Guest article by Hans Jakhar wishing Asha Bhosle (b. 8 September 1933) a very happy 87th birth anniversary and also greeting the unlucky genius N Datta
(By now we all know that Asha Bhosle is the most recorded singer, and has sung far more songs than her elder sister Lata Mangeshkar. Yet Lata Mangeshkar came to be acknowledged as the apogee of female playback singing in the Golden Era. She was the singer of choice of every music director for their best and most complex compositions, except a handful of MDs for whom Asha Bhosle was the main singer. N Datta is one of them, and what superb songs he gave for her as well as other singers! He was an unlucky genius. When Hans Jakhar wrote on Asha Bhosle’s last birth anniversary on her songs by Ravi, Arvinder Sharma commented that her predominance in N Datta’s music is relatively even more pronounced than Ravi.
I have no hesitation in admitting that I am an unabashed Lata-partisan, and that may be reflecting on SoY too, but fortunately we have a large band of Asha Bhosle fans. Hans Jakhar is the undisputed flag-bearer of this brigade which provides more than balance if there is any hint of bias on the other side.
But in my defence, in the very early stage of this blog, I wrote my first post on Asha Bhosle on her 78th birth anniversary nine years ago. Thereafter, I have written a number of posts on her songs by different music directors with great respect, because those songs are very special to me. Hans, in this article, has fairly acknowledged it. N Datta’s songs for Asha Bhosle are very dear to me, yet if someone has to write on this combination, no one could do it better than Hans. I am happy that he accepted my request to write this tribute to them as our greetings to Asha Bhosle on her 87th birth anniversary.
Hans brings his legal and commerce degree and long working with the government to full use in writing on film music, too, with his mastery over data and reasoning. It gives me great pleasure to present his third guest article for SoY which has all the hallmark of his sharp skills. – AK)
The year 1955 was a special year for Asha Bhosle. Two composers who were inclined to use her more than any other female singers came out of the stable of pro-Lata Lata Mangeshkar composers and straight-away started using her as the main female singer. One of them, Ravi, was discussed last year. The other was N Datta who was an assistant to SD Burman. In the same year, the third pro-Asha composer who later became only Asha, OP Nayyar also had a big success with her in Baap Re Baap which, though not a block-buster, was quite a successful film. Success of the songs like ‘Raat rangili chamke taare‘ and ‘Piya piya piya mora jiya pukare‘ gave him the confidence to use her extensively, especially after moving out of Guru Dutt films. At a personal level, her biggest achievement was recording 300+ songs, which no singer had yet achieved.
In this year she sang 222 solos and 97 duets out of a total of 910+ songs. Lata Mangeshkar had 181 solos and 41 duets making a total of 222. There were 531 female solos in that year and both sisters cornered 403 of them, making it almost 80 per cent between them. Of the 203 duets where female singer could be co-opted, both sisters had about 70 per cent. Lata fans have always ignored this number business, to which I agree. But on the other hand the same set of people point to Kishore Kumar’s numbers in the 70s, to bring down Rafi. HFGK brought out numbers. Prior to that even in numbers Lata was thought to be ahead. Still they continued to say Asha just sang crap. But, YouTube has shown that most of her songs are very good. Let us keep Lata aside. There were other well established singers like Shamshad Begum and Geeta Dutt, in whose presence Asha reached this milestone of 300+. That is no mean achievement. In 1955, she sang for 42 composers, which makes it clear that she was universally trusted by composers to deliver goods. I am bringing these facts in view to break the notion that it was only OPN who made Asha what she is. Yes he was important in her career, but the most important person was Asha herself.
Since N Datta-Asha Bhosle combo is to be discussed here, I would now proceed towards that end. But, before that I would relate a few incidents in his life which would matter here. I do not generally delve too much into the biographical part, because they are mostly known, but here in my view these incidents are relevant and would bring out the making or breaking of his career better. A journalist by the name of Raj Kumar Keshwani, writes a column named ‘Aapas Ki Baat‘ in the Sunday edition of Dainik Bhaskar. He put out a series of 3 articles on N Datta starting from the edition dated 10.11.2019, which continued for the next two Sundays. He says, quoting N Datta’s son Roop Naik, that he was born in Bombay on 12 December, 1927, and not in Goa as is mentioned in his biographies. One year later they moved to their native village Aroba in Goa. As his father died early, Datta was brought up by his maternal side. As his maternal uncle was against his learning music, he left home at the age of 12. After initial struggles he joined Ghulam Haider’s orchestra for some time and then his friend Chandrakant Bhosle introduced him in the orchestra of Shankar-Jaikishan.
Datta used to participate in Prabhat Pheries which were quite common in those days and it was in one of these Prabhat Pheries that SD Burman noticed his talent and he made him his assistant. This incident is very important. This shows how just a lucky instance changed his life. This also shows how down-to-earth SD Burman was, and also adds to many stories we hear of his getting inspiration from social music activities going on around him. Datta learned a lot there and also lent Goan touch in SDB’s orchestra. Mr. Keshwani also quotes an interview given by Rajendra Krishan (Madhuri of January 1988) that N Datta composed tunes of songs ‘Sainya dil men aana re‘ and ‘Pyar ki bahar leke‘ in film Bahar. I never give credence to such stories. Any composer gave chance to his assistant(s) to compose tunes, which were sometimes accepted with modifications, or left as they were, and sometimes rejected. You cannot give credit to the assistant for those accepted and also not discredit him for those rejected. To me these are only stories.
The other incident which deeply affected his career was the heart attack – he does not mention the date, but as per the other accounts, my guess is it was sometime in 1962 or 63 – which instilled in him a fear of death. This was a big blow to his career and he was relegated to Dara Singh films, where also he could not create wonders. He remained in this mindset for a few years and when he came out of it, things were not the same again. We see how incidents make the life what it is. His spotting by SD Burman was a lucky instance and this one was unlucky.
Now we come to his films. His two films were released in 1955 – Milap and Marine Drive. Milap came first. This film was produced by TR Fatehchand who had also produced Jaal (1952), in which SD Burman had woven musical magic with Sahir Ludhiyanavi. Hemant Kumar, Lata Mangeshkar and Geeta Gutt were in the team, with Kishore Kumar lending his voice in one duet. The producer was perhaps enamoured with this magic. So he collected almost the same cast and Sahir, and promoted two assistants, N Datta and Raj Khosla. He also decided to use the same singers Hemant, Lata and Geeta. N Datta squeezed in his favourites Asha Bhosle for a solo, and Rafi for a duet. But in the second film he relied on his favourites and gave just one solo to Lata Mangeshkar. I had last year, writing on Asha-Ravi combo, referred to Raju Bharatan theory that except for OP Nayyar, every other music director had Lata Mangeshkar as first choice and Asha was taken only when Lata was not ready or affordable. Here Marine Drive producers were Sippy films and Lata was ready as well as affordable, but N Datta still used Asha extensively for just his second film when the results of the first film were not yet out. So this argument of Raju Bharatan does not fit. N Datta is without doubt one of the triumvirate of pro-Asha Bhosle MDs.
Both the films of N Datta in his debut year were great hits and his initial impact was certainly more forceful than that of Ravi. As Sahir was his friend, he soon got BR Films too. Thus his position was reinforced and soon he was among the frontliners. In the initial BR films, Sadhana and Dhool Ka Phool, Lata Mangeshkar and Rafi had significant contributions. But, from Dharamputra onwards their main singers were Mahendra Kapoor and Asha Bhosle. Songs like ‘Ye baharon ka sama‘ (twin song for both Lata and Hemant), ‘Ab wo karam karein ke sitam‘, ‘Maine chaand aur sitaron ki’, ‘Aurat ne janam diya mardon ko‘ ‘Tu Hindu banega na Musalman banega’, ‘Tu mere pyar ka phool hai’, ‘Main jab bhi akeli hoti hoon‘ reverberated through the air. He was feeling right on top of the world, when the heart attack happened. After that it was struggle all the way, and he never got back to a comfortable position again.
Now some statistics. I know some persons do not take stats seriously vis-a-vis music. But to me, they are a means of understanding a career. In N Datta’s case in particular, they would help in making some observations, which I would relate later. From 1955-80 he gave music for 52 films. I have left out Rajoo (1967) which had the same songs as Sachche Moti (1962). In these films he had 328 songs the details of which are known. Of the 19 songs whose details are not known, 9 belong to two films – Bahadur Daku and Do Juari – for which details of no songs are available. So effectively we have 328 songs from 50 films; 230 of these songs were solos (Female – 159 and Male – 71) and 98 duets with a break up of 76 MF, 13 FF, 6 MM and 3 triads.
The 328 songs are distributed between different periods as follows:
N Datta’s songs (solos, duets), number of films in different periods
The first period of his career i.e. 1955-60 is without doubt his most successful as well as studded with quality songs. His song distribution between his main singers and other singers during this period is worth noting. For male songs he used Rafi in 51 of the 67 songs slated for male singers. Other male singers were given 4 solos and 12 MF songs. In female section, he gave 59 (38 solos) to Asha Bhosle and other singers were used in 60 (35 solos) songs. We see that Rafi was the absolute king among males, but in female songs, Asha Bhosle was though given the most, others too had equitable distribution, even in solos. Lata Mangeshkar had 25 of these songs with 18 solos. In the next period from 1961-65, there was absolute reversal. Rafi’s share vis-a-vis others was 26 and 24 and Asha’s with others was 58 and 17. More or less the same trend continued in the next 5 years. Lata actually had only 3 solos after 1960.
