Guest article by Shalan Lal
(In the first part of her three-part dissertation on chorus songs in the films of yore, Shalan Lal covered the first decade of the 1930s, dominated by three major studios: The New Theatres of Calcutta, Bombay Talkies of Bombay and Prabhat Film Company of Poona. This was published on 2 May 2019. The second part, dealing with the second decade of the 1940s, and chorus songs from this era, gives a good insight into the main trends during this period and style of music. I compliment Shalan Lal on another well-researched article and thank her on behalf of the readers for her painstaking work. Shalan Lal is a UK-based academic. – AK)
Three Decades of Chorus Songs
Introduction and the Second Decade 1941-50
Now into the tuneful forties.
In this section we discuss how the choruses and musical accompaniment in the films already established by the studio-based film companies had been used by the other companies to further the art of songs and chorus songs to their advantage.
The three film companies, New Theatres, Prabhat, and Bombay Talkies, mentioned in the first part of this series, developed internal institutional troubles and towards the end of the forties they were going to be dissolved or go limping to vanish; so more or less individual music directors became independent and allowed themselves to be hired by the film companies and the individual entrepreneurs to do contracted piece-work and free to do work for other companies on contracts. The reason for this was that the studios themselves would go on renting their space and facilities to other companies as well. Music directors would hire outside halls to rehearse their songs. As playback became gradually became the norm, the recording studios would need their studios booked in advanced.
Occasionally the studio owner-manager like Shashadhar Mukherji contract-bounded the music directors and singers or salaried them. But Chandulal Shah bound them only with the contract to finish the piecework and he himself would supervise the work of the MDs if the films were produced by him. But by the end of forties many of the routine practices in principle were washed away. Naushad and other MDs rebelled against the principle of not to be allowed to work simultaneously with other film companies for the music of their films. They became in charge of the music including the right of hiring the singers, lyricists and instrumentalists and later on the orchestrators and also the right to sit in conference with the producer, director and story writer and allied artists etc.
But when Lata Mangeshkar ‘arrived’ as the famous impending playback voice, the producers demanded her voice in the contract for protecting their capital regardless of the creative needs of the music directors. This later on caused some casualties as Rafi was preferred by the producers and not Talat Mahmood, Lata Mangeshkar was preferred, but not Samshad Begum. So some artists permanently became redundant like CH Atma and others who grew up in the late forties.
Later on in the late fifties, Lata Mangeshkar became so powerful that she even told which music directors she would work with and which she would not. This affected some like OP Nayyar in the beginning. Others became marginalised and even great MDs like Datta Koregonkar found no work and C Ramchandra declined fast in the film industry in the late fifties.
Dalsukh M Pancholi was a Gujarati but migrated to the Punjab and in Lahore he created his studio based film company. He made films in Punjabi that were not much seen by filmgoers in the rest of India. So he made a Hindi film called Khazanchi (1941) based on a crime story with love in the central part. It had Ghulam Haider as the music director, who was a trained dentist, but had creative talent in music. He used Punjabi folk beats and lilts in Khazanhi. As soon as the film was released it became popular and there was a great demand for the gramophone records of this film. All the songs became hit. This put the Bengali and Marathi influence on the Hindi films in waning phase.
I select a chorus song from this film:
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16. Saawan ke nazaare hain, aha, aha by Shamshad Begum, Ghulam Haider and chorus from Khazanchi (1941), lyrics Wali Saheb, music Ghulam Haider.
Saawan ke nazaare hain – सावन के नज़ारे हैं
Saawan ke nazaare hain, saawan ke nazaare hain aha, aha
Saawan ke nazaare hain, saawan ke nazaare hain aha, aha
Kaliyon ki aankhon mein mastane ishare hain
Kaliyon ki aankhon mein mastane ishare hain
Joban hai fizaon mein, joban hai fizaon mein
Kho jayein gale mil kar, kho jayein gale mil kar
Madhu murat ghataon mein, madhu murat ghataon mein
Us desh chale sajni, us desh chale sajni
Phoolon ke yauvan par phoolon ke yauvan par
Bhanware na mare sajani
Phoolon ke yauvn par bhanware na mare sajani
Us desh mein kya jana, us desh mein kya jana
Pyar ke raagon se, pyar ke raahon se
Jo geet ho begana
Pyar ke raahon se jo geet ho begana
Tum preet ko kya jaano, tum preet ko kya jano
Aag se mat khelo, aag se mat khelo
Ae husn ke deewano
Aag se mat khelo ae husn ke deewano
The above song was set as an outdoor scene on bicycles. This song could be the first one that was a road song or the scene of a moving situation and not stuck in the studio set. This influenced later films made in Bombay. (‘First road song, or the scene of a moving situation and not stuck in the studio set’ – this speculation does not seem to be correct. One can think of many earlier songs shot outdoors, on roads. – AK)
The success of Khazanchi encourged Ghulam Haider to migrate to Mumbai. He came with Noorjehan and Samshad Beghum. Both became sensational and the music in the films changed. Instead of the three studios – one in Calcutta, one in Bombay, and one in Poona-based music directors’ music, film music in general went after the effect of Punjabi lilt and beat. Shaheed (1948) was Ghulam Haidar’s last film for music direction in Bombay as he chose to go back to Pakistan. But before that he gave good music to a few other films.
