Best songs of 1943: Wrap Up 1

The SOY Award for the Best Male Singer goes to?

There are years when a competition becomes a one-horse race. That is the case with the best male singer for the year 1943. On the one hand we have the landmark film Tansen starring KL Saigal and Khursheed, on the other we have Kismet and Ram Rajya which have several landmark songs by female singers. There is no film which has several memorable songs by a male singer, though we do have sprinkling of some timeless male solos, such as GM Durrani’s Neend hamari khwab tumhare. Here I should add this song has Balakram singing sargam as the interlude, therefore, I treat it as a solo.

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Vasant Desai Part 1: A Multifaceted Talent

Vasant DesaiIf a new visitor looks up Songs Of Yore, she would notice some names conspicuously missing in the right-hand scroll of music directors. There is no design in it, it has just happened. Yet I have to thank our regular reader Shachindra Prasad for drawing my attention to the omission of Vasant Desai so far on the blog. We know him primarily as the music director of V Shantaram’s famous films like Jhanak Jhanak Payal Baaje (1955); Toofan Aur Diya (1956); Do Aankhein Barah Hath (1957); Mausi (1958); and outside films like Ardhangini, School Master, Goonj Uthi Shehnai (1959); and Guddi (1971). But during review of songs of the Vintage Era, we came across Vasant Desai as a singer too, besides being a music director. That was not a casual dalliance. Some of the songs sung by him may be a new discovery for most of us, but they are absolutely mellifluous.

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Nathli se toota moti re: Manna Dey’s Non-film Hindi Gems

Guest article by Ashok M Vaishnav as a tribute t0 Manna Dey on his 103rd birth anniversary (1 May 1919 – 24 October 2013)

(Manna Dey has been described by some as an enigma among singers. That was a reference to his apparent defensiveness about his place among the contemporary playback singers, despite having the most solid training in classical music. I take it as his modesty and accepting the reality that singing in films is different from classical music, and that there was something in Rafi which he didn’t have. I contrast it with the public grumbling by the later era Suresh Wadkar, how thorough was his training in classical music, yet Bollywood has been so unfair not to give him his due. 

Manna Dey was a man of many parts, and he was a singer of many parts. One important part of his singing – non-film songs – has not yet been covered on this blog. Ashok M Vaishnav identified this omission and fills the gap by this article.

Ashokji is a retired engineer, and now a freelance management professional. He is a keen lover of different forms of music and a prolific writer on this blog. Thank you Ashokji for this comprehensive article – AK)

Manna Dey

Among his contemporaries of the 1950s Manna Dey was considered as versatile as others.  His voice had unique strength even when being inherently soft. Devoid of any jerks, his voice radiated a feeling of eternal peace despite the extreme passion embedded in the rendition. As such the connoisseurs of film music fondly credited his voice to be capable of delivering the poetry along with music and melody. He was considered artist among fellow artistes and a singer of singers. It was perhaps his being so respectfully perched on a high pedestal that kept him away from being considered as ‘popular’, ‘mass’ singer.

However, I was lucky that my awareness, and in turn liking, for Manna Dey’s voice occurred during the very early years when I was unconsciously getting groomed to liking the films songs, much before I started reading about those divergent views about Manna Dey’s singing. As a result, all that I read about his singing never affected my very own liking for that enchanting voice.

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Best songs of 1943: And the winners are?


If 1944 was the year of Naushad’s Jewel in the Crown, Rattan, 1943 was the year of Kismet which became a cult film on the back of its music by Anil Biswas. The Master Khemchad Prakash was at the peak of his craft, and so were KL Saigal and Khursheed in the film Tansen which had many timeless songs. And who can forget Ram Rajya’s defining song in Bhimpalasi, ‘Beena madhur madhur kachhu bol’ and other beautiful songs composed by Shankar Rao Vyas? This was also the year of Neend hamari khwab tumhare from Nai Kahani, composed by Pt. Shyam Sundar.

Other musical landmarks

There were many more songs in the year which have become milestones. Naushad would take a year to become a sensation with Rattan, but he made a mark in 1943 too. He gave music for three films – Kanoon, Namaste and Sanjog and all the three celebrated silver jubilees. Each of them had some songs remembered till today. With their stalwarts already having left for Bombay, the New Theatres, gasping its last breath, made Kashinath and Wapas with music by Pankaj Mullick and RC Boral respectively, which had some beautiful songs by Asit Baran. Asit Baran I discovered after I started blogging when I was curious as to who minded the stable after KL Saigal, KC Dey and Pankaj Mullick had left the New Theatres. Kanan Devi had some excellent songs in Hospital, composed by Kamal Dasgupta. There were many more, such as Hamari Baat, composed by Anil Biswas; Panghat with music by SN Tripathi, Poonji by Ghulam Haider and Naadan by K Datta etc.