So was there a reason? Everybody knows that even non-Rafi composers were opting for him 1960 onwards, because he was the hallmark of success in those days. Asha Bhosle did not have the fire power to carry films to success on her own, except for Ravi. N Datta who started off with a bang with Rafi, ignored him in the next decade. Was this the reason for N Datta’s decline or was it the heart attack or both? Nobody can know or answer with surety.
Now it is the time for summarising. As has been seen from the stats above Asha Bhosle was his main singer. He could ignore Rafi, but not her. Ravi kept both of them till the end. I give briefly Asha Bhosle statistics. Of the 251 songs where a female singer was used he used Asha in 159. The number for other singers was just 93. If we exclude the first period where Asha Bhosle and other female singers had 59 and 60, we find that Asha got 100 while others got just 33. So there is no doubt that he is one of the three musketeers for Asha Bhosle. My friend Arvinder Sharma, in one of his comments said he keeps N Datta a few notches above Ravi in the matter of Asha Bholse songs. Since I have written about both the combos, my view clearly favours Ravi. Ravi not only used Rafi much better, but Mahendra Kapoor too. Now Sharmaji can have his take with the advantage of hindsight. I request him to come up with his detailed comments in this regard, to enlighten the readers here.
AK continuing with this series of articles on Asha Bhosle has presented her in a much brighter light. Her association with SD Burman who used her extensively, when Lata Mangeshkar was absent from his music, has been highlighted by AK and also Madan Mohan, who gave her great songs throughout, despite being pro-Lata Mangeshkar. I thank AK for allowing me to write this one for one of my favourite singers. I do not know why, but whenever she goes sad and/or soft, I am just mesmerised. Now it is time for song selection. I have gone in chronological order and tried to cover different genres and sections of N Datta’s compositions for Asha Bhosle. Hope friends would like the selection.
1. Piya khul ke na nain milaye re from Milap (1955), lyrics Sahir Ludhianavi
Dil men armaan bhi hai, mausam jawaan bhi hai
Zulfon ki ghani chhaon meinn jeene ka saman bhi hai
Marna aasaan bhi hai, wahi jiyega jo mar jaye re
This is a sample of the lyrics. Sahir was the master of such contrast. This was the only song given to Asha Bhosle in this film. This being the first film, this becomes the first song of this combo. The tune of the mukhda of this song matches with ‘kaahe koyal shor machaye re’ sung by Shamshad Begum in RK banner’s first film Aag (1948). That was a sad song and the antaras of that song were in the same tune, in Punjabi tappa style. This song is a light playful song and antara is tuned very beautifully for that mood. Geeta Bali has enacted the song with her typical endearing antics. Dev Anand was perhaps ordered to act like a dumb creature.
2. Aji tum aur hum hon sath sath from Marine Drive (1955) – Qamar Jalalabadi
Dum bhar ko mera hoja, zulfon ke tale soja
Nahin mera pyar, bijli ka taar, kyun door door zalim
One of the great nightclub songs filmed on an unknown actress. Bijli ka taar has been used in the lyrics in a unique manner.
3. Raatein jaga ke sapne saja ke from Marine Drive (1955), lyrics Sahir Ludhiyanavi
Dil bhi mit jaaye to ulfat dil se jaane ki nahin
Zindagi teri amanat hai zamane ki nahin.
There is an aalap with a bit of sad tinge before the happy song starts. Look at how smoothly the turn from the sad tinge to the happy is brought about by the composer and ably rendered by the singer. After the earlier song, I once thought about selecting the sad song ‘Raat sunsan hai, zindagi veeran hai‘. but, ultimately decided on this due to this reason. There is also a beautiful song ‘Apne khayalon ko samjha dijiye‘ by Lata Mangeshkar, also filmed on Beena Rai.
4. Kismat agar hai saath tumhare to kya hua from Chandrakanta (1956), lyrics Sahir Ludhiyanavi
Chandrakanta has become synonymous with ‘Maine chaand aur sitaron ki tamanna ki thi’. But, Kismat agar saath hai is such a good Asha Bhole song which laboured under the weight of the main song. What a shame, neither the film nor the videos of the songs are available on YouTube.
5. Chhup chhup ke dil ki dhadkanon men ga rahe hain wo from Mohini (1957), lyrics Raja Menhdi Ali Khan
Mohini was another film in which he gave great music. This film stars Nirupa Roy, Shahu Modak, Shakeela and Raj Kumar. Among a number of good songs there is a song ‘dar badar ki thokaren hain’, which I bypassed for the reason that Nirupa Roy is shown in some real happy mood in this one.
6. Tang aa chuke hain kashmakash-e-zindagi se hum from Light House (1958), lyrics Sahir Ludhiyanavi
This film also has the famous hit song ‘Nainon se naina laage, wo kya kahenge aage’. But, I chose this one because Sahir also used it in Pyasa. N Datta gave a different tune and Asha Bholse rendered it so beautifully that the song has a place of its own despite coming just a year after Pyasa.
7. Pyar hi mujhe darkar hai from Didi (1958), lyrics Sahir Ludhiyanavi
This song is very dear to me. Lyrics with such deep meaning and with simple words. Whenever I repeat the mukhda in my mind, the word ‘leke’ always comes in mind before ‘kya karungi’, though I know this word does not exist. N Datta has woven the tune without this so beautifully and Asha sang it to perfection everywhere. This is one of the few great songs filmed on Shubha Khote who was known for her pairing with Mehmood. This song is so special that sometimes I have a mind to convert to my friend Sharmaji’s view. It was Asha’s misfortune that this song suffered due to more publicity being given to ‘tum mujhe bhool bhi jao’ and ‘mere bhaiya ko sandesha pahunchana’.
प्यार ही मुझे दरकार है – २
गर उनका प्यार हो बाँहों का हार हो
सोने चांदी के हार क्या करूंगी
दिल मुझको चाहिए घर लेके क्या करूँ
उनकी तलाश है ज़र लेके क्या करूँ
जब वो ही खो गए औरों के हो गए
फिर मैं सोलह सिंगार क्या करूंगी
चाहत की राह में कांटा भी फूल है
चाहत को तोलना दुनिया की भूल है
सच्ची हंसी मिले दिल की ख़ुशी मिले
तन पे रेशम के तार क्या करूंगी
8. Dekhi teri duniya patthar ki raahein from Jaalsaz (1959), lyrics Majrooh Sultanpuri
This is one of those superimposition surrogate songs where the heroine puts herself in the shoes of the street children singing the song. One would think that this song is penned by Sahir Ludhiyanavi, but it was written by Majrooh and we learn that such poignant songs are not the monopoly of Sahir alone.
9. Hola hup, hola hup, hola hup, gore gore gaalon se barse ujli dhup from Doctor Shaitan (1960), lyrics Jan Nisar Akhtar
It appears N Datta was fond of Rock ‘n’ Roll songs. After ‘Laal laal gaal‘ in 1957, he came up with this one with Asha’s vocals. And how efficiently she conducted herself, is for all to see. Jan Nisar Akhtar’s lyrics are just mind-blowing and he has woven the fittest lyrics for this type of a song.
10. Main jab bhi akeli hoti hoon from Dharmaputra (1961), lyrics Sahir Ludhiyanavi
This song is undisputedly this combo’s most famous solo and also among the best remembrance and nostalgia songs. Sahir is weaving magic with simple words describing simple meeting situations which she is revisiting. And in the end comes this
रो रो के तुम्हें खत लिखती हूँ और खुद पढ़कर रो लेती हूँ
हालत के तपते तूफां में जज़्बात की कश्ती खेती हूँ
कैसे हो कहाँ हो कुछ तो कहो मैं तुमको सदायें देती हूँ
Great composition, great singing and very perfectly acted upon throughout by Mala Sinha, making it a great gem, though this is a long song.
11. Kya dekha naino wali naina kyun bhar aaye from Dharmaputra (1961), lyrics Sahir Ludhiyanavi
Again a very soft song and everything clicking like the other song. The song starts with a question from Mala Sinha’s soul, which she answers with ‘कोख भरी और गोद है खाली नैना यूँ भर आये’. This and other expressions like ‘अपना धन और आप सवाली’ and ‘माँ कहलाना बन गया गाली’ show Sahir’s mastery over such topics. I have my doubts whether any other singer could have expressed these feelings better.
12. Chacha daudiyo re chuhiya kaatne ko aayi from Do Bhai (1961), lyrics Jan Nisar Akhtar
Though video of the song is not available, it seems this is a children’s song, may be enacted on a stage. Interesting lyrics by Jan Nisar, fit for a children song. This song reminds me of Ram Leela in our home town, which we used to watch in the late 60s and early 70s. There was a very talented person from Rajasthan named Madan who used to come there to perform in the Ram Leela. He used to write songs and dialogues and also sing songs when he played a part in different dramas, which were mixed up with Ram Leela. He had written a parody of this song for the ‘Hanuman in Ashok Vatika’ scene. A comedian used to sing it in Ravan Darbaar after being beaten up by Hanuman. The song’s mukhda was ‘Raja daudiyo re bandar katne ko aaya’ with funny lyrics and even funnier acting.