With the Indians, young and old, on march to free India, the political pot kept bubbling and boiling hot, and the British government tried to keep India smooth and well running. However, the Indians found various ways to make their points. Films were highly censored and watched by the British officers to cut them to sizes. I choose a very apt chorus song from the mega blockbuster film Kismat (1943) from the ailing and limping Bombay Talkies. It’s pity that Himanshu Rai was not alive to see the last glory of his studio.
17. आज हिमालय की चोटी से फिर हम ने ललकारा है by Khan Mastana, Ameerbai Karnataki and chorus from Kismat (1943), lyrics Pradeep, music Anil Biswas
आज हिमालय की चोटी से फिर हम ने ललकरा है
दूर हटो ऐ दुनियावालो हिन्दुस्तान हमारा है
जहाँ हमारा ताज-महल है और क़ुतब-मीनारा है
जहाँ हमारे मन्दिर मस्जिद सिखों का गुरुद्वारा है
इस धरती पर क़दम बढ़ाना अत्याचार तुम्हारा है
शुरू हुआ है जंग तुम्हारा जाग उठो हिन्दुस्तानी
तुम न किसी के आगे झुकना जर्मन हो या जापानी
आज सभी के लिये हमारा यही क़ौमी नारा है
The song hoodwinked the British as anti-German and Japan song as the Indian political agitators were secretly in cahoots with the British enemies. This was a sensational success for Anil Biswas as a Music Director. Shashadhar Mukherjee faction took control of the Bombay Talkies, who dropped out Sarswati Devi.
The next Chorus song is from the extremely popular film Zeenat (1945). This film along with Khandan (1942) started a genre called Muslim Socials, supported by the progressive Muslim group in the British India. The chorus song is also the part of this movement. It is called ‘आहें न भरीं शिकवे न किए’. The song is perhaps the first Qawwali song and it is sung by all female singers and also presented by women. It is a marriage situation and all the women wanted to present their culture and part of women’s life during this happy occasion.
The singers and joiners presented a pyramid type group-shape and sang this song with great gusto and zest. The song also later became famous for the first appearance of the two very young girls Shyama and Shashikala who had parallel progressive development in the Bollywood films. As opposing and competitive, both lip-synced the most wonderful cabaret and chorus song in the film Nau Do Gyarah (1957), Kya ho phir jo dil rangeela ho in the voices of Geeta Dutt and Asha Bhosle and chorus. Shyama recently died on 14th December 2017.
Zeenat had two powerful music directors Meer Sahib and Hafiz Khan and many great lyricists like Nakshab Jarachavi, Maharul Qadri, Shevan Rizvi and Anjum Pilibhiti. Here is the master chorus Qawwali that started Qawwalies in the later films:
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18. आहें न भरीं शिकवे न किए by Noorjehan, Kalyani, Zohrabai Ambalewali and chorus from Zeenat (1945), lyrics Nakhshab, music Mir Saheb and Hafeez Khan
आहें न भरीं शिकवे न किए
कुछ भी न ज़बां से काम लिया
इस दिल को पकड़ कर बैठ गए
हाथों से कलेजा थाम लिया
पूछा जो किसी ने हाल तो हम
कुछ कह न सके कुछ कह भी गए
रोके तो बहुत आँसू लेकिन
कुछ रुक भी गए कुछ बह भी गए
अफ़्साना कहा और लब न हिले
अश्कों से जहाँ का काम लिया
रोने से भला क्या दिल रुकता
दुनिया को और तड़पाता
सच पूछिये ये तो ख़ैर हुई
महफ़िल में तमाशा बन जाता
कुछ आप अदाएं रोक गए
कुछ ज़ब्त से हम ने काम लिया
वो लाख तुम्हारे ज़ुल्म सहे
पर आँख से आँसू बह न सका
बीमार-ए-मोहब्बत ऐ नख़शब
कुछ और तो मुँह से कह न सका
इक ठण्डी सी लम्बी आह भरी
चुपके से किसी का नाम लिया
आहें न भरीं …
The song kept the name of ‘Nakshab’ as the author of the lyric as it was the practice of the Urdu writers to put in their names in their verses.