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Book Review: “The Unforgettable Music of HEMANT KUMAR”

The Unforgettable Music of HEMANT KUMAR
By Manek Premchand
Pages: 441
First Edition: 2020
Blue Pencil, New Delhi
(With study of his Bengali repertoire by Antara Nanda Mondal and Sounak Gupta)

Salil Chowdhury once said if God wanted to sing, he would do it in the voice of Hemant Kumar. Lata Mangeshkar said about him, “Listening to Hemant Da songs, I feel as if a Sadhu is singing bhajan in a temple.” A darling of Bengal where he was known as “Chhoto Pankaj” (Little Pankaj Mullick), and one of the top singers of Rabindra Sangeet. There was something divine about his mellifluous voice. I have not met a person who is not deeply passionate about Hemant Kumar’s voice. This blog celebrated his centenary in a very comprehensive manner in 2020, anchored by two erudite articles by N Venkataraman – Hemantayan Part 1 and Hemantayan Part 2 and a number of other articles on Hemant Kumar’s music in different combinations. Thus SOY readers’ appetite whetted  by the capsules on him, they would lap up Manek Premchand’s exhaustive book on Hemant Kumar.

Hemant Kumar was a man of many parts. We love him as a singer, his non-film songs are as mesmerising as his film songs. If he ruled our hearts in Hindi, he was an icon in Bengal. He continued his professional commitments in both Bombay and Calcutta, shuttling between the two cities at a  frenetic pace. He was a composer par excellence where he didn’t show any partiality to his own voice, freely taking other male voices if he considered that more suitable. He also ventured into film production, which barring some exceptions, were a commercial failure. With all that he looked after and provided for a large family. All this, coupled with his smoking habit must have told upon his health. All this is captured in the book in sufficient detail.

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Impossible Songs

Wishing the readers a very Happy Holi

Dil le ke bhaga daga de bhagaThe regular readers of SOY are aware that on Holi, when everyone is out throwing coloured water on each other, I often reflect on some serious issues. Not on things like “What is the Ultimate Reality”, or the nature of Brahma (ब्रह्म) and Jeev (जीव) – Are they different or the same? I leave that for more learned people like Swami Venkataramanaji; I limit myself to songs and films. Some songs frankly leave me confused, these are impossible for me to visualise within the possibilities of physical senses. Now I am not talking about the basic contradiction between science, and literature, poetry and other creative fields. We all know that the moon’s surface is cratered, and, therefore, it can be a metaphor for a pock-marked face, but not for an ethereal beauty which evokes ‘Chaudahvin ka chaand ho ya aaftaab ho’.

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हेतुहेतुमद्भूत songs

If you have not studied Hindi in school or forgotten your grammar, the word hetu-hetu-mad-bhoot would leave you quite flummoxed. SOY readers are from different linguistic backgrounds, and I don’t intend to write a primer on Hindi grammar. The only reason I am writing on this unusual topic is that this word came in for use in a very interesting context recently at a lunch hosted by a friend. We were all from the same background, some of us are doing interesting things in our second innings.

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The Teary-eyed Songs

Guest article by Anita Rupavataram

(Mukesh once famously sang, ‘Hazaaron tarah ke ye hote hain aansoo’ (song #5 in this post). There are literally thousands of types of tears.  Of joy, of sorrow. Of victory, of defeat. Of success, of failure. Of love, of break-up. Of parting, of union. Involuntary tears caused by music, painting, dance, theatre, cinema, sports. Anita Rupavataram makes her debut as a guest writer on SoY, with this excellent post on the songs of tears in different situations.

Anita has been a recent active participant on SoY. She herself writes an interesting blog titled, Trivia: The spice of Life. In her own words, “Trivia is what adds flavour to life. At the end of a day, when you sit back and reflect, what you rejoice and reminisce are the little things that occurred which made your day – a small thank you message from a friend, a song that you heard after years, a parrot that you saw perched on a branch outside your window – the list could be endless. It is this trivia that distinguishes one day of life from another.”

With her busy professional career, being a homemaker, mother to two daughters, amateur singer,  part-time Radio Jockey, an aficionado of handlooms and handicrafts, writer of a blog, Anita is truly a Multitasker as she describes herself on her blog. She has quite an insight into literature. I was pleasantly surprised by her offer to write an article for SoY, which she could very well have done for her own blog.

It was a pleasure to interact with her in the course of preparing for this post. She was very receptive to my random ideas, even if these came after she had done and dusted her final draft and had already mailed it to me. Coming soon after our collective grief on the passing away of Lata Mangeshkar, this is a very timely post. I have great pleasure in welcoming and presenting before the readers a new guest author. – AK)

Have you ever wondered why we cry? Albert Smith, an English international footballer once said, “tears are the safety valve of the heart when too much pressure is laid on it.” Tears release stress-relieving hormones. Once copious tears have been shed, one feels much better, with all the pent up emotions having found a vent. I am reminded of Alfred Lord Tennyson’s famous lines for a woman who has lost her husband in war. She is unmoved, even after seeing his mortal remains. The maidens around her say, “She must weep or she will die.” This line, perhaps, consummately sums up the significance of tears.

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Lata Mangeshkar Lives Forever

The story of my deep romance for Lata Mangeshkar (28.9.1929 – 6.2.2022)

Lata MangeshkarLata Mangeshkar is no more – her mortal body that is. She was over 92, she had been in and out of hospital in recent days, and had been on ventilator support for her last couple of days. This was bound to happen some day – जातस्य हि ध्रुवो मृत्युः. But can she ever go out of our lives? I don’t remember a time when I was not aware of her songs, nor can I think of a time when her voice would vanish from the face of the earth.

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