hear the caprice you are talking about. Thanks
It is frustrating, I can relish the music but cannot understand it, I think that part of my brain is dormant.
Thanks once again.
Venkataraman Ji,
In your very informative and absolutely hilarious comments above at ‘5’, you have mentioned the no. of Mukesh Lata duets composed by Anil Biswas as five.
Till yesterday, I was also under this impression but thanks to YouTube, I had to change my opinion.
Please listen to this no. from ‘Badi Bahu’.
Pyar ki rah par kya bhatkne ka darr. Badi Bahu. M…: http://youtu.be/bh61WrUzkb4
The other five are quite known to all the serious HFM followers, still I will list them.
Kaahe naino me kajra bharo from ‘Badi Bahu’
Zamane ka dastoor hai ye from ‘Laajawab’
Ab yaad na kar bhool ka from ‘Anokha Pyar’
Dil hai beqaraar kyon from ‘ Jalti Nishani’
and
Zindagi ka ajab fasana hai from ‘Choti Choti Baatein’.
Sharmaji,
Thanks for adding this beautiful duet – heard it for the first time. The underlying melody is very common in wedding songs in Bhojpuri. Do you find some similarity with Taar bijli se patle hammare piya from Gangs of Wasseypur?
AK Ji,
Thanks for your comments.
It seems that music transcends both time and places as Gaddeswarup Ji and mumbaikar8 gave SoY, very recently , some excellent examples of similar tunes set to songs after a gap of decades.
Interesting examples of similarities of music cutting across continents have also been seen by readers of SoY, due to the indulgence of knowledgeable contributors.
Personally, I was a bit amazed at your pick because I never thought you could relate to the current music prevalent in Hindi Films.
But, of course, some creativity has always been there in our film music.
As far as my humble opinion goes, to my mind the song resembled some sort of a marching tune.
Two song, one an Anil Biswas creation from ‘Char Dil Char Rahein’ by Manna De, Mukesh, Meena Kapoor and Mahendra Kapoor with chorus,
‘Qadam qadam pe dil se dil mila rahe hain hum’
“KADAM KADAM SE DIL SE DIL”BY MUKESH,MAHINDRA KAP…: http://youtu.be/gJOxTAJLyj0
Other song from ‘Shaheed’ by Rafi and chorus, music by Prem Dhawan, ‘As watan,as watan, hum ko teri qasam’
YouTube Ae Watan Ae Watan Humko Teri Kasam Sh…: http://youtu.be/k7CH5GbXZ-U
Sharma Ji,
Soory. Since I was away I could not respond to your comment earlier/
As far as I know Meena Kapoor did the playback for the song Ab yaad na kar bhool ja ai dil wo fasana. So I took it as Mukesh-Meena Kapoor duet. But the song was recorded in the voice of Lata Mangeshkar, later.
Thanks for posting the lovely song Pyar ki rah par kya bhatkne ka darr from Badi Bahu
Venkataraman Ji,
Thanks for your appreciation and the information.
I had never liked liked Anil Biswas because of his bias towards Rafi Sb.
Apart from that he was a mediocre music director having least no. of hit songs amongs his contompereries, even Vasant Desai, Chitra Gupta, N.Dutta, S.N. Triparthy has more hits than him. Sorry if I hurt your feelings but you hurt my feelings too by discussing this non entity.
Who is this who calls Anil Biswas a non-entity??!!!
Neer,
Welcome to SoY. Why bother if someone calls Anil Biswas a non-entity? Let us ignore him.
“himsa” triggered on bapu’s b’ day !
Arvinder sharma’ji; Refer your observations @32. I would like to add one more song to your above series …. Kadam kadam badaye ja khushi ke geet gaye ja ……. from Samadhi, an old 1950 famous movie starring Ashok kumar and nalini jawant . The song is by CR and he is the MD as well . This reminds me of one more song ……Door hato aye duniya walo hindustan hamaara hai ….. from old movie Kashmir . All these songs later became icon of army band and are played during national celebration days as all know . These songs may not be similar but conveys the message based on marching beats . These beats some how merged into chorus songs required for covering ” On Strike ” messages . To quote examples ‘ Haq mangte hain apne paseene ka adhikar hai humhen bhi hai zeene ka ‘ film ? starring Ashok , Nirupa roy, Nanda etc Likewise there was a song from ‘Paigham’ starring Dilip kumar , Raaj kumar , Vygentimala .
Coming back to Anil biswas melodies on the soft notes , I think Meena Kapoors song ‘ Kutch aur zamana kahta hai ‘ wins hands down ,as also Mukesh / Lataji’s duet ‘ Zindagi ka ajab fasaana hai ‘.
Arvinder ji, Violin and flute has been extensively used by the MD’s of the yester years . There was a divide those preffering soft or heavy orchestra . I think Anil biswas and Salil da used both the instruments beautifully in making of the soft melodies . Now I am again reminded by a very beautiful melody by SJ where they demonstrated how a single violin enhances the melody factor of a song ……’ Mere sapne mein aana re sajnaa , mere sapne mein ….’ …from Rajhath . Listen and enjoy this song.