My next choice is from the film Jugnu (1947). I choose the Rafi chorus as he appeared in some shots. Rafi became famous towards the end of forties and showed his all-round talent in singing all kinds of songs.
19. वो अपनी याद दिलाने को by Mohammad Rafi and chorus from Jugnu (1947), lyrics Asghar Sarhadi, music Firoz Nizami
वो अपनी याद दिलाने को
इक इश्क़ कि दुनिया छोड़ गये
जलदी मेन लिपिस्टिक भूल गये
रूमाल पुराना छोड़ गये
आशिक़ जो हुए थे हम उनपर
दिन-रात लगाते थे चक्कर
सब कुछ तो बताया हम ने मगर
पिट जाने का क़िस्सा छोड़ गये
दौलत का हमें अरमान रहा
इस इश्क़ में भी नुक़सान रहा
दो आने का भी जो बिक न सका
पीतल का वो बुन्दा छोड़ गए
मुफ़लिस थे जनाब-ए-मजनूँ भी
सुनते हैं जब उनकी मौत आई
पाकिट से न निकली इक पाई
लैल का वो कुत्ता छोड़ गये
जीने से हैं हम अपने ख़फ़ा
और मरने से है डर लगता
थे मर्द जिन्हों ने ज़हर पिया
आराम से दुनिया छोड़ गये
तलवार दिखा कर हम ने कहा
करती हो हमें तुम क्यों रुसवा
सुन लोगी किसी दिन मुरली-धर
इस इश्क़ में दुनिया छोड़ गये
The next choice is from the 1948 film Nadiya Ke Paar, नदिया के पार, (Across the River).
This film is inspired by the Shakespeare’s play Romeo and Juliet, but set in a fishing community in Uttar Pradesh with Bhojpuri Dialect. It was lovely to hear that and the chorus song is also in that dialect and atmosphere.
Here we see how the music directors could enhance their songs so successfully. The MDs in the past like Anil Biswas and others could take up the challenge and create something attractive. Towards the end of the last decade Anil Biswas gave wonderful music to Mehboob’s Aurat, which later on was turned into the mega successful Mother India in the end of fifties.
Here is the chorus song:
20. होय कठवा के नैया बनइहे रे मलहवा by S L Puri, Lalita Deulkar, P Chandar, Chitalkar and chorus from Nadiya Ke Paar (1948), lyrics Moti BA, music C Ramchandra
आ आ आ
होय कठवा के नैया बनइहे रे मलहवा
नदिया के पार दे उतार
अहा अहा हा -२
छपक छपक चले
ओ छपक छपक चले तोरी नय्या रे मलहवा
आई पुरवाई के बहार
अहा अहा हा -४
(नदिया किनारे तोरी
अंखियाँ से अंखियाँ मोरी) -२
मिली हो सँवरिया
नैया लिये जाये तोहे -२
कछु न सुहाय मोहे
तरसे नजरिया हो तरसे नजरिया
राम जी लगइन पार हो राम जी लगइन पार
ओ हो हो
कठवा के नैया बनइहे रे मलहवा
नदिया के पार दे उतार
अहा अहा हा -२
छपक छपक चले
ओ छपक छपक चले तोरी नय्या रे मलहवा
आई पुरवाइ के बहार
अहा अहा हा -४
नदिया के पार गोरी नदिया के पार
हो नदिया के पार गोरी देखे मोहे चोरी चोरी
मारे हो नजरिया
जियरा के बीच बसे अखियाँ के बीच हँसे
गोरी की सुरतिया हो गोरी की सुरतिया
हमको है आसरा तोहार हो हमको है आसरा तोहार
कठवा के नैया बनइहे रे मलहवा
नदिया के पार दे उतार
अहा अहा हा -२
छपक छपक चले
ओ छपक छपक चले तोरी नय्या रे मलहवा
आई पुरवाइ के बहार
अहा अहा हा -४
ओ
ए हो परदेसिया मोरे मनबसिया
ए हो परदेसिया
ए हो परदेसिया मोरे मनबसिया
भूल मत जइयो -२
नदिया किनारे कभी जब याद तभी
चुपके से अइहो राजा चुपके से अइहो
आऊँगी कर के सिंगार ओ आऊँगी कर के सिंगार
कठवा के नैया बनइहे रे मलहवा
नदिया के पार दे उतार
अहा अहा हा -२
छपक छपक चले
ओ छपक छपक चले तोरी नैया रे मलहवा
आई पुरवाइ के बहार
अहा अहा हा -४
This song made the dialects of Hindi speaking world acceptable and popular. Later on in the fifties and sixties, some films in the dialects of the Hindi were made. Also see how easily the MDs could find interesting tunes and choruses. Kishore Shahu was the director of the film and the procession of the fishing communities’ ‘walk about’ was cleverly choreographed.
