Music Directors

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Best songs of 1944: Final Wrap Up 4

And the Award for the Best Music Director goes to?

Khemchand Prakash-Naushad-Pankaj MullickWhen you think of the year 1944, you think of Naushad. That was the beginning of Naushad phenomenon with his Jewel in the crown, Rattan. This was his 13th movie, having debuted in 1940 as an independent music director, he already had five Silver Jubilees under his belt. But the songs of Rattan are remembered even today. That film became a Diamond Jubilee, first of his three Diamond Jubilees. In the year he gave music to three more films; the list of 80/81 Memorable Songs in the Overview Post includes his songs from all the films. His Pahle Aap, too, in the year had some everlasting songs, rightly making the film a Silver Jubilee hit.

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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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Dattaram Part 2: Breaking out of the Banyan Tree with ‘Other’ Singers

Second and final part of tribute to Dattaram (1929 – 8 June 2007)

DattaramWe saw in Dattaram Part 1 dealing with his songs for Mukesh and Manna Dey, how his association with the Big Banyan tree, Shankar-Jaikishan, made it difficult to get out of the comfort zone of SJ. The readers Mahesh and Hans Jakhar opined that Dattaram was himself part of the Banyan Tree. We need not presume that it was a millstone around his neck. The association gave him steady work and a sense of importance. Not everyone is entrepreneurial, he was contented with his station in life.

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Dattaram Part 1: Under the shadow of big banyan tree with songs of Mukesh and Manna Dey

A big banyan tree gives shelter and protects you from elements. But this may become a trap because one may be deterred from venturing out on one’s own for the risks involved. But a human being also has an urge to venture out and stand on his own. That involves a vertical progression from earning from one’s skill to being an entrepreneur: Mason to a contractor; dancer to a choreographer; instrumentalist/ arranger/ assistant to becoming an independent music director; paid employee to a free-lancer.

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The Unlucky Genius N Datta: His songs for ‘other’ singers

Wishing the readers Happy Makar Sankranti, Pongal, Lohri and Magh Bihu with the concluding  tribute to N Datta, with his songs for ‘other’ singers

N DattaN Datta’s music in BR Films’ Sadhana (1958), Dhool Ka Phool (1959), and Dharmaputra (1961) is of such a high quality that I found it quite surprising that Gumrah (1963) onwards Ravi became almost a permanent fixture in BR Chopra camp. The music and the movies were so successful that it was difficult to think of anyone replacing Ravi. But it is important to remember that N Datta gave music for BR Chopra films five years before Ravi first joined the banner, and secondly, N Datta’s music is absolutely superb, his iconic songs matching with the best of anyone, and treating him as some kind of lesser-Ravi, or Ravi-filler is misplaced. As for record, N Datta debuted with Milaap (1955), the same year as Ravi debuted with Vachan. And if Ravi had been assistant to Hemant Kumar, N Datta to an even more celebrated Bengali music director S D Burman.

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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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Hemant Kumar’s Hindi Duet Compositions

Guest article by Ashok M Vaishnav in the continuing series of Hemant Kumar’s Centenary (16 June 1920 – 26 September 1989)  celebrations

(The Grand Centenary Celebrations of Hemant Kumar were set off by N Venkataraman’s omnibus article Hemantayan Part 1 on his Birth Centenary 16 June 2020, which covered his early life and his career up to 1960. He completed his comprehensive overview with its Part 2 on his Remembrance Day 26 September 2020. In parallel Ashok M Vaishnav offered to take a closer look at Hemant Kumar’s career as a music director in Hindi films. He has already written on his songs for female playback singers and male playback singers. Ashokji completes his micro view of Hemant Kumar as a music director with this third article in the series in which he covers his duet compositions. Ashokji, characteristically, covers some unknown songs; his logic being that everyone knows his famous songs. This also gives an opportunity to the readers to post some obvious songs which are missing here.

