Hans Jakhar

The evolution of Mohammad Rafi: PART ONE (1944-55)

Guest article by Hans Jakhar extending the centenary celebrations of Rafi (b. 24 Dec 1924 – d. 31 July 1980)

(Hans Jakhar, an SOY regular, is an avid Rafi fan and a Master of Data. Therefore, when I decided to celebrate 2024 as Rafi’s centenary year, my thoughts first went to him whether he would like to write a couple of articles on him. When he was more active on SOY he had written some guest articles, some of which were predominantly on Rafi. But of late he has been busy. This article came to me late when I had tightly packed the last months of 2024. My concluding article in Rafi’s centenary celebrations was on his evolution over the years with his duets. To highlight his versatility I had taken one duet a year with the condition that no music director was to be repeated. Even with this restriction I could get 25 gems over 25 years, composed by 25 distinct music directors.

Hans focusses on solos without any filters of a song in a year and a distinct music director. Therefore, you may get gap years and more than one song by a music director. However, with all the data Hans takes you on an interesting journey, and you discover many gems from Rafi’s early career. Some more articles on Rafi came late and I was happy to extend the centenary celebrations to 2025. This is in continuation of the celebrations.

Hans is a retired government official. He spends his post-retired life with his family in Haryana. Thanks a lot Hans for this nice article. – AK)   

AK asked me in April last year whether I would like to write for Mohammad Rafi’s Centenary in 2024. Normally he would not have asked but I have been extremely irregular in the past one year. I had, always in mind, this topic about progression of Rafi’s career, his struggles and his evolving as a top singer. Since the start of 2024 I thought it was the right time for presenting my thoughts. So I suggested and he agreed. It would be in two parts, the first part covering the time upto 1955 and the second from then to 1970. The time limit is kept up to 1970, it being the span of SOY’s primary interest. Even if that has not been the case it would have been impossible to cover his whole career in two parts. It is hard to cover it in two parts, but we will have to adhere to some limit.READ THE FULL ARTICLE

Rajendra Krishna with Chitragupta and Ravi: Reaching for the skies

Guest article by Hans Jakhar in continuation of his series on Rajendra Krishna

(When some readers observed that the lyricists have not been give their due importance on SOY, Hans Jakhar offered to write a series of articles on Rajendra Krishna’s combination with different music directors. He has already written two articles in the series on his association with two of his most famous combinations – with C Ramchandra and Madan Mohan. Continuing the series, in this article he covers Rajendra Krishna’s prolific combination with two other music directors, Chitragupta and Ravi. Among his several guest articles, he had earlier written on Shakeel Badayuni’s combination with Ravi.

Not everyone relates to lyrics as intensely as Hans Jakhar does. In most music lovers’ mind a great song is associated with the voice (singer) and the tune (music director). We often lose sight of the contribution of the lyricist, except for a very few prominent ones. Hans has shown his special expertise in analysing the lyrics of a song.

Once Hans takes up a work, he does a thorough job of it in spite of time constraints. He has done this article in face of his personal difficulties. Thank you Hans for another thorough article on a lyricist-music director combination. – AK)

Rajendra Krishna with Chitragupta and RaviWith Chitragupta and Ravi we move into the Rafi territory. It is not that C Ramchandra (CR) or Madan Mohan (MM) did not use Rafi enough, but their main focus was Lata Mangeshkar. CR did not care for Rafi after he got settled with Lata Mangeshkar, and even for MM, Rafi was in an assisting role. When in the 1960s MM used Rafi on a larger scale his use of Rajendra Krishna declined due to Raja Mehdi Ali Khan and Kaifi Azmi getting the lion’s share of good Rafi songs in that phase of his association with MM.

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Rajendra Krishna and Madan Mohan: Classic Case of Two Geniuses at Work

Guest article by Hans Jakhar on Rajendra Krishna’s combination with Madan Mohan

(Hans Jakhar is among the regular readers of SOY who believe that the lyricists deserve greater recognition than what is generally given to them. It is true that even the serious followers of old film music give prominence to the singer and the music director of a song, almost to the point of lack of any recognition to the lyricist. I myself belong to this camp, resulting in a conspicuous gap in the coverage of lyricists on this blog. Hans Jakhar has offered to fill up this gap. He wrote a nice article on Shakeel Badayuni’s combo with Ravi about two years ago. Recently, he decided to write a series of articles on Rajendra Krishna’s combination with some of his principal music directors. The first article in the series was on his combination with C Ramchandra. This second article in the series is on Rajendra Krishna’s most popular and lasting combination with the music director Madan Mohan.