From the beginning of the talkies the music directors had shown great art of film music that was going to stay with the sub-continental people for a long time as the film music became a popular culture. There was some kind of rigidity in the music and stiffness in the minds of the Indian people and also in the songs of thirties, but the film culture took strong grip on the people’s minds during the last days of the British Raj in India. But from 1947 Indian minds became relaxed as Independence was achieved and people were free to enjoy music without having the guilt of self-indulgence of ‘Nero’s fiddling while Rome was burning’. From 1947 onwards, the Indian film music was going to achieve art, beauty and immense popularity in the next couple of decades.
My next choice for the forties decade is a chorus song from the film Barsaat. After his film Aag failed at the box office, Raj Kapoor found it difficult to arrange adequate finance. Later stories said that RK borrowed from the house servants’ money from their reserve kept to go back to Punjab to join their children and family. Lata Mangeshkar in one of her interviews reportedly said that all she received was seventy-five rupees for all the songs she sang for the film Barsaat.
So RK’s decision to use her voice for both female characters in the film was for the economical reason and not for the artistic reason. What he did was amazing. Later MDs used certain male and female singers for all songs in one film and that affected other singers who got very little work and lived on the starving line. One of the popular ministers in the Labour Government of Tony Blair, who was fond of watching Indian films, reportedly said on the TV that he saw and heard same singing voice for all the female characters and wondered why it was done so?
For Barsaat, RK did some adventurous things as well. He took a team of a few people to Kashmir and took shots of various locations he liked and used them as backdrops for the sets in the Ranjit and Sri Sound studios. He hired Ranjit studios at cheap rates and hurriedly shot them on a script he himself wrote on the story of Ramanand Sagar. He edited late in the night till morning, at the Ranjit Studio. This is recorded by Balaraj Sahani in his autobiography, Meri Filmy Kahani.
If this story is true then RK was a real miracle worker. The film Barsaat ran for seventy five weeks at the Liberty in Bombay, an air conditioned theatre with push-back chairs, the first in Bombay and India, and became a blockbuster. From that money and credibility he created a purpose-built studio at Chembur, then a totally forlorn place approached only by car and a lonely station that had only two trains coming from Kurla junction in day time and nothing else. The place had no electricity or drinking water. It was a kind of bog or swamp as the the municipal cleaners dumped Bombay city’s rubbish near the seashore.
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Look at the two posters. In the first, RK is holding a guitar and in the second a violin! Which is correct? And in the first poster Nargis is in skirt and blouse! Is that right according to the theme of the story?
Above is Raj Kapoor in the role of Gopal in the film Barasaat, playing a movement of a classical western piece on his violin. RK would play it and other instruments like the tabla, harmonium and dilruba etc at the intervals in the Prithvi Theatre plays. I wonder from which European Composer’s movement he played? I am fond of Chopin but I do not think it is of him.
21. बरसात में हमसे मिले तुम सजन तुमसे मिले हम by Lata Mngeshkar and chorus from Barsaat (1949), lyrics Shailendra, music Shankar-Jaikishan
This song shows that Premnath could not care less about the love of Nimmi for him. And at the end of the song she becomes prophetic, as she ultimately kills herself, and Premnath puts her on the funeral pyre and lights the pyre. Here he is heartless and not listening to her plea, but Raj Kapoor is giving a caring appreciation of her dance and song:
को : तक धिना धिन
धिना धिन
तक धिना धिन
बरसात में
को : तक धिना धिन
बरसात में हमसे मिले तुम सजन तुमसे मिले हम
बरसात में
को : तक धिना धिन
बरसात में हमसे मिले तुम सजन तुमसे मिले हम
बरसात में
को : तक धिना धिन
ल : प्रीत ने सिंगार किया
मैं बनी दुल्हन -२
सपनों की रिमझिम में
नाच उठा मन
मेरा नाच उठा मन
आज मैं तुम्हारी हुई तुम मेरे सनम
तुम मेरे सनम
बरसात में
को : तक धिना धिन
बरसात में हमसे मिले तुम सजन तुमसे मिले हम
बरसात में
को : तक धिना धिन
ल : नैनों से झांकी जो
मेरी मस्त जवानी
दुनिया से कहती फिरे
दिल की कहानी
मेरे दिल की कहानी
उनकी जो हूँ मैं
उनसे कैसी शरम
ये समाँ है जा रहे हो
कैसे मनाऊँ -२
मैं तुम्हारी राह में ये
नैन बिछाऊँ -२
तुम ना जाओ तुमको मेरी
जान की क़सम -२
देर ना करना कहीं ये
आस छूट जाये
साँस टूट जाये
तुम ना आओ दिल की लगी
मुझको ही जलाये
ख़ाक़ में मिलाये
आग की लपटों में पुकारे ये मेरा मन
मिल ना सके हाय मिल ना सके हम -२
So far I have seen that each decade of the film songs can be judged by the way the song has been composed. The thirties has a strong stamp of the New Theatres music and the singers, the lighter aspect of the film stories of Bombay Talkies, and Marathi Musical Theatre on the Prabhat films.