Ashokji is a systematic researcher. That comes from his engineering and management background. After retirement he now freelances as management training professional. I convey my thanks to Venkataramanji and Ashokji for their series of articles which is such a befitting tribute to Hemant Kumar who was a great artiste and a great human being. – AK)

Quantitatively, duets are known to constitute a smaller share of Hindi Film Songs, as compared to the solo songs. However, it is well acknowledged that duets have an important place in the portfolio of any music director and singer. Musicologists will have their own detailed treatise to address the intricacies of duet compositions. They may also have different analyses of why one duet is better than the other or which duet has experimented successfully or otherwise with some out-of-the-box experiments. However, as an amateur listener of Hindi Film Songs, my inherent bias towards duets invariably is reflected in the joy of listening to a song composed as (MF) duet. In that context duets of Hemant Kumar have their own charm – be it an another music director composition or a Hemant Kumar’s own composition. Certainly, there should be no comparison between Hemant Kumar’s duets composed by other music directors and the ones that he composed himself. They are two different worlds and must be enjoyed as such.

Presently, we will focus our attention to the duets composed by Hemant Kumar in Hindi films

Hemant Kumar_Duets singers

Hemant Kumar has composed music in 54 Hindi films, spanning around 418 songs. Of these, 9 films (covering ~66 songs) had no duets. From the rest of the songs that Hemant Kumar has composed, duets have a little more than the one fourth share. These comprise MM and MF duets and triads+ where he is a singer and music director, and FF and MF duets and triads+ which have only ‘other singers’, in nearly 53:47 proportion. Well, well, it seems the statistical analysis of Hemant Kumar composed songs itself seems to be a full-fledged subject that can be discussed as interestingly as listening to his songs, and hence better be left for the more competent people to address.

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Hemantayan – Part 2

A tribute to Hemant Kumar on his 31st Remembrance Day (16 June 1920 – 26 September 1989) in his Birth Centenary year by guest author N Venkataraman

(N Venkataraman launched the Centenary Celebration of Hemant Kumar with his superb article Hemantayan Part 1 on his Birth Centenary, 16 June 2020. This gave a comprehensive overview of Hemant Kumar’s early life, his rise as a singer and composer of great repute in Hindi and Bengali films and non-film songs, up to 1960.

In this second and concluding part of his tribute, Venkatarmanji carries on his excellent work and covers his remaining career post-1960. The special aspect of this article is his focus on Hemant Kumar’s forays into production of films, which is not highlighted much as his heavenly voice left such a powerful impact. This aspect is also important because it became Hemant Kumar’s hubris, sucking him into deep financial troubles. But the multifarious talent that he was, he was able to come out of it as he had become an icon in Bengali music as a singer and composer. That became his main arena, where he was the Monarch.

This two-part tribute by Venkataramanji is the most comprehensive you can find on any blog. It is not only a chronicle of Hemant Kumar’s life and his professional achievements, it also provides insight into the ecosystem of Hindi and Bengali films of the era, his strength of character, simplicity and generosity and also his foibles, and his ups and downs. We are passionately fond of his singing and music direction, our awareness being primarily limited to Hindi. Thanks to Venkataramanji now we know that Hemant Kumar was much larger than that.  We can’t thank Venkataramanji enough for this. – AK)

Hemant Kumar 1“It was now time to build up on this success and reputation. Was he able to consolidate his position and career in Bombay and also in Calcutta? I will leave that for another post, the second part of this write-up. I would be covering his career post-1960 in the second part of my article”.

I had concluded the first part, Hemantayan – Part1 with the above lines.

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Hemant Kumar’s male playback singers

Guest article by Ashok M Vaishnav in the series of centenary tributes to Hemant Kumar (b. 16 June 1920 – d. 26 September 1989)

(Hemant Kumar’s centenary celebration was set off with an excellent article by N Venkataraman, ‘Hemantayan Part 1’, in which he wrote about his family origin, early life, and his career up to 1960. Venkataramanji would write his second and last part on Hemant Kumar’s Remembrance Day, 26 September, covering his post-1960 career.

Ashok M Vaishnav has a great interest in delving deep into film songs and present micro-analysis on various parameters. He very kindly offered to supplement Venkataramanji’s two-part overview with some articles going into Hemant Kumar’s career on various parameters in greater detail. Ashokji’s first article in the series was on Hemant Kumar’s female playback singers. in his second article he covers his male singers. This article is another evidence of Ashokji’s perseverance in going deep and wide.

Ashokji is an engineer by profession. After retirement, he is engaged in management training. I thank him for his efforts to make this series of tribute so befitting the respect Hemant Kumar commands. – AK)

Hemant Kumar_Manna Dey-Rafi-Kishore KumarEvery time the topic of Hemant Kumar’s Hindi Film songs in male voice comes up, the discussion usually gets marooned in the question – was he a great composer who also sang well or was he a great singer who also made some memorable music?

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