13. Gham gaya to gham na kar from Gyarah Hazar Ladkiyan (1962), lyrics Majrooh Sultanpuri
This was a film which bombed despite great songs and added to Datta’s bad luck feel. This is one of the two gems filmed on Helen in night club type setting in this film. The lines might look odd here for such a song, but In both songs she is expressing the feelings of others. Great lyrics again by Majrooh Sultanpuri. You have to listen to this to get a feel.
14. Aapki baatein aapki kasmein sab jhoothe from Kala Samundar (1962), lyrics Anand Bakshi
I had listened to this song long back in the radio days but had not connected it with either N Datta or Anand Bakshi. Later when I did, I realised how great lyrics Anand Bakshi wrote even when he was not famous. For Asha Bhosle such songs with a sad tinge are just home ground innings. By the way, this is the same film which has the song ‘Meri tasveer lekar kya karoge‘, which has acquired everlasting fame.
15. Paas na howe jinke roti from Akela (1963), lyrics Rajendra Krishna
Another poignant song, this time written by Rajendra Krishna. Look at the antaras.
ला तो दूँ चंदा की थाली, लेकिन वो भी तो है खाली
दिन भी दुश्मन रात भी बैरन, भूख तुम्हारी कौन मिटाये
खुशियां जग की ग़म हैं अपने, भूखा पेट तो भूखे सपने
रोटी का छोटा सा टुकड़ा, सपने में भी नजर न आये
16. Kabhi meharbani kabhi badgumani from Awara Abdullah (1963), lyrics Asad Bhopali
This was the first of the series of 7 Dara Singh films which kept N Datta afloat when big banners ditched him after his heart attack. He had one with Dara Singh’s brother Randhawa and two more with the other strong man Sheikh Mukhtar. Videos of this film are available except this one song. The film available on YouTtube is only 1:45 long, so either the part of the film having this song is corrupted or this song was not kept in the film.
17. Rasvanti naar aayi karke singaar aayi from Gopal Krishna (1965), lyrics Bharat Vyas
This film which did not have much significant success had only two Asha Bhosle solos, which were so good that I included both of them. They are also from different genres and show N Datta’s varied reach. This is a court dance, perhaps in court of Maharaja Kans, so the song as well as dance are classical based.
18. Na jaao re Kanhaiya main padun tumhare painyan from Gopal Krishna (1965), lyrics Bharat Vyas
N Datta composed a few devotional songs, but this is without any dispute his best in this genre. The setting seems to be the occasion of Krishna’s departing for Mathura. Goes without saying that Bharat Vyas would do justice to such lyrics. The composition and singing are perfect for the occasion.
19. Jaan gayi main to jaan gayi from Naya Raasta (1970), lyrics Sahir Ludhiyanavi
After working together in 14 films up to Chaandi Ki Deewar (1964), Sahir Ludhiyanavi and N Datta kept away from each other till they joined back for this film. The reason is not known but perhaps Datta thought Sahir did not forward his case properly before BR Chopra. This film had overall a good score for him in a while. This song is good and was very popular in those days. There are some other good Asha Bholse songs besides the famous Rafi songs in this film.
20. Main hoon pari adaon bhari from Chehre Pe Chehra (1980), lyrics Sahir Ludhiyanavi
I had stopped looking for songs beyond Naya Rasta. This song is OK, but a very pale shadow before the other selections. This song I have included for two reasons. One, this shows that Sahir Ludhiyanavi could also write merely rhyming songs like Anand Bakshi, if the situation so demanded. Two, this makes it clear how the dancers like Helen, Madhumati etc. who used to do cabarets, became redundant after heroines like Rekha usurped their job.
From the above it is clear Sahir Ludhiyanavi was N Datta’s trump card, which was natural because he wrote lyrics in 16 out of 50 films. Eight other lyricists have 11 songs in the list. All the songs except no. 20, I selected on merit, without caring to balance the lyricists. No. 20 I selected for a reason. So the score is Sahir 8, rest 11. Enjoy the songs.
Acknowledgement and Disclaimer:
The song videos have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog does not claim any copyright over these songs which vests in the respective owners, such as Saregama India Limited and others.
{ 75 comments… read them below or add one }
Hans ji,
That was quite an exhaustive analysis. Hats off to you.
N Datta also composed for a few Marathi films and there as well Asha Bhosle was his choice most of the times.
An interesting trivia,
The Marine Drive song, Raaten Jaga Ke was a good tune, though it was not a superhit.
The tune was reused by him for a Marathi song, in 1977. It is said that datta was fully sure of the tune’s appeal and even after using it 22 years later, it was successful. The tunes of the antara are also the same.
And it was sung by Asha Bhosle and Mahendra Kapoor.
For the film
बाळा गाऊ कशी अंगाई
धुंदीत गाऊ मस्तीत राहू
https://youtu.be/lkA6AmFG840
Picturised on young Vikram Gokhale and Nayantara, it is presented as a honeymoon song.
It was a huge hit in Marathi and it’s popular till date.
Anup
🙂
Hansji
Very informative article providing some touching details about this unlucky composer. You have mentioned that no details of the songs of Do Juaari are available. Myswar lists 3 songs of the film all sung by Usha Mangeshkar & Mahendra Kapoor and penned by Raj Joshi ( who is credited with the songs of only one other film). However no audio or video is available.
As av student of statistics , I feel that all the failings of statistics are due to its misuse. Used dispassionately without any predetermined inferences to be proved, like you have done it time and again, it reinforces the argument.
MY pick for the combo is from Gyarah hazar ladkiya
Sab log jidhar wo hain
https://youtu.be/pGqmf4bQopA
Majroohsaab apparently was inspired by Daag Dehlvi here.
s
A great writeup on N Datta – Asha combo to observe Asha’s birthday. I join SOY family in Wishing Asha ji on her birthday. The songs have been selected thoughtfully. A lot of facts have been dealt with. With so much expertise in information technology in India , it is high time all Hindi films information is digitised and made accessible for the public .
It is well accepted that any claims / statements etc. that have statistical backing are difficult to refute . The important aspect of this write up is that all statements/arguments made here are backed up with adequate data .
Though I was expecting some more details like of N Datta’s journey upto 1955 or the type of musical instruments he used/preferred and so many such other aspects , perhaps that would have made this writeup very tilted towards N Datta .
Each writeup on SOY is generating new ideas as well as raising the bar for the future writers .
One song…
‘ Saare jahan se…’/ 1959 / BHAI BEHAN / Raja Mehdi Ali Khan / N Datta / Asha & chorus
https://youtu.be/NvwM5iZTPNY
Thank you so much for covering basic details of N Dutta here.
And of course, selection of his Asha Bhosle songs is very representative, illustrating as well interesting.
By covering the whole period of N Dutta, here, this works to be a good base point to carry forward more posts on other aspects of N Dutta’s music / songs
I very easily remeber N Dutta’s Asha Bhsle’s song for child artists on screen.
One such song is
Ek Se Bahle DO Do Se Bhale Char – Hum Panchhi Ek Dal Ke (19570 – Lyrics: P L Santoshi
https://youtu.be/n4mz3QKUx1c
The lipsynching actor is Satish Vyas, who had attained fame with Toofan Aur Diya in 1956.
Thanks for bringing the topic on composer N Dutta who did extremely well in the fifties and sixties in several movies which are remembered only for their songs such as Mr X, Jaalsaaz Mr John apart from movies of BR films banner like Dhool Ka Phool and Dharmaputra!
Hans ji:
What an advocacy! You have wonderfully articulated a case for the ‘N Datta-Asha Bhosle’ combine to be considered among the important musical partnerships in HFM. And I fully concur. He must have been very young when he had the heart attack. We are thankful, he survived and continued to delight us for more than a decade. Here is ‘Maujon mein doob gaya’ from ‘Jawan Mard’:
https://www.youtube.com/watch?time_continue=40&v=Ll7gzsf-qS4&feature=emb_logo&ab_channel=RajivMathur
Hans ji,
A thoroughly researched post well presented. Wonderful statistics. ( A small error : 159 + 93 = 251. Should have been 252. ) Good song selection.
I am sure there is going to be Part 2 for duets etc.
GYARAH HAZAR LADKIYAN.
Sab log jidhar woh hai udhar dekh rahe hain
Hum dekhnewalon ke nazar dekh rahe hain…
Some good word play here.
An unusual ( as in not sensuous or erotic ) cabaret dance featuring Helen. She means the nazar of Mala Sinha, her sister in the movie , if I remember correctly.
Ali Sardar Jaffri was the co writer/ producer of this K A Abbas project.
I also like
Sambhal ae dil…SADHNA.
Kaase kahoon man ki baat…DHOOL KA PHOOL.
Anup,
Thanks for the appreciation. I also listened to half of the Marathi song which has the same tune which was used in Marine Drive. I think that song became popular because of the situation. But, the tune was also great in Marine Drive. The year 1955 had a whole lot of popular films and songs and many a great songs did not get their due popularity.
Your mention of his Marathi films also brought to memory his composing for a 1950 Panjabi film Balo in which the lyricist was Sahir. This film and one of the songs was mentioned by a friend Arvind at one of AK’s get togethers where I was also present. He had later posted the song on SOY also. I just completely forgot that. This may have a little change in the narrative. This means Sahir and Datta were known to each other before Baazi. It has been said about SDB and Sahir association that some one mentioned Sahir to SDB. As N Datta is credited as assistant to SDB in Kamal – 1949, he must have continued in his team after that, though he is next credited in Baazi. So, may be he recommended Sahir to SDB.