The beginning of the forties started with a lilt and the Punjabi beat in the film Khazanchi, and steadied on the progressive Muslim society’s anxiety in the voices of Noorjehan and other singers, and landed in RK’s Punjabi tunes in Barsaat with freedom of the western orchestra used by musicians Shankar and Jaikishan. And with this in mind the fans of the Hindi music can locate which song belongs to which decade before we come to the fabulous ‘Fifties’.
Now my next chorus song is from the film Dillagi (1949) made by AR Kardar with his trademark of ‘Cockerel’. The film got tremendous response not just for the ever successful Naushad but for the acting of the tall actor Shyam, and diminutive Kokil Kanthi actress Suraiya. All the songs in this film were great hits. Even though Suraiya was my friend in her late life, I choose the famous chorus song मेरी प्यारी पतंग चली बादल के संग.
This song is lip-synced by the friends with a Kathak-based dance and flying the kites with kite fights. When I told Suraiya in one of my meetings that this was the best song from this film I loved most, she was astonished. She told that her sakhiyan rehearsed the dance steps for whole one week and they had to add the kite flying gestures as well. This song has an echo in a song from Nagin of Hemant Kumar in the next decade.
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So the legend of Suraiya and Gregory Peck is very true!
Here is the chorus I love and love:
22. मेरी प्यारी पतंग चली बादल के संग Uma Devi, Shamshad Begum and chorus from Dillagi (1949), lyrics Shakeel Badayuni, music Naushad
श : (मेरी प्यारी पतंग
चली बादल के संग) -२
ज़रा धीरे-धीरे हो ज़रा हौले-हौले
दे ढील दे ढील ओ री सखी
को : हाय वो काटा वो काटा वो काटा
देखो जी देखो जी
मेरी प्यारी पतंग
चली बादल के संग
उ : (मेरे दिल में उमंग
भरा उल्फ़त का रंग) -२
ज़रा धीरे-धीरे हो ज़रा हौले-हौले
दे ढील दे ढील ओ री सखी
को : हाय वो काटा वो काटा वो काटा
देखो जी देखो जी
मेरे दिल में उमंग
भरा उल्फ़त का रंग
श : (मस्त जवानी देख पुकारें
दो नैना मतवाले
को : दो नैना मतवाले) -२
श : (है कोई ऐसा दिलवाला जो
हमसे पेंच लड़ा ले
को : हमसे पेंच लड़ा ले) -२
श : देखो पतंग मोरी
गंगा के पार चली
को : गंगा के पार चली
श : ले के सन्देसा मोरा
साजन के द्वार चली
को : साजन के द्वार चली
श : (पंछी से छीन लिया
उड़ने का ढंग) -२
को : ज़रा धीरे-धीरे हो ज़रा हौले-हौले
दे ढील दे ढील हो री सखी
हाय वो काटा वो काटा वो काटा
देखो जी देखो जी
मेरी प्यारी पतंग
चली बादल के संग
उ : (दो नैनों के पेंच लड़े
एक जीता और एक हारा
को : एक जीता एक हारा) -२
उ : (प्यार ने जिस दम ली अंगड़ाई
दिल ने कहा वो मारा
को : दिल ने कहा वो मारा) -२
उ : कैसा ये पेंच पड़ा
माँझे की धार गई
को : माँझे की धार गई
उ : ऐसे में आ जा मोरे
साजन मैं हार गई
को : साजन मैं हार गई
उ : टूटे न डोर कहीं
कहीं छूटे न संग
को: ज़रा धीरे-धीरे हो ज़रा हौले-हौले
दे ढील दे ढील हो री सखी
हाय वो काटा वो काटा वो काटा
देखो जी देखो जी
मेरे दिल में उमंग
भरा उल्फ़त का रंग
दे ढील दे ढील
दे ढील दे ढील
वो काटा वो काटा
वो मारा
Epilogue: The second decade is the decade of forties and it established the love for the Indian films and songs as the second most activity in the Indian community of the period. The first activity was the huge marches and demonstration against the British Raj. There was a hardly any person in India who was not affected by the public agitation for Indian Independence. Indian films and those who worked in the film Industry were followed with wide eyes and the filmy people got the star dust all around them.