Readers familiar with Hans Jakhar’s style know that he is very meticulous in his data and presentation of facts. Besides, his love for the lyrics flows out of his articles. This is another treat for those looking for substantive articles on the lyricists. Thanks a lot Hans for your efforts. – AK)

Rajendra Krishna-Madan Mohan

This is the second post in the series on Rajendra Krishna. This was already scheduled to be the second in the series, being the most important and long lasting pair Rajendra Krishna made with a composer. This came second in the series because C Ramchandra (CR)-Rajendra Krishna combo had become enormously famous before this one. Avinash Kumar and Mahesh pointed this out and I immediately agreed. The fact that Rajendra Krishna wrote lyrics for 36 of Madan Mohan’s films and 268 songs out of his total output of 614 (name of the lyricist of two songs from film Beti (1957) is not known, so I am not counting them) is hardly the only recommending feature of their enduring relationship which went on for 25 years.

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Rajendra Krishna with the Albela Karigar C Ramchandra

A tribute to the lyricist Rajendra Krishna (6 June 1919 – 23 September 1987) on his 34th Remembrance Day by guest author Hans Jakhar

(The lovers of old film music regard Rajendra Krishna with a lot of respect for a large number of immortal songs he wrote. His most prominent association was with C Ramchandra, the unique craftsman. C Ramchandra was not only reckoned as the tallest composer for a number of years, rivalled by only Naushad, he was also known for breaking new grounds with his unconventional songs, and his very fast output. Rajendra Krishna was his regular lyricist for many of these superhits.

Many readers have mentioned that the lyricists deserve more coverage on SOY. Fortunately, there are some among our guest authors who are ever willing to fill up the gap. Hans Jakhar has been interacting with me about some prominent lyricists he would like to write on. He got busy in some personal matters which affected his participation on the blog. But he has been able to send me his article on Rajendra Krishna on his most famous association with a composer, as his tribute on his 34th Remembrance Day. The readers may please note that many sources, including film credit titles write his name as Rajinder Krishan/Krishen. But being conditioned by Akashvani, I prefer to write it as Rajendra Krishna. (And the readers must have, of course, noticed that ‘Albela’ and ‘Karigar’ both are names of films which had Rajendra Krishna-CR songs.)

Hans needs no introduction to the regular readers of SOY. His writing is backed by data, it is functional and precise and he is very knowledgeable. He is a retired government official. As the readers can make out, this article is the start of a series; Hans would cover Rajendra Krishna’s association with a few other important composers in due course. Thanks a lot Hans for this excellent guest article.- AK)

Rajendra Krishna penned more than 1500 songs in 232 films with 34 composers, but his fame is not commensurate with the quality and quantity of work that he produced. As the focus has always been on composers, only those lyricists who were inalienably linked with some prominent composers were discussed more. There were exceptions like Sahir Ludhiyanavi who kept themselves in the news in some way or other. But Rajendra Krishna, like Ravi in the composers, was a low-key, simple person who did not believe in self-propaganda. His most commonly known story is his winning the jackpot in horse races and even in that people are not sure about the time of the occurrence.

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N Datta-Rafi: When they meet it is GOLD

Guest article by Hans Jakhar as a tribute to N Datta (12 December 1927 – 30 December 1987) on his 93rd birth anniversary with his songs for Rafi

(You can’t get a more passionate fan of Asha Bhosle than Hans Jakhar, and she was the principle female playback singer for Ravi. Therefore, he was the most natural choice to write on her best songs for Ravi in the series of tributes on him last year. The discussions on that post led to N Datta for whom Asha Bhosle was even a more predominant singer. Hans again became the natural choice for writing on her anniversary this year with her best songs composed by N Datta.