I am posting two songs from the film Balo-1950. They will show his early talent. Both songs were sung by Geeta Dutt, whose hindi pronunciation has come for criticism for early SDB songs. But, in panjabi songs she has stayed very close to the panjabi pronunciation. This only shows hard work by N Datta. He may have been ably supported by some assistant and/or Sahir.
‘Kothe kothe aa kudiye tainu Balo da yaar vakhawan’
https://www.youtube.com/watch?v=26nm4xlN-wM
‘Ik ik ankh meri sawa sawa lakh di’
https://www.youtube.com/watch?v=PLt7Ff-ekAc
Muliji,
Thanks for the praise and also for the additional information. HFGK also gives the name of the lyricist and in the note below given names of three playback singers Usha Mangeshkar, Mahendra Kapoor and Jaywant. But, without the audio or video link it is not possible to know which song was sung by which singer.
Both the songs from Guarah Hazar Ladkiyan, filmed on Helen are surrogate songs based on changed situations and both are equal in quality too. My choice was just personal.
Josephji,
Thanks for the appreciation and also for liking the songs and for the other information. I know you are supporter of digitisation and had made this suggestion earlier also and I agree with you on this. If the info is easily available, we can save a lot of time in search, but there is also a charm in search.
I had told at the outset that I dont have much liking for biographic details, because there is always chance of some goof up. Even then I have given some info. Actually this post is about a tribute to Asha Bhosle and focus has to be on her. N Datta’s details I gave because he was special to her and also he has not been talked about much on SOY till now. So far as details about the instruments, I am lacking in this department and would have looked like a fool if I tried.
Vaishnavji,
I am happy with so much praise coming from you. This song from Hum Panchhi Ek Daal Ke, reminded me that I had originally decided to use one song from this film. But, later this just escaped my memory and it came to me after I had despatched the write-up to AK. In fact this film can be said as principally Asha film so far as songs are concerned, with just one Rafi solo and duet and one all-female duet without Asha in it. All the songs by her in this film are great.
Mr KB,
Thanks for the appreciation. You are right N Datta gave great music from start till the early sixties. No body can take such composer lightly who gave such great songs early on.
Canasya,
Thanks for the support. I think, not only for Asha, but overall also N Datta is one of the frontline composers. Yes he must have been around 35 when the heart attack happened, which was very rare in those days. ‘Maujon men doob gaya sahil’ was in my short list and is a great song. Thanks for posting it.
Hans ji @9
Oh!
I never knew N Datta also composed for Punjabi film. That too as early as 1950-51. It is quite a news to me.
Why he started so late in Hindi? Perhaps he was busy assisting Burman da.
Then what you say about he introducing Sahir to Burman da could also be true. At least it’s likely.
And thanks for sharing the songs. I liked the songs,
Heard for the first time of course. If she could pronounce Punjabi that good, why was her Hindi pronunciation bad?
Anup
Hansji,
A nice comprehensive article combining the birthday celebration of Asha Bhosle with an informative tribute to N. Datta.
A wonderful selection of songs both from his well-known films and the lesser known ones!!
It is indeed unfortunate that his health issues adversely affected his rising career graph and he got relegated later to stunt movies. He is another composer who did not get the recognition he deserved.
Hum Panchhi Ek Daale Ke, 1957 is another movie whose music I like.
One song is already posted at #4.
Here’s one nice lorie song picturized on a young Achala Sachdev.
Lo chhip gaya chand bahe hawa mand mand karlo ankhiyan band
https://www.youtube.com/watch?v=e7iqQZj-XhM
N. Datta composed music for about 13 Marathi movies, with many memorable and popular songs. Asha and Mahendra Kapoor were his main voices here too.
His Marathi film music career began during his second innings, the B-grade films phase.
Here’s a soulful Asha solo from Ek Don Teen 1964, his first Marathi movie as a composer.
Paakhara geet nako gaaoo ( Bird, don’t sing a song)
https://www.youtube.com/watch?v=4YeuG3uBhGM
Dr Shetty,
Thanks for the support and praise. You are right, there is error. Thanks for the correction. This also shows how intently you read the write up. Total songs for females are 251 as per my records, so songs for others comes down to 92. There may still be some difference of one or two. In such stats this is just possible. In fact other female singers also sang in female duets with Asha who sang in 9 of the 13 female duets and out of 3 triads two were MFF triads in which one other female singer was associated. So, 92 was the figure of songs where Asha is not at all associated.
‘Sab log jidhar wo hai’ seems to be favourite of many, as Muliji also selected that. In fact until 1962 he was on a roll and it is very hard not to like a song upto there.
Anup,
I think Balo was perhaps one-off for both Datta and Sahir. A kind of stop-gap till they got busy and perhas it was arranged by some common friend. About Geeta Dutt, perhaps in Hindi films she was taken for granted and panjabi people put her on more rehearsals, being apprehensive about how would she fare.
Some things always surprise us. As Arunji says one should be always on the look out to improve his knowledge. During the search for this article, when I was looking for the titles of old films – to look for Datta’s name as assistant – available on youtube, which came prior to Baazi, I came to a stunning information which may change a whole narrative. There was this film Mashal-1950 in which SDB gave music and he is credited with giving Manna Dey his first hit. When I saw the titlesof this film, I was surprised to find the name of Manna Dey as a co-composer for the film. This film has been on youtube for the last 3 years and I never looked at it. If Manna Dey was co-composer, it can safely be said that he must have at least composed his own songs in that film, may be with a bit help from SDB. HFGK gives the name of only SDB.
Dr Deshpande,
Thanks for the nice words. You are right about Hum Panchhi ek Daal Ke. Great music. This lori I had intended to include, but later this film itself escaped my memory. His heart attack really devastated him. His son says he lived in constant fear of death after that for a long time and such things can severely affect creativity.
I think you are the right person to give us more info about Marathi films and other personal matters, which Josephji was expecting. About instruments etc. I think there is no better expert than SSW. Hope he can enlighten us if he is not too busy.
The dander in the second song seems to be Nilofer (different spellings at different places). In another Asha Bhosle song, the dancer is Vijaya Lakshmi, who is also in the famous Aah dance.
Hans ji;
Nice write up , well thought of , ….supported by well researched statistics and nice collections of songs .
Music and math together its really a bon appetite for me. The laws of physics apply to music too , and music follows that. I see Pythagoras in SDB as hypotenuse, N Dutta and Jaidev as sides . Best songs and music always craves to take mathematical form…….. riding the peaks and attaining octaves.
As I listen to N Dutta songs I do find him creating melodies as soft as flower buds and at the same time his orchestra following the traces of Goan heritage music of purtagese period. Look at movie Jaal’s songs where N Dutta as assistant to SDB created a wonderful atmosphere by adopting Goan culture music to forefront. A passionate lover is glued to his seat watching this movie for its whole hearted plunge , not missing the finer instrumentals / orchestra details .
N Dutta really gave nice poetic touch to Sahir’s lyrics in songs of Dhool Ka Phool . One of Asha’s best song….saare jahan se achha….is my favorite and I am glad my friend , Mr. Joseph , already posted it #3 . Rafi’s ….Ishwar allah tero naam ….from Naya Raasta is just amazing !
Likewise N.Dutta music in Black Cat was fantastic where he excelled in creating melody par excellence …..Lata’s songs ….Mein tumhin se poochhti hun….and…sitaare raah takte hain ….are my favorite recall numbers. Such was his creation where redention and instrumental interludes gets equal status .
Music is powerful. As we listen to it, we appriciate…….and MD respond in their very best.
Gaddeswaroopji,
Thanks for the info about Nilofer. I can easily identify Vijay Laxmi in ‘main hoon phuljhadi tu hai shola’. Can you give names of a few films where Nilofer worked.
Bhatiaji,
Thanks for the poetical caresses of love which only you can provide. I feel happy. You are right about N Datta – Sahir special understanding. Results were there for all to see, with Rafi’s entrance in his recording room, the overall feel of this combo was a clear departure from the SDB-Sahir pair.
Hansji @19
Thanks for your feedback.
Its really great that you have provided detailed statistics about N. Datta’s films and songs. Statistics provide a clear objective summary of a person’s achievements.
I, too, have my own lists on films of Actors, composers, directors etc.
As mentioned by you, he composed for 52 films (excluding Rajoo). My list has 53 ( excluding Rajoo). Then I realized that I had mentioned 10 films for 1966-70, as against 9 mentioned by you.
I am wondering if I have added an extra movie, not composed by him.
This is my list – Bahadur Daku, Dilawar, Jawan Mard, Albela Mastana, Apna Ghar Apni Kahani, Ek Masoom, Patthar Ka Khwab, Ustad 420, Inspector, Naya Raasta.
Let me know.
Also, a question about Bhai Bahen 1959. We all know that its music to be composed by N. Datta.
However, in the film copy that I had seen, the MD mentioned was G S Kohli and Jan Nisar Akhtar as the lyricist.
Wondering if any one has seen the film.