Readers are invited with the request that they should post their comments chorus song/ songs from the 1940s only, as the 1950s will be covered in the next and last article in the series. For posting comments and songs pertaining to the 1930s, please visit my earlier post covering the chorus songs from the first decade.
Disclaimer: The song links have been embedded from the YouTube and the images from the Internet, only or the listening pleasure of the music lovers. This blog does acknowledges that the copyright over theses images and songs vests in the respective owners, such as recording companies Saregama India Limited, Shemaroo and other respective owners.
{ 92 comments… read them below or add one }
One of those rare posts where I know all the songs for some time. I watched Jugnu some time in the early sixties in my zBombay days (1964-79) and distinctly remember this rare appearance of Rafi. Thanks.
SHAHJAHAN,1946.
Mere Sapno ki Rani Roohi Roohi Roohi…
K L Saigal, Mohammad Rafi, chorus; Majrooh Sultanpuri; Naushad.
MELA,1948.
Aayee Saawan Ritu aayee
Saajan mora dole hai man…ghar aajaa…
Shamshad Begum, Mukhesh, chorus; Shakeel Badayuni,Naushad.
Dr Shetty,
Shalan Lal has requested to confine your comments to the chorus songs of 1930s.
AK ji,
It was for Part 1. Here,we have to post the songs of 1940s.
EK THI LADKI,1949.
Lara lappa Lara lappa laayi rakhda…
Lata Mangeshkar,G M Durrani,Rafi, chorus; Aziz Kashmiri; Vinod.
Dr Shetty,
I am sorry. On mobile phone I didn’t realise that the Part 2 was already up.
Yet another song from EK THI LADKI perfectly fitting the theme:
Hum chale door
Dil hua choor
Ae mere hoor…
Satish Batra,Rafi,Lata.
AK
Thanks for editing it with refinement and enhancing the getup of the presentation.
Gaddeswarup @ 01
“Thanks for your memory”
Here is a funny song Bob Hope sang with above title from his 1938 film “The Big Broadcast of 138”
Thanks for the memory
Of sentimental verse
Nothing in my purse
And chuckles
When the preacher said
For better or for worse
How lovely it was
Thanks for the memory
Of Schubert’s Serenade
Little things of jade
And traffic jams
And anagrams
And bills we never paid
How lovely it was
We who could laugh over big things
Were parted by only a slight thing
I wonder if we did the right thing
Oh, well, that’s life, I guess
I love your dress
Thanks for the memory
Of faults that you forgave
Of rainbows on a wave
And stockings in the basin
When a fellow needs a shave
Thank you so much
Thanks for the memory
Of tinkling temple bells
Alma mater yells
And Cuban rum
And towels from
The very best hotels
Oh how lovely it was
With best wishes
Shalan Lal
Dr Shetty @ 02, 04 @ 06
Yours selections from Mela and Ek Thi Ladaki are very good.
Not only they are melodious but as the group voices the create suitable atmosphere.
Shalan Lal
SHAHEED,1948.
Watan ke raah mein Watan ke naujawan Shaheed ho…
Rafi, Khan Masthan; Raja Mehdi Ali Khan; Ghulam Haider.
Shalan Lal,
You are welcome. Your material was so large that I had to take special care.
Ms. Shalan Lal;
This Part 2 is going to be cricket field for most of us ….and why not …..since World Cup is scheduled to start soon….and that too in England !
I view Chorus as a value added product in a manner that increase the value of primary Song . …The Choral Group of Aljustrel Miners, “The Miners’ Hymn” (date unknown) ….textural discourse and humming of farmers and slaves picking up cotton from fields…..added dramatic effects of pleasure and pain in many movies like Mother India in Bolywood and Laural and Hardy in…Pardon Us …in Holywood . Chorus often have to perform as a bridge ….that help in exporting the message that go over to the audience. Chanting is one form which has roots in prayers . I love Buddha’s chanting during prayers. Such …. presence and persistence of life…. acquire tangible form.
Some time Stories are told in hoarse voice as songs proceed to the end and music makes it known . Its a great challenge to photographers , editors and set designers for songs in dream sequences . Opera is another form which require huge vocal talent . Opera in cinema could be explored too thru observations and comments.
