We used to learn in our schools that literature is the mirror of society. As I grew, I realised this is more true of our film songs which mirror every aspect of the society and our lives. No wonder there are a large number of ‘I ask, you answer’ songs. Questioning and seeking answers is fundamental to our existence from ancient days. Our Upanishads asked, What is the Ultimate Reality, What is the Human Soul? Most Upanishads – and not only the Prashnopanishad – had Q&A between a seeker and a teacher. Puaranas talk about creation, Ye kya hua, kaise hua? The blind king Dhritrashtra asked Sanjay, who had been blessed with divine vision, to tell him exactly what was happening on the battlefield, Mujhe sach sach bata, and that became Bhagvad Geeta. As soon as someone arrives after a journey, before he gets a chance to freshen up, we crowd around him to ask where all he had been and what he saw. This is how the epic Mahabharat starts. The great sage Ugrashrava, son of Lomharshan, lands in Naimisharanya in the course of his wanderings where the assembled rishis ask him in unison, Kahan kahan gaye, kya kya dekha. Ugrashrava said, he had been to Janmejay’s snake-sacrifice where Vaishampayan narrated the wonderful tale of Mahabharat, which had been written by Vedvyas. The epic is full of Q&A, for example, Yaksha-Prashna is a very well-known episode in it.
Year: 2021
Mukesh’s Non-film Hindi Geets and Ghazals
A tribute to Mukesh on his 45th Remembrance Day (b. July 22, 1923 – d. August 27, 1976) by guest author Ashok M Vaishnav
(Mukesh is among the mainstream playback singers who sang some truly outstanding non-film songs (NFS). Therefore, for any lover of Mukesh, a post on his famous geets and gazals would be most welcome.
Ashok M Vaishnav is a well-known name for SOY regulars. He has written over 20 guest articles for SOY. We know him as a thorough researcher which comes from his engineering and management background. He has written a comprehensive article on Mukesh’s non-film songs as a tribute on his 45th Remembrance Day. We lost him this day in 1976 of heart attack in Detroit, USA where he had gone for a public performance. Thank you Ashokji for this timely article. – AK)
The saga of performed songs in India is an age-old tradition. The knowledge transfer in the ancient times used to happen by word of mouth. Many lessons were encapsulated into the form of songs, which were rendered in the singing form to make them more interesting and easier to remember.
Ancient saint poets created devotional songs that were easily moulded into singing pattern. On the other hand, social events like festivals or births, deaths, marriages also provided ideal platforms for songs as means to share joy or sorrow. The advent of theatre created another genre of songs – songs that were essential part of the story of the play. These used to be romantic songs or dance songs or songs of national spirit and such varieties. It was not uncommon for a song to be played for the whole night as it would keep getting incessant ‘once more’s.
Forgotten Composers Unforgettable Melodies: Bipin-Babul/Babul
Who does not remember the songs Baithe hain rahguzar par dil ka diya jalaaye, Naseeb hoga mera meherbaan kabhi na kabhi, Zulfon ki ghata lekar saawan ki pari ayi, Ye phoolon ka gazra ye solah singaar ho, and Humein haal-e-dil tumse kahna hai kahiye? And do we know who composed the music of these songs. And if you know they are composed by Babul or Bipin-Babul duo, hats off to you, but do you know who they are, how they looked like, or anything about them. I don’t, but these songs have been my eternal favourites. These are not vintage songs, but of 1950s and 60s, the period about which the passionate lovers of the golden era of film music presume that they know everything.
The Gravitas of Sitar in Songs
Sitar makes a very conspicuous presence on the screen due to its size. But it conveys an entirely different image from the piano or the harmonium. If piano is aristocracy, harmonium is plebeian. And what about the sitar? It is elegant classicism; it is not about the social, but musical status. There is gravitas in the sitar on the screen – either it is a classical raga-based song, or a song full of pathos. None of the frivolity you might see with the harmonium, such as in the film Padosan. Even piano has been a venue of some romantic love-play between the lovers.
Kumkum: The Danseuse Butterfly of Bollywood
Guest article by DP Rangan to pay tribute to Kumkum (22 April 1934 – 28 July 2020) on her first death anniversary
(The dancers had an important place in our films. They came in amazing varieties. There was a tradition of the top actresses themselves being professionally trained in classical or popular dance forms, such as Vyjayanthimala and Waheeda Rehman, to Hema Malini to Madhuri Dixit, Rekha and Aishwarya Rai. Some mainstream actresses performed ‘Item Numbers’ for a lark. The other end was a night club or cabaret dancer, such as Helen, Bindu and Jayshree T etc. Since this was not seen as a very noble activity, they were generally given a small role of a vamp.
In this crowded field, it is to the credit of Kumkum that she carved out her own niche as a dancer with grace on whom some of the most memorable songs of the Golden Era have been picturised. As she had a proper training in Kathak, her dance always showed her class. Her natural talent for dance, her supple body and expressive eyes made her a sought after artist. She did several lead roles or second lead roles in which she showed her acting prowess too. To pay our tribute to her on her first death anniversary is the indefatigable DP Rangan.