Gaddeswaroop ji, Hans ji;
Actress / dancer Nilofer was favorite of Actor , Producer and Director N A Ansari who used to make crime and suspense based movies in 60s . One can find Nilofar in most of his films he produced . Ansari almost appeared in similar getups wearing white coat with bow tie and could easily get noticed for his intended crimes on screen . In some movies he appeared as one eyed jack too.
Overall I liked his movie….Black Cat….for its beautiful music by N Dutta . Mohd Rafi lata duet…..nashe mein hum nashe mein tum….is beautifully composed and Rafi singing for Johney walker reminds me to be him at same platform as beautiful as ….Dekhta chala gaya….again a duet with Lata and MM’s master piece.
In Sadhana (1958) Asha Bhosle shared a beautiful duet with Rafi Samhal ye dil. Later we had good songs from her in Naya Raasta (1970). I think we should have a post on duets of N Dutta wherein we had good duets from Marine Drive , Black Cat (Nashe mein hum by Rafi and Suman Kalyanpur ) , Miss Bombay (Din ho ya raat by Rafi and Suman Kalyanpur)
and Dhool Ka Phool (two duets of Mahendra Kapoor and Asha Bhosle) remembered even today !
HansJi and BhatiaJi at22 and 25: More about Ansari here https://www.thehindu.com/entertainment/movies/what-made-na-ansaris-films-so-entertaining/article23527942.ece
And Some Nilofer films https://www.imdb.com/name/nm2963638/
Dr Deshpande,
Now it is my turn to thank you for your feed back. So you are also interested in statistics. That is great. On seeing your list of 10 films, Patthar Ka Khwab immediately struck a chord in me. This film got left out from my list while plotting N Datta’s films and songs. Many years back I had made a list of Talat Mehmood songs in an old notebook. I took that out and found that I had listed this song there and put the name of N Datta as composer. Since I listen to most of the songs when I make separate lists for a singer, I had listened to this song too. I also remember to have listened to the two duets from the film. Only the Asha Bhosle solo I am listening for the first time.
AK believes in approximation about stats which is also a correct approach. But, I mostly give exact figures if they are available with me. In hfm songs stats it is hardly a shame to be found wrong. But, this approach of mine sometimes gives others opportunity to correct me and I have the benefit of correcting myself. I am thankful to you for sharing your info which has benefited this post and me. So now we have 332 songs of N Datta about which details are known and we add one solo for Asha Bhosle.
As to the question about Bhai Behan, to me this is composed by N Datta. HFGK has given credit to him and the other website Atul Song A Day, with very experienced team also supports this. I see no reason to change this opinion. So I would go with them. For me GS Kohli’s first film was Lambe Hath – 1960.
Bhatiaji,
Thanks for the information. Your memory bank is still functioning great. I watched parts of Black Cat and Neelofer was there in a small role.
Gaddeswaroopji,
Thanks for both the links. I am very much interested in knowing about small time artists. So I was curious about this Neelofer. Though IMDB is not always correct about Indian films, but in identifying lesser known film personalities, it is helpful as it gives info about them and you can verify by watching the available films where the actors etc are mentioned.
Mr KB,
You are write about N Datta’s duets. I think in view of the class of N Datta, it is likely the series would not end here and AK always takes into consideration readers suggestions.
Hansji @ 28 Dr Rajeshji @ 24
There was this film Aag aur Daag (1970) for which music was composed by N Dutta .
Rafi’s Tere is pyar ka shukriya is the reason I remembered this film and the other reason is its heroine Poonam ( Mrs Shotgun) .
Dr Rajeshji’s list of 10 films of N Dutta for the period 1966-70 does not include this film. Is it the case that it is included in later years by Dr Rajeshji.
This film had a solo by Asha which however could be at the best termed as peppy
Choli bhigi lat bhigi
https://youtu.be/-ZooF96rhYM
Muliji,
This film Aag Aur Daag is included in 1971 songs by HFGK with date of film certification given as 20.1.71. So this is included in 1971-80 slot in stats. But, your question is valid, because youtube shows the year of the film as 1970.
You are right about the Asha solo. The other Asha solo also had a singing style given to Asha by OPN. Lyricist was also SH Bihari, who wrote lyrics for a number of OPN songs. So the lyrics also match the style.
The song ‘Saare jahan se achha…’ was there in the movie DHARAMPUTRA of 1961 , though the lyrics is said to be the original (1904) Md Iqbal version. Here again the MD is N Datta but the singers are Asha, Rafi and chorus .
After comparing the composition of this song in the two movies there may be no doubt that the MD for the movie BHAI BEHAN of 1959 should be N Datta .
The composition…
‘Saare jahan se…’/ 1961 / DHARAMPUTRA / Mohammed Iqbal / N Datta / Asha,Rafi
https://youtu.be/84gupK9zQH0
Hansji@28
Thanks for your quick response and confirmation.
Information about Hindi film songs and related statistics is never complete. It keeps getting corrected and updated as details about lesser-known films become available.
HFGK is one of the most extensive and authentic database of Hindi films and their music. But it also has some gaps and missing details which keep getting filled up.
I agree that Bhai Behan 1959 is indeed N. Datta’s musical score. Its possible that the VCD that I saw had some mix up.
The film had 3 nice Asha solos. One of them was posted @3 by Josephji.
Here are two more:
O Bachcho sun lo baat
https://www.youtube.com/watch?v=b5WUy3uo77o
In ujle mahalon ke tale hum gandi galiyon mein pale
https://www.youtube.com/watch?v=XqDG_xWvN0s
Josephji,
Thanks for posting both the songs with same tune. There is no doubt that Bhai Behan was his film. It is also commendable that his tune has been accepted all over India for singing of this song, though this song was differently tuned in a couple of earlier films.
Dr Deshpande,
You are right about film stats.They always keep changing. I have made an yearwise summary of songs, which I keep updating, because of that. HFGK says that this info will keep changing. In fact in some films after listing songs they have left dotted lines, knowing that there were more songs in that film. Take the case of Albela Mastana in which N Datta gave music. HFGK had listed 5 songs, but now 3 more have been found. Even the Dharamputra duet mentioned by Josephji above is not listed in the film songs, though it comes with the titles of the film.
Regarding Bhai Behan there is one more relevant fact. HFGK says the two Sudha Malhotra songs were added later. Everybody knows she was favourite of Sahir. She was even credited with composition of the song ‘tum mujhe bhool bhi jao’, may be for just a suggestion. This is a unique case. GS Kohli was assistant to OPN, so he was not likely to use Sahir, particularly in the circumstances that he continued to assist him even after giving music independently.
Hansji,
I agree.
Like, for Rustom-e-Bagdad 1963 , HFGK only mentions the songs and credits Asha Bhosle for one song. There is no mention of singers for the other songs.
Similarly, for Ganga 1974, it mentions the songs and the singers names, but no mention as to which song was sung by whom.
Now, some additional information is available for some songs of both these movies.
Yet, I believe, all songs are not covered.
Hans ji;
Considering all that’s happened in N. Datta ‘s life …..feel , fullfill and fullfilling …..were the only steps left out for him to continue and follow for lively hood. Ways always overtakes means when passion surrenders. Still N.Datta was brave enough to continue…. be the offers remains from B or C grade producers only . Fear is always the hunter . When one stops …others overtakes you.
A few of N.Datta songs during his struggling times….
Rahenge Jab Tak Khamosh Hum – Badshah | Asha Bhosle
https://www.youtube.com/watch?v=khyUjD1xrI4
kaha se laye…. Awara Abdulla
https://www.youtube.com/watch?v=QTwRrCUBoHM
Hans ji;
Oh ! How everyone including myself missed this wonder full sahir N Datta fine creation……..
HO O O KIS JAGAH JAAYEIN – ASHA BHONSLE – SAHIR LUDHIANVI -N DUTTA ( LIGHT HOUSE 1958 )
https://www.youtube.com/watch?v=g6vkTEp5KvM
Hans,
Much more than I can say is already said!
Your reverence to your subjects brings extra bounce to your post.
I am waiting eagerly for a post from you on Rafi.
Adding some songs from movies you have not mentioned.
Ka Se Kul Duniya Hamaari (Chaandi Ki Deewaar)(1964)
https://youtu.be/MfVUCHOa8hw
HUM JO ZINDA HAIN TOH JEENE KA SAHARA KYA HAI – ASHA BHOSALE
https://youtu.be/wk7pY7P1Oos
Kitna hasin hai jahan Mr X
https://youtu.be/48J5ByBex08
Ms. Mumbaikar 8, Hans ji ;
The song….Kitna hasin hai jahan …from Mr. X….I was to post yesterday night with some notes. I coud’nt as it was already late night .
Interestingly this beautiful melody was inspired from one of the english/french song and concurrently both the songs were popular on radio at that moment of time. Rafi’s song ….Lal lal gaal ….again rock and roll version of popular Elvis number ….was hitting high on Binaca Geet Mala chart .
During mid fifties we saw many inspired or rather copied songs including Hemant’s ….Aaja zara aaja zara mere sahare dilruba . May be the fashion factor of 55/56 was instrumental in bringing hollywood songs to the fore.
Here is the french /italian version of Mr.X song…..
Tino Rossi – Cerisier rose et pommier blanc
https://www.youtube.com/watch?v=fjtyFOWUk9Q
Here is Hemant’s version …..Aaja zara
Cerisier Rose et Pommier Blanc – Petula Clark
https://www.youtube.com/watch?v=HUlX9VE8rCM
Ms. Mumbaikar 8, Hans ji ;
Here is one more song from Mr.X . Though I have seen this film during my younger days but I am not sure whether the song was there in the movie.