A most welcome bonus was that he offered to write on N Datta’s songs for Rafi. This was the classic case of one thing leading to another, but he became terribly busy with his personal affairs. It was very kind of him to, nevertheless, squeeze time for this post, though we have overshot N Datta’s 93rd birth anniversary by a day.

Readers are aware that Hans never does anything half-heartedly. This post too bears his exhaustive research, and you get not only an excellent selection of songs, but also an overall perspective on N Datta’s rise and fall, and despite that, his great talent in composing some everlasting songs.

Let us pay a tribute to the unlucky genius N Datta with his songs for another genius Rafi, on his 93rd birth anniversary. Thank you Hans for you efforts. – AK) 

N Datta-RafiLast year in the series on Ravi, I wrote on Ravi-Asha Bhole and Ravi-Shakeel Badayuni. In my second post, Mumbaikar8 commented that she would have liked me to write on Ravi-Rafi. By that time both of Ravi-Rafi posts had already been written by AK. I am sure every reader on SOY knows that not only AK’s write-ups and song selection are exemplary, but also the song descriptions. I am sure Mumbaikar8 agrees with me on that and the reason for her wish was due to the fact that she wanted to see a write up from the perspective of a Rafi fan. AK also agrees to the difference of perspectives and because of that he asked me to write on N Datta-Asha Bhosle, though he has already written a number of great posts on her. This time I requested him to allow me to write on N Datta-Rafi to which he kindly agreed.

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N Datta: The Third Musketeer for Asha Bhosle

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)

N Datta-Asha BhosleThe 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.

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Shakeel Badayuni: Revitalising bond with Ravi

Guest article by Hans Jakhar (This is the second guest article by Hans Jakhar on the trot after his debut with Asha Bhosle’s songs by Ravi. He had given enough indication that he would be writing on Shakeel Badayuni’s partnership with Ravi. Hans’s forte is mastery over data. And you see full evidence of thisREAD THE FULL ARTICLE

Ravi and Asha Bhosle: A class combination

Wishing Asha Bhosle a very happy 86th birth anniversary (b. 8 September 1933) with a guest article by Hans Jakhar

(Asha Bhosle, despite being the most recorded artiste by miles, remained the ‘other’ singer for most music directors of the Golden Era. All the accolades and the most melodious songs went to her elder sister Lata Mangeshkar. Ravi is among the rare major music directors whose ‘first’ female playback singer by choice was Asha Bhosle. In the ongoing series on Ravi it was natural that her primacy would be highlighted, and no one is better suited than Hans Jakhar to pay a tribute to her on her 86th birth anniversary with her songs for Ravi. Hans is puzzled that some of us are hesitant to count Ravi among the ‘greats’. He is not only a fan of Asha Bhosle, but he also has a deep empathy for her for having suffered the ‘Sister Tax’ in her career.

With this article Hans debuts as a guest author. I am sure the readers would not be surprised by it, the surprise is why it has taken him so long. His comments on the blog posts are full of facts, analysis and insights. Hopefully we would see more from his pen.

Hans is a B. Com and LLB, which reflects in the way he presents his arguments. After working for over 20 years in the central secretariat service in various ministries, he took voluntary retirement and now straddles between two worlds: the rural Haryana, which is his home state, and the urban metropolis of Delhi. The series on Ravi inspired him to write on his songs for Asha Bhosle, for which I am sure the readers of SoY would be grateful to him. Thanks a lot Hans – AK)

Ravi and Asha BhosleSome time back Dr Shetty made a comment to the effect that Asha Bhosle could sing all the songs Lata Mangeshkar could, and in addition she could sing many which Lata could not, so why should Asha be not called the best singer. This thought of his has stuck with me, because, I have come across many who held the same view. There were some who rated Suman Kalyanpur  the better singer. My elder sister who is four years older than me held the same view. In fact, in those days of the late 60s and early 70s, there were a number of magazines in circulation which gave stories about Lata’s manoeuvres. My sister made very angry remarks against her on that count, Suman Kalyanpur was her favourite by far. Though I was younger, I tried to cool her down. At that time I did not have much knowledge about these things and was also a bit hesitant in arguing, especially with elders, so I gave just one argument, that Lata must have special talent and because of that the composers were giving her more songs.

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