All these invaluable gems of incidents & details from distant past of film music could well be covered in a book form lest it be lost to posterity.
Mr Mathur,
The incident(s) I have described is widely available in public domain, in interviews, articles, and I should think in books. Thanks for your comment.
I agree with your first sentence. However I do not agree with your other comments regarding legendary Anil Biswas Dada. Please listen to the songs of old Indian Films like ANOKHA PYAR, TARANA, ARAM, HAMDARD carefully with patience. I am your opinion about the legendary composer wil change. There are many such examples in the history of Indian Film Music.
First of all according to some experts Khawaja Khursheed Anwar Sbwas a musical genius. He never used Lata Mangeshkar’s voice in any film although he was in India until 1952 before moving to Pakistan. OP Nayyar Sb never recorded any song in Lata’s voice. Lastly, Naushad Sb recorded only one song in Geeta Dutt’s voice (film SON OF INDIA)
I agree with your first comment related to Mohammad Rafi and Anil Biswas. However ever I do not agree with your other comments about Anil Biswas.Please listen to songs from films like ANOKHA PYAR, TARANA, ARAM and HAMDARD.. By the way what is your opinion regarding OP Nayyar and Lata Mangeshkar ; Naushad and Geeta Dutt
Excellent article and loved all songs posted. I have one query which has been haunting me since some time now. I recently recieved a WhatsApp message mentioning that the song ” Rahi matwala tu ched ek baar “, from film WARIS was not written by Qamar Jalalabad but by Anil Biswas himself. The message claims that the information is from film geet kosh , page 208.
This blog has some very knowledgeable music lovers. Can anybody confirm whether this information is true .
Ashok Hebbar,
Thanks a lot for your appreciation. I checked up with the Hindi Film Geet Kosh. The correct statement should be not that the song was written by Anil Biswas himself, but that, “HFGK credits the song ‘Rahi Matwale’ to Qamar Jalalabadi. However, it mentions in the footnote that according to the music director Anil Biswas, he himself wrote this song, though Qamar Jalalabadi is credited as its lyricist.” It depends on how you see it.
I can argue two ways. One, Anil Biswas is a doyen, the Bhishm Pitamah of Hindi film music. We have to trust him that if he says so, it must be correct. Or, There are two lyricists in the film (the other is Majrooh Sultanpuri). There was no technical difficulty in mentioning a third name in the credit titles, song booklets, records etc. There are films in which 7 lyricists are mentioned.
MOHAMMED AHMED @42;
I think Geeta dutt ‘s first song for Naushad sahib was from 1949 film …Dillagi ….and that was ….tu mera chand mein teri chandni . Perhaps this song was recorded as a requirement compulsive to communicate [thru a friend ] the presence of hero in the village where heroine Suraiya was staying. I am not sure whether this song was ever recorded on 78 rpm !
Geeta Dutt: Tu mera chaand main teri chaandni : Film – Dillagi (1949)
https://www.youtube.com/watch?v=C05k714hsFQ
Raj Kapoor too used such link in Shree 420 song ….ramiya wastaviya…where a milk seller is seen humming song passing by Nargis sitting in the verandah and a link of continuation of the song is well established .
Dear Arun ji,
Namaste. I cannot say anything about what the legendary Shri Anil Biswas thought of the talented Shri Mohd Rafi. But I would say with all the sincerity n honesty at my command that he was by far the most talented of our composers. He was a highly learned man with exceptional command on his craft as well as on poetry. His songs for Lataji, Mukeshji and Talat Mahmoodji, among others, bear testimony to this. Please give some time to his music and then form an opinion. Many of the early experiments in orchestration are credited to this genious. Unfortunately he left the film world quite early in 1965 or so and came to Akashvani, Delhi. Please listen to his music series titled “Arikesu” broadcast by AIR during the 1990s. It’s a really treat to hear him talk on the various aspects of film music in this long series. Warm regards n greetings.
Dear Arun ji,
Namaste. I cannot say anything about what the legendary Shri Anil Biswas thought of the talented Shri Mohd Rafi. But I would say with all the sincerity n honesty at my command that he was by far the most talented of our composers. He was a highly learned man with exceptional command on his craft as well as on poetry. His songs for Lataji, Mukeshji and Talat Mahmoodji, among others, bear testimony to this. Please give some time to his music and then form an opinion. Many of the early experiments in orchestration are credited to this genious. Unfortunately he left the film world quite early in 1965 or so and came to Akashvani, Delhi. Please listen to his music series titled “Arikesu” broadcast by AIR during the 1990s (easily available on Youtube). It’s really a treat to hear him talk on the various aspects of film music in this long series. Warm regards n greetings.
Prakash Singh Rautela,
We all agree that Anil Biswas was a great music director. Just ignore one opinion.