ASHA BHOSLE – BEECH BHARE BAZAAR- MR X
https://www.youtube.com/watch?v=yacDs_8nwp8
Rahul Muli ji has posted a song from AAG AUR DAAG.
Another Asha number picturized on Helen…
.
Kam nahin sharab se
Shaukhiyan shabab ki….
.
Hansji,
Sorry for coming in late. Though belated, I pay my respects to the living legend Asha Bhosle., and also to unlucky genius N Dutta.
Let me congratulate you for your excellent presentation of the article. Your use of statistics accompanied by your narrative style is impressive. Thanks for sharing relevant information on N Datta, which were not known before.
Your statistical representation clearly illustrates that Asha Bhosle rendered almost 50% of the songs composed by N Datta and more than 60% of the songs where female singers were used, thus firmly establishing the fact that N Datta was without doubt one of the triumvirate of pro-Asha Bhosle MDs.
You have raised a question whether ignoring Rafi is the reason for N Datta’s decline or was it the heart attack or both? I sometime feel, though I cannot substantiate, that there was also a clique that directly or indirectly affected talented people like N Dutta not getting due recognition.
I liked your selection of songs, chronological presentation, well interspersed with interesting anecdotes and nice narratives.
A few relevant observations;
‘Raatein Jaga Ke Sapne Saja Ke’ (#3), though a romantic number, Ajit’s intention seems to be dubious. N Dutta at 2:38 and 2:56 depicts Ajit’s intentions by effective use of the interludes.
‘Tang Aa Chuke Hain Kashmakash-e-Zindagi Se Hum’ is a wonderful find for me.
Both the songs ‘Kya Dekha Naino Wali Naina Kyun Bhar Aaye’ and ‘Main Jab Bhi Akeli Hoti Hoon Tum Chupke Se Aa Jate Ho’ fromDharmaputra are good postings.
‘Main Jab Bhi Akeli Hoti Hoon Tum Chupke Se Aa Jate Ho’, is indeed a wonderful situational song, well picturised. It is quite evident that the song is played on a 78 RPM gramophone record. I was wondering when did Mala Sinha managed to change it to the other side, ideally it could have been between 02:54 and 03:03 just before she sings Balon ko Sukhane Ke Khatir Kothe Pe Wo Mera Aa Jana.
Thanks for selecting the songs ‘Aapki Baatein Aapki Kasmein Sab Jhoothe’ and ‘Paas na howe jinke roti’, both highly listenable poignant songs with good lyrics, music and rendition.
You have mentioned the Asha Bhosle and Md.Rafi duet ‘Meri Tasveer Lekar Kya Karoge’, There was another listenable duet ‘Mohabbat Karo To Karo Chhup Chhupa’ by the same singers, the only song penned by Sahir Ludhyanvi for this film.
Thanks Hansji for another thorough job.
Are you going to follow it up with an article on N Dutta-Sahir combo?
Dr Deshpande,
In the copy of HFGK which I have, details of no song of Rustam-e-Baghdad are given. But, since then the film has been uploaded on youtube. So we can see videos of all songs. But, the singers have to be identified from their voices. The titles of the film list seven singers for the six songs. Asha and Rafi has two solos each. For the remaining 2 duets he used 5 singers. In Ganga audio links of two songs are available.
Bhatiaji, @ 38
“Fear is always the hunter . When one stops …others overtake you.”
Mind blowing quote you have given. How fitting to Datta’s story. I think the heart attack altogether changed his whole goanese life style with music and entertaining with friends. In that way the impact was more than what would be an impact on a person like SD Burman, who could deal with it better because he had a different life style. Also such things are more devastating when they come at a very young age.
The songs you posted are very good. I think when we compare, we also look at his quality earlier. His quality in the first 7-8 years was just great, so he is suffering in comparison with himself.
@ 39
At the time of this song he was on a roll and hardly put a wrong step forward. Do you find some similarity in the tunes of ‘kis jagah jayen’ and ‘kitna hasin hai jahan’ posted by Mumbaikar8.
@ 41
Thanks for the information about the foreign songs. I have very little knowledge in such matters. I agree with you that in the 50s quite a number of songs were inspired from foreign language songs.
@ 42
This song posted by you is a golden era version of ‘khullam khulla pyar karenge hum dono’ mentioned by AK some time back.
बीच भरे बाज़ार करेंगे उनसे ऑंखें चार हमारा दुनिया क्या कर लेगी
And in antara
अपना रस्ता देखें हमको राह दिखाने वाले
Hans ji @46 ;
Thanks for your appreciation and replies to all the comments I posted.
Yes it was a little painful to see N. Datta not in his elements in second innings . But he never took the back seat and drove a little away from his best fitted curves …..more to say …after driving Impala he was behind the wheel driving Morris Minor.
‘kis jagah jayen’ and ‘kitna hasin hai jahan’ ….yes both the songs are quite similar but different in mood and contents. Datta excelled in both the composition ….happy one a nice adoption of english song . In fact quite a number of euro-peon countries often comes up with their own version based on popular numbers of hollywood songs.
Mid 50s and early 60s had quite a number of such inspired songs that were even adopted by ace MDs too. SJ too adopted ….itni bari mehfil aur ik dil kisko don ya isko doon….from ….Dil apna aur preet parai [ nice orchestra and good number of rest of songs ]….and walked away with filmfare award when everyone had their eye on Naushad for Mughal e Azam . This Award is still one of the controversy one .
I agree with your reply on my comments @42 .
AK Ji and Hans Ji,
Many thanks for this most appropriate and favourite post for one of the Asha Bhonsle fans like me, and remembering a lazy fellow like me.
Hans Ji,
I’m always impressed by your exhaustive statistical analysis, and I can never ever think of going through such a detailed analysis of musical works. I would prefer to just lie down and hear songs .
But, as you’ve asked me to explain my opinion regarding the comparison between N Dutta and Ravi, my vote would still be for N Dutta.
Of course, Ravi scores over N Dutta in dance songs of Asha Bhonsle by miles, but in my opinion, the handful of sad and soulful melodies of N Dutta from Dharamputra, Lighthouse, Didi and a few other films are just top of the class, comparable to the best of Asha Bhonsle.
This is simply my humble opinion.
Now I’d like to post two my favourite songs, lesser known and different genres
https://youtu.be/wk7pY7P1Oos
Film Rikshawala
https://youtu.be/Fqh0HLf24co
Film Badshah
Hans Ji,
Thanks again for your wonderful post
Warm regards Sir
Mumbaikar8,
Thanks for your encouraging words which mean a lot to me. My first Tamilian boss taught me first to collect material and go through even that which you have already read before writing on it. This has been a habit for me. But, this sometimes delays things. I wonder what would happen if have to run a blog like AK. You may soon find my post on Rafi on which I have put my handkerchief.
You always select songs which are special. The second and third songs were on my short list and the second I just left out very reluctantly because 9 songs had already been selected from films upto 1960 and the 2 Dharamputra songs were a must.
Hans ji
I cannot add anything more N Dutta’s Hindi songs though there are few intersting things about his Marathi songs that I can contribute here.
This is not a statistical account but few highlights of his foray in the world of Marathi songs
1 At least 4 of his musically as well as commercially successful films have come in the period in which he almost went into oblivion in hindi films. These films were
Madhuchandra ( honeymoon)
Preet tujhi majhi ( Tera mera pyar)
Aparadh ( crime)
Bala gau Kashi angai ( how can I sing a lullaby
2 in his debut film in Marathi titled Ek Don Teen, he got Mahendra Kapoor and C Ramchandra to sing a male duet ek don teen manuskiche paik amhi
( One two three
We are the servants of
Humanity)
This must be the only song where C Ramchandra & Mahendra kapopr have sung together
3 Lion’s share of his Marathi songs goes to Mahendra Kapoor followed by Asha Bhosale
4 Madhuchandra mentioned above was a smash hit of 1967. Three songs of the film were very popular then. Had there been Binaca geetmala in Marathi the song
He chinche Jhad dise Maj ( this tamarind tree looks like Chinar) would have been among the top 3 songs.
In this film there was a solo by MK
Jhatkun tak jeeva dubalepana manacha
( O mind shrug away your timidity)
This song has some similarity with
Na muh chupake jiyo
( Not in terms of tune but in terms of broad meaning)
I am not giving the links of the songs here for obvious reasons.
Arvinder Sharma ji;
Glad you are back with your valuable and debatable inputs .
Well in the vast ocean of music and songs it is very difficult to grade MDs which rode high waves at one point of time and thereafter plunge……..and just carried away with boat for some time not knowing the nautical capacity to float.
I think every person has right to differ but here too….to each his own…quote applies.
Both the songs posted are good ones . Heard Rikshahwala song for the first time ….soothing one and reminder of good old days of N. Datta . The song from Badshah is typical of Dara singh movies songs ….is peppy in melody . Such movies reminds me of my younger days when we used to line up in box office ques of famous theaters of those days …..Khanna Talkies and Imperial Theater of Pahar ganj , the ones that caters for peculiar audience . Whistles were frequent additions to Dara Singh actions …as also to songs and dance numbers of the film .