As the regulars of SOY are well aware, Mr Rangan is 70-plus going on 17. He is the most prolific guest author on SOY. Undeterred by the difficulty of language, he is always after me what next he should write on. I instantly welcomed his suggestion to write on Kumkum. Thank you Mr Rangan for this tribute to Kumkum we all like so much. – AK)
The lure of filmdom started right after movies started invading everywhere. Men and women in search of fame and wealth had made a beeline for the tinsel towns where studios were rooted and functioning. Our Bharat is no exception to this golden rule. Lahore was probably the first town where this started during the colonial era. Calcutta also emerged as another such centre. Then Bombay joined the bandwagon and thereafter Chennai came into the film map. As part of technical advancement, silent movies were supplanted by talkies with the film Alam Ara in 1931. All with a histrionic talent or with pretensions to it sought fame and riches in this tinsel world of glamour. Most of them came from poor families ready to confront this game of life and death. Success meant stardom, wealth and fame and those who failed to make it count were left by the wayside. Ladies with alluring looks as a powerful weapon had an easier time at grappling with the studio moghuls and those with dancing skills had a decided advantage.
Best songs of 1944: Wrap UP 2
And the award for the Best Female Song goes to?
If you browse through my Overview Post on the best songs of 1944 and the Wrap Up 1 about the best male solos, two features would strike you immediately. One was the significantly large number of female solos compared to the male solos. And two, while KL Saigal was the Pole Star of male solos, there was no such Pole Star in female solos. There was no Lata Mangeshkar in 1944. I used to think that Noorjehan was the Lata Mangeshkar before her, but now I realise that I was conditioned by all the optics created by Lata herself, and by reading a good deal about Noorjehan-romantics like Dilip Kumar, Khushwant Singh, and proponents of Track-II diplomacy with our neighbour. I give allowance that as she sang for herself, her songs would be less than independent playback singers. Yet a detailed review shows that a large number of female singers sang absolutely melodious songs, making Noorjehan one among many as far as the quality of songs is concerned.
Best Songs of 1944: Wrap Up 1
And the award for the Best Male Solo goes to?
In my Overview Post of the best songs of 1944, I had mentioned that in the total songs in the years in which the singers’ names were known, male solos to female solos to duets followed a ratio of 1: 3.69: 1.69. Thus, the male solos were about 16% of the total songs in the year. In my shortlist of 80/81 Memorable Songs in the year (one song had a female, and a duet version), the number of male solos is proportionately more at 19, accounted for by the following 9 singers:
Raja Mehdi Ali Khan: Lyricist Par Excellence
Guest article by D P Rangan as a tribute to Raja Mehdi Ali Khan on his 55th Remembrance Day (b. 1915/1928? – d. 29 July 1966)
(There are at least two dozen lyricists who wrote more songs than Raja Mehdi Ali Khan. Yet every lover of old film songs has the highest regard for him, especially for the exquisite songs he wrote for Madan Mohan. For many of us, it might come as a surprise that his songs for Madan Mohan are about one-sixth of his total output. That underscores the talent of Raja Mehdi Ali Khan.
To do full justice to such a highly respected lyricist, you would expect the writer to have very deep familiarity with Hindustani language. D P Rangan is not deterred by minor constraints, such as lack of adequate knowledge of the language. He comes up with another of his very sincere guest articles. He is conscious that lyricists have not been given due importance on SOY, therefore, his article fills up an important gap.
Mr Rangan is a retired government servant, now well into his 70s. We know him for his enthusiasm and zest for life. He has written over two dozen guest articles for SOY, the most by anyone. This article has been in my folder since the last year, but it turned out to be a very crowded year. Mr Rangan appreciated my scheduling difficulties, and allowed me to post it on a later suitable date.
Let us pay our tribute to the great lyricist Raja Mehdi Ali Khan on Madan Mohan’s 97th birth anniversary, with whom he had the most memorable association. Thank you Mr Rangan for this nice guest article. – AK)
A rare combination of poet, writer and lyricist in erudite Urdu is how I think of this gifted individual who streaked across the cinematic field in blazing glory for a brief span of time and embraced eternity by his untimely demise at a very young age of just thirty eight years. His achievements in this brief sojourn in terra firma speak for themselves. Here is my humble effort to pen his biography for scrutiny by blog followers.
‘Hindi Cine Raag Encyclopaedia’ by KL Pandey: Book Review
Hindi Cine Raag Encyclopaedia (Reference Edition: Vol. I and Vol. II) Author: KL Pandey Sangeet Shilp Prakashan, Lucknow Second edition (Revised and Enlarged): December 2020 Hardcover ₹3200 on Amazon (Note: ‘Sur Samvadini’, a glossary of Hindustani Classical Music and a list of 174 raags appearing in Hindi film songs with their basic grammar, available complimentaryREAD THE FULL ARTICLE
Songs of Yore completes eleven years
“It was the best of times, it was the worst of times,…. it was the season of light, it was the season of darkness, it was the spring of hope, it was the winter of despair.” Charles Dickens started his “A Tale of Two Cities” with these lines. If we look at the last two months, this has been a period of unmitigated darkness, the winder of irredeemable despair. In fact, the eleventh year of the SOY began in a state of Lockdown, but then it was a piece of statistics for us, these things do not happen to us. The recent second wave has been ferocious beyond imagination, and there is hardly anyone who is unaffected by it.