Its a great feeling when one hears twin chorus as parallel melodies…… hoovering like drones. Naushad excelled in such situations . O Mere saiyan ji utrenge paar …..Nadi kinare saath hamaare…..are just two random examples . Here is the third one with hoarse chorus at the end of cinema version song…..
Tod diya dil mera….Lata…Andaz[1949]….Naushad.
https://www.youtube.com/watch?v=HLJT3TDd16Y
Here is one more chorus song from Andaz……
Meri Ladli Ri Bani Hai …Lata…
https://www.youtube.com/watch?v=98kyvAr8J0A
….to be contd.
BABUL,1950.
Shakeel Badayuni, Naushad.
Chod Babul ka ghar,mohe pi ke nagar aaj jaana pada…
Shamshad Begum & chorus.
( The other versions also have chorus in them.)
Nadi kinare saath hamare sham aayee hai…
Rafi, Shamshad Begum, Talat Mahmood & chorus.
The 40s have hundreds of noteworthy chorus songs.
Dr Pradeep Kumar and other SoY
You might wonder that why I did not mention Naushad and Vinod and even C.Ramchandra in this part.
It is because Naushad, C, Ramchandra and Vinod got plenty of expositions in various other posts.
I also wanted give chance for all who might have been seen the forties films and heard songs of this decade.
My expose mainly depend on seeing those changes of songs and chorus songs by the trend of forties which came from the Punjab though Naushad and C.Ramchandra had their ways of enhancing chorus songs.
Shalan Lal
ksbhatia @ 12
Your understanding and way you have written gives in-depth view about the chorus songs.
The chorus from “Uran Khatola” is an art work like creating many threaded “Kashida” on a designed piece of the fabric.
I had written about it somewhere I do not where.
But your apprication of this particular song which was a classical ditty of the Khansaab’s Maifil. There also a Khansaab creates an artwork like a tapestry in the air.
Thanks for your intellectual comment.
Shalan Lal
MASHAL,1950.
Manna Dey & chorus; Kavi Pradeep; SDB.
Oopar Gagan vishal
Neeche gehra Pataal
Beech mein Dharti
Wah mere Malik,tune kiya kamaal….
The song that is always mentioned when Manna da’s career is spoken about.
There was another fairly good Manna Dey & chorus song in the movie:
Duniya ke logon lo himmat se kaam
Sab ke fikr rakhnewala hai Ram…
Here are some more Chorus songs of the 40s
Sikandar-1941
Zindgi hai pyar se
MDs-Mir Saheb and Rafiq Ghaznavi
https://www.youtube.com/watch?v=LclvEutRgK8
Lajawab-1950….2 songs
Sundari o sundari
MD- Anil Biswas.
https://www.youtube.com/watch?v=IlH7ZV_ScUc
Nache ri gori
https://www.youtube.com/watch?v=3ODxDKEg1T0
Shehnai-47
Jawani ki rail
MD- C Ramchandra
https://www.youtube.com/watch?v=oVU-LNCiHWc
Here is one more….
Basant-42
Hum ko hai pyari hamari galiyan
MD-Anil Biswas
https://www.youtube.com/watch?v=OG7ooHzJIVc
Shalanji,
The second episode was as interesting and informative as the first one. You have discussed in brief the changing phase of the choruses and orchestration in the films of the forties and touched upon the gradual transition from in- houses production system to individual entrepreneurship. Yet, I felt you could have provided more details on the subject. And a nice selection of songs too. But why only seven? Every post has atleast 10 or more. You could have added a few more and in the process some more related information. My comment arises from my hunger for more information. Sorry my intention was not to nitpick. I suspect initially it was one single article later split into three parts.
Bhatiaji and Pradeepji are going to have field day and have started their run between the wickets and soon there will be raining us with fours and sixes.
Bhatiaji loved your write-up as usual.
Would be back with more details.
Shalan ji, Venkatraman ji ;
Thanks for your kind words . Music is my passion like anyone other of this blog. Even in silence the ears give me many reminders to feed them for more . And here are more…..
Dhadke Mera Dil | Babul (1950)….Lata….Naushad
https://www.youtube.com/watch?v=ROVM8htORWw
Do Din Ke Bahar Pyare – Dulari [1949]…..Lata
https://www.youtube.com/watch?v=6_DogFMM_P0
Nishan – 1949 – Jhule Me Lal Jhulave Re….Shamshad
https://www.youtube.com/watch?v=2J7-wI4kvps
Nishan – 1949 – Ye Raaz E Zindagi Kya Hai….Zohrabai Ambalewali, Moti
https://www.youtube.com/watch?v=mm-sz6rWLjA
…..to be contd.