Venkataramanji,
Thanks for the appreciation and the detailed comments. Your praise is special for me. I know you were absent from SOY for the past few days. My guess is you were busy with Hemantayan-2.
I have since a long time thought him to be one of the top 3 who were pro-Asha, even before I had stats based on HFGK or exposure of his songs on youtube etc. The stats have only confirmed that.
Regarding your opinion on my take on his decline, what I said was just a question which keeps roaming inside my mind and I am not sure about that. But, the two reasons were certainly contributors in the process. Even the word decline is just relative with his grand opening and this has happened in the case of the greatest and most famous MDs of hfm. Since he was not using Lata in the 60s in the same proportion as earlier, it was imperative for him to use Rafi more. But, he did the opposite. I would say in his defence that with Dara Singh films, it was hard to use Rafi, because Dara Singh was not inclined to lip-sync songs. He was very uncomfortable even in romantic situations with his heroines. But, I have given figures vis-a-vis other male singers, in which also Rafi was used less than earlier.
I agree entirely with you that there were cliques in the hfm which downplayed such talented composers as N Datta. We saw in the case of Ravi also, many friends here saying they did not know that many of his great songs were composed by him. I also agree that it is not possible to substantiate such things. In fact in old times there were a number of hindi film magazines which gave out such stories. Many of them were concocted too, but many were true also. I have read somewhere long ago that as Datta had the habit of singing his compositions before his friends, many of his tunes were smuggled out before he himself composed songs on them. If somebody asks me to prove that I cant, but this has been happening regularly with composers, whether they were minor or major.
Your observation about ‘raten jaga ke’ is really commendable. Ajit’s actions are not that of a lover. I had also felf the same when I first observed the video. For that I watched the film and found that in the story Ajit works for KN Singh who is the villain. KN Singh gives him the job of killing Bina Rai who is his bhateeji, but Ajit ultimately falls in love with her.
I was surprised to find that you had not listened to ‘tang aa chuke hain’ earlier. Also thanks for liking the selections of songs. Asha was always exceptional when singing poignant songs.
As to your question about Datta-Sahir, this perhaps comes due to the fact that I followed up Ravi-Asha with Ravi-Shakeel. But, Ravi-Shakeel was for some other reasons which I explained and they had enough songs too. Datta did not have enough Sahir songs for a separate post. Some of them have been covered here, some may be covered in a Rafi post or other singers’ post, because most of the famous Sahir songs were in the voices of Rafi and Lata.
Bhatiaji, @ 47
I agree with you that many MDs were inspired with foreign tunes. I dont think that is a crime. Why it is wrong to be inspired with these songs and not when they use folk tunes of various regions of India. I agree with AK that it is fine with being inspired when the result is great and provides enjoyment to thousands.
Hansji
Very sorry for such laggard response. Internet ceased functioning for more than a fortnight. Managed a temporary connection to be alive. Others have described the quality of your posts brimming with vital statistics. I also realise importance of collecting lot of data when dealing with a biography and if the films for which music is given are limited complete coverage is possible. Without backup statistics the kind of post which you have uploaded would not make any sense at all. I know how time consuming to gather data from all places.
I am amazed at your ability to turn out posts of this elk at regular intervals with aplomb. Plethora of comments on other posts shows the keen interest you take in everything to do with Soy. Many of your comments are longer than the post itself and how you find time to do this kind of analysis is worth a study by others.
Please be in the field and post such documentaries as often as possible. It will also give a breather to AKji for looking at other things besides SOY .
Sharmaji,
हमें पता है आप कहीं भी रहो हम आपकी यादों में बसे हैं और वही हाल हमारा है. So far as your comment of being a lazy fellow, I would not like to believe, because of what happened to the ‘hare’ who took the ‘tortoise’ as a lazy fellow. 🙂 I know music ke असली लाल to Lie And Listen (LAL) wale hi hote hain.
Thanks for your praise which I know is genuine because you are not only a fellow Asha fan but also a great fan of N Datta, and anything of this great combo is likely to be pleasing to you.
I wrote on Ravi-Asha and also on N Datta-Asha in an impartial manner. I knew about your opinion. Your answer is not enough. Nobody can be said to be better than the other on the basis of a handful of songs or one genre. Such extrapolation can even be applied to say that because Daan Singh produced two gems for Mukesh in just a single film, Daan Singh-Mukesh combo is better than even SJ-Mukesh combo.
You talked about sad and soulful songs of Asha. As a fellow Asha fan I agree with you that she is incomparable in such songs. How could anybody sing ‘pyar hi mujhe darkar hai’, or ‘kya dekha o nainowali’ or ‘jiske paas na howe roti’ like her. If you have read my post on Ravi-Asha combo, you must have seen that I put her better on this account than Lata and still considered Lata the number one singer. That is her strength and to compose songs to her strength should be much easier. Ravi has composed a number of such songs, but he had so much variety that in that selection other type of songs were aplenty. But, for N Datta almost half of songs came from that genre. So we have to look at the overall picture when comparing between the singers or between the composers for the same singer.
The songs posted by you are great and it would not have been a great combo if only the songs posted by me were good. There are a number of others and many I left out reluctantly. Some have already been posted by friends. I hope you as a fan of this combo will post a few more.
Arvinder Sharmaji,
I share your fascination for N Datta, and if you are a fan of N Datta, you can’t but be highly impressed by his songs for Asha Bhosle. There were so many others in different voices that charmed me. Comparisons are always subjective. As for me I considered N Datta as Ravi+ minus his luck. This has no scientific basis, at a formative stage one is fascinated by something and that sticks forever.
Both the songs you have added are outstanding, the first one was new for me. I hope you would be more regular here.
Muliji, @ 50
You have given very impressive highlights of his Marathi career, which means he was quite busy in other language films too. I think that might have mitigated his loss of space in Hindi films. I have listened to some songs posted by Anup in his blog Mehfil Mein Meri. Though I understand very little Marathi, they seem to be good to me. You can post the songs here too. Anup has already posted one and I posted his Panjabi songs. So there is no harm in posting, though the post is about his Hindi songs with Asha.
Regional films is another cup of tea and this has happened to others too. Hans Raj Behl was the undisputed king of Panjabi films of that era, though he lagged behind in Hindi films. Sardul Kwatra was another who reaped a rich harvest in Panjabi films. Shamshad Begum also became undisputed queen among Panjabi singers after she was dislodged by Lata Mangeshkar from the top in Hindi films.
Ranganji,
Your praise is always a booster dose with use of your eloquent style words immersed in ‘sugar chasni’. I felt like you have made me climb the ‘Imli jhad’ mentioned by Muliji @ 50. 😉 I use stats along with other facts which fit into the narrative, only where necessary. I am happy you liked my posts. Thanks for your super praise.
SOY is for AK like a stress buster and as true friends, we should keep him busy with this, otherwise he may get busy with other things which may not be as enjoying as SOY. But, I accept your advice and would continue to write from time to time, if only to draw out your amazing vocabulary of appreciation.
Arvinderji,
Glad to find you back in SoY. Now we have reconciled to your special appearances now and then. And your brief appearance makes us feel all the more how much we miss you.
Hansiji @ 52,
You had guessed it right. I was struggling to complete the Hemantayan Part 2. I am glad that I could complete it and dispatch it in time.
Disappointed to know that there will not be a post on N Datta-Sahir. But I understand your reasoning. I think N Datta and Sahir worked together in 16 films for a little more than 100 songs. Please correct me if am wrong.
Posting a audio version of a song from Dusshera
Kaam Pada Hai Aaj Tera O Ladle, film Dussehera (1956), lyrics Kavi Pradeep
https://gaana.com/song/kaam-pada-hai-aaj-tera-o-ladle
Bhatiaji,@ 41
I am sorry I beat to you the Mr. X song
Can you still post the notes as you have done for the other songs.
Sharmaji@ 48
Nice to have you back.
Hope you will visit frequently and not be an Eid ka Chand.
Bhatiaji@51 AK @ 56
You liked the first song posted by Sharmaji and said that have not heard it before.
I think you have missed the second song of my comment @40
Venkataramanji, @ 60
I am also like you in the matter of posts and their time schedules. The Asha-N Datta was finalised long ago between AK and me, but I could send it just about 2 weeks before the scheduled time. And my subject was much simpler than yours which is covering a vast field.
How could you be wrong in the matter of statistics, being a master of that art. Sahir had 108 songs from those 16 films and he was the only main lyricist for Datta. More than 80 per cent of his songs were given by Datta to Rafi, Asha and Lata, knowing the importance of his lyrics. If there was a Datta Sahir post then it would have been hard to find songs for other posts or there would have been overlapping. Ravi’s case was different. Even after covering Shakeel separately, he had more than 500 songs left to be used for other categories. I am also mentioning some lyrics, but if AK agrees, I can do Datta-Sahir with lyricist’s perspective.
To all Sharmaji’s fans,
He seems to have taken his monsoon cloud – which strayed towards SOY and obliged us with some showers – back to Cherrapoonji for further rain. 😉
Mumbaikar8,
First of all,
My profuse apologies for picking up the song you had mentioned in your comments. I generally take utmost care not to post a song already mentioned by someone, but erred here
AK Ji, Bhatia Ji and Venkatraman Ji
Many thanks for your very appreciative and encouraging words,I shall try to make myself more noticeable here.
Hans Ji,
I won’t budge from my opinion regarding N Dutta’s Asha Bhonsle compositions, in fact I prefer his duet compositions and Rafi songs more than Ravi’s. I do have a great respect for your exhaustive statistical analysis, but in music, everyone has a different preference, you will agree.
Warm regards all
Sharmaji,
People put a disclaimer at the end, but I am putting it here first. I declare that I had never the intention of making you budge from your position, nor would I try it now. There are a number of persons who comment here which are not in keeping with my views, I dont remember those comments or try asking them to explain. If I asked you to explain your opinion expressed about 9 months back, it was due to the reason that there was a special relationship between us. When you gave your said opinion, you had said N Datta’s Asha songs are a few notches above Ravi’s songs for her. I thought you must have noticed something special and that should be known to readers here. I was in the midst of my unexplained absences from SOY at that time, otherwise I would have asked about it then and there. I saw your comment later. So when the opportunity came about writing on this combo, I remembered you. If you have taken it as if I wrote all this to change your opinion, then I take back my words.
I totally agree with you that everyone has his own opinion and preferences. But, blogs like SOY are there to enlighten people. If everyone’s opinion is fixed then there is hardly any need to write so many articles and comments. Even our blog master friend has changed his views about Asha and Geeta. Statistics are not just numbers, they are facts too and everybody including you have at one point of time or other mentioned stats. Mathematics was born right from the time humans started reasoning. If you would reflect a little, statistics are very important in our lives which is also made of music.
As you know me I am never short of arguments, and I would have given some more. But, your comment that you prefer N Datta over Ravi even for Rafi songs, changed my mind.
Yesterday while looking for some song I found this interesting video clip from some Marathi movie of 1943, which shows all Mangeshkar siblings, with Lata Mangeshkar being shown singing a song. I thought to share this for those who were not lucky enough to watch it until now.
https://www.youtube.com/watch?v=VcrpVKDg8mo
Ms. Mumbaikar8 @61;
Sorry to have missed out your second song posted @40 …..perhaps my mind was too much involved in other song…i.e….kitna haseen hai jahan. Regarding notes and posting of inspired song , I did the same @41 .
I have a faint memory of a song that was perhaps composed by N Datta in another movie ….which again was close to ….kitna hassen hai jahan . Will post when able to find it on YT.
Sharmaji @ 64
You need not apologize; we all make that mistake.
I did not mention your name in my comment because I saw a disclaimer in your comment.
“a lazy fellow like me.”
We have few watchdogs like Hans, Venkataramanji and AK who catch such mistakes but this time all of them missed it.
फिर मुझे सोचना पड़ा now if I want god to help me I will have help myself.
Bhatiaji@67
No apology please.
We all make mistakes, but this time the watchdogs were caught napping.
Hans @62,
Your last sentence. As you said Sahir being N Datta’s main lyricist, doing N Datta-Sahir would have a great deal of overlap with his posts we are doing with his main singer combinations. I would like to use your talent in a more virgin area. I can give a brief hint to the readers, you have already put your handkerchief for a post on a lyricist. I would welcome more.
About your Inquisition of Arvinder Sharmaji, I felt I was on trial. 🙂 I am in the same boat with him. If we like something, we like it. Music is mathematics in some sense, it is not in one’s emotional choices. I am happy that you have finally accepted it.
@66,
Thanks for sharing the clip featuring the Mangeshkar siblings. While watching it, I got a bonus on YT. Here is a clip showing Lata Mangeshkar as a demure lady in sari. She looks heroine material to me. I don’t know why she was so mortally frightened of acting.
https://www.youtube.com/watch?v=0QAJj5uNL_8
AK,
After your nod, I am ready to do Sahir-Datta. In fact that duo had a special relationship. In fact for Datta hardly any other lyricist mattered much. There could even be a separate post for Sahir’s songs for BR Films by N Datta. He put in so much effort for BR that he rightly felt shattered when they ditched him. In fact I have other lyricists posts too in mind, in view of the paucity of posts on lyricists.
On the Sharmaji matter I have never earlier rejected any such theory you say I have finally accepted. I said I have many arguments which I am not putting forward, because he was even putting Rafi songs of Datta on a higher pedestal than Ravi. I would never have asked a question to Sharmaji if he had not written the following comment on your post on Ravi-Lata.
“I wasn’t aware of this contrast between the number of Lata Mangeshkar and Asha Bhonsle songs composed by Ravi, and thanks a lot for this comprehensive assessment.
Now when I came to know about this difference, my mind thought about one more music director, who’s Asha Bhonsle compositions are simply great, in my opinion a few notches above Ravi’s compositions for the singer, in my humble opinion.
The MD I’m referring to is Datta Naik or N Dutta, who has composed 158 songs for Asha Bhonsle, and 28 for Lata Mangeshkar. Dear Sudhir Kapur Ji gave me the Asha numbers and I checked with cineplot for the Lata numbers.”
As per his own admission he is a die hard Asha fan, and still he did not have knowledge of Ravi’s preference for her. Ravi has been the mainstay of Asha’s career for about 30 years. When he does not know Ravi-Asha songs how he could compare Datta and Ravi. He also is a declared fan of Mahendra Kapoor for whom also Ravi put out the best. Even after this much Ravi is not in his good books. That only suggests that may be he is guided by the opinion of others or has something personal against Ravi. This is also my humble opinion and should be taken in the right spirit.
About the Mangeshkar sibling clip, when I showed it to my wife, she said the same thing you say. She said ‘us time to ye sundar dikh rahi hai’ to which I said ‘baad men kab ye sundar nahin thi’. I too like her expressive eyes and smile. I had read long ago in some magazine that she had some small sized small-pox type marks which were more in number around her nose and her colour was also sanwla. These marks later spaced out and became almost invisible. But, at the formative stage when she came into films for acting, she had these and also due to the ordinary domestic circumstances, her dresses were very ordinary. Female colleagues would normally talk about these things. But, everybody praised her voice. So she chose the thing which everybody praised and became what she is today. If she had gone into acting and lost her chances of singing, she would have later regretted like Mukesh and Talat.
Hans,
About the first part of your detailed comment the fact is we all develop some preferences about music very early in our listening days. These may not be backed by data, and are difficult to shake off. My ‘Recall Theory’ is not much different from this proposition.
About the last part, frankly I was pleasantly surprised to see Lata Mangeshkar in that clip from a Marathi movie as a comely lady. In that context I thought she could have continued acting in Marathi movies. But her action was more in Hindi, where she was hardly in any noticeable acting role. The era of actor-singers was coming to an end. She soon shone as a meteor in playback singing. She was meant for singing, and she rightly did that – it was hardly a choice between two alternatives. ‘Acting’ was hardly an alternative for her.
AK,
Yes for us music lovers, it is good she chose the playback as a profession very early. These video clips only serve the purpose of satisfying our curiosity about how she looked in those days. I think acting was just sort of a manoeuvre to get some quick bucks for the family. She has played a great role for her family and has also conducted herself perfectly in public life. Look at Asha Bhosle in contrast, how she is making herself cheap sitting in those contests. This life is not for the legends of that era. My only criticism of Lata comes from her manipulations in trying to control careers of others. Otherwise, I have a very high regard for her as a person and a singer.
Hans bhai and AK ji,
Asha Bhosle undoubtedly ranks among the great singers of Hindi cinema. I agree that OPN – N Datta – Ravi were the three leading MDs for Asha in the ‘Golden Era’.
An interesting discussion took place in our family in Delhi during the winter of 1979-80. We were watching on TV a Test match between India and the touring Pakistan team. As the proceedings in the match became dull, the TV was switched off and we started talking about film songs. My uncle , aged 50 years at that time, made a statement as follows (not the exact words):-
“I purchased a radio set in1958 and thereafter listened to film songs very regularly. In those days I formed an opinion that it would be difficult to come across a situation where Lata Mangeshkar would relinquish her position as the No. 1 female singer. But now I find that Asha Bhosle has occupied the No. 1 spot.”
This begged a question and the question was that what was the period of time when my uncle could perceive that Asha had closed the gap between herself and Lata. He replied that the turning point in the race between the two came in 1963-64. He further stated:
Asha had been getting to sing top songs since mid-fifties. Apart from the trio of OPN- N. Datta- Ravi, she had started getting lovely songs from other stalwarts like C Ramachandra and SD Burman. In 1963, in addition to her songs in films Gumrah, Bandini, Phir Wohi Dil Laya Hoon; she sang beautifully the qawwali ‘Nigahen mila ne ko jee chahta hai’ for Roshan. Thereafter suddenly a situation arose wherein Lata-Rafi duets went missing totally. At that time Asha made big entry into the Shankar-Jaikishan films. Furthermore Madan Mohan gave beautiful, classic-music based duets with Mohammad Rafi to Asha Bhosle in the film Neela Akash. From then on it was a race between equals.
Regards.
Tyagiji,
The analysis of your uncle is very impressive. Lata Mangeshkar’s songs in the 1980s, 90s were becoming popular because of their catchy tunes and being part of enormously popular films. But one could feel that she was losing the timbre in her voice. Asha Bhosle’s vocals remained firm much longer. She also got some great songs by RD Burman and Khayyam. But what Lata achieved from 1948/49 through 50s and early 60s placed her at a unique pedestal.