I came across this while browsing Pankaj Mallick songs. I wonder whether this would qualify. https://youtu.be/kHEajkqb_oE
Vijayi Vishwa Thiranga Pyara
Jhanda ooncha rahe hamara…
The Patriotic song remembered reverently along with our National Anthem, National song and Saare Jahan se achha…was written by Shyamal Gupta ‘ Prashad’ in 1924 and was selected as the official Flag Song of Congress. First sung on 13/04/1924 , the Anniversary of Jullianwala Bagh Martyrs’ Day. Sarojini Naidu sang it during the Haripura session of the Congress in 1938.
In the year 1948, AZADI KE RAAH PE had the song by B S Nanji ( Bahadur Sorabji Nanji) & chorus for G D Kapoor.
https:// youtu.be/ 2C4lp16WPls
The movie had another B S Nanji & chorus song:
Badal Rahi hai zindagi… Debut by Sahir Ludhianvi. The lyrics sound like the precursor of many immortal Sahir songs to come later.
…Ye ujdi ujdi basthiyan
Ye loot ki nishaniyan
Ye ajnabi ki zulm ki kahaniya…
…..
Zamin pe sarsarahate
Falak pe sarsarahate
Fiza mein goonjti hai
Naye Jahan ke aahate…
I had never heard about B S Nanji earlier. But,my search led me to discover an interesting musical personality.
We see BSN has sung for 2 more movies: BASERA,1950 ( duet with Mubarak Begum. M: M A Rauf), MADMASTH,1953 ( a popular solo…Tune zindagi mein ek baar per & a duet with D Indorewala. M: V Balsara).
But, the musical career of his was as a player,arranger and assistant to composers like Shankar Jaikishan, Roshan,OPN etc. Adept at playing the Harmonium,Organ, Violin,Viola etc he has the distinction of playing the organ for O Duniya ke rakhwale( BAIJU BAWRA), Preetham aan Milo ( non film: C H Atma,OPN), the organ for Yaad Na jaaye beete dinon ke( DIL EK MANDIR) & several instruments for different songs of SEEMA.
Dr Pradeep Kumar @ 16
The “Mashaal “Song became Manna Dey’s one of the classic song. The Mashaal Film was shown at the Revoli Theatre in the West Matunga just by the Railway station. It had Adult certificate my brother told me to wear a Sari and High Hill Sandals so the doorkeepers would not stop me and I would have to go back on my own.
Shalan Lal
Arun Kumar Deshmukh @17 & 18
Your collections of songs are wonderful.
The Sikndar Song was made to remind the Indian Independence Movement and because of the film was on Alexander. The British did not censor the song.
Perhaps the subject Alexander was the first European theme that Indian film producer director handled. Many people still debate that Alexander did or did not defeat the Indian king and deposed him like the King of Persia was deposed. However he appointed Selukes Nicator as the governor of Gandhar which was later became Afaganistan.
An Indian professor at the British Museum believes that Alexander influenced the art of Statues especially those of Buddha were done in the Greek Fashion.
The “Basant” song is a good reminder of Anil Biswas’s mastery on chorus songs. The song was remembered all through the forties decade.
Before entering into the film music world Anil Biswas spent good years at the IPTA (Calcutta) where Russian culture was dominating. Among the European countries Russia excelled in the Chorus songs.
From the Awara” onwards RK was very much influenced by the Russian chorus songs and also musical instruments.
I did not forget Anil Biswas but he had plenty of exposes on SoY.
Thanks again.
Shalan Lal
Gaddeswarupji @ 21
Yes Indeed the song fits like a silken glove or made to order.
Aayi bahar aaj aayi bahar..Pankaj Mullick_Doctor1941..a tribute to the path maker pankaj da.
I take it as the tribute to a very great singer and music director. In Bombay there was a Club dedicated to Pankaj Mullick which ran from forties to sixties. They met once in month and played a selection of songs of Pankaj Mullick. Once my brother took me along to listen those songs.
But my brothers did not continue going as they had busy evenings with the work of grandfathers business.
Shalan Lal
Shalan ji:
I fully concur with Venkataraman ji @ 19. (In a lighter vein, you are an academic, and academics are known to split their writing into smaller pieces, so that they could get a larger number of journal articles to their credit!)
Here is Gori chali piya ke des (Shamshad Begum, Zohra Bai and chorus in Shama, 1946; MD: Ghulam Haider)
https://www.youtube.com/watch?v=f4-bBeGkq4s&list=PL–HeOKRxqfCsK4ALSmtAHDaq9hjdnYLi&index=1
Ms. Shalan lal ji ;
”Above is Raj Kapoor in the role of Gopal in the film Barasaat, playing a movement of a classical western piece on his violin……….. I wonder from which European Composer’s movement he played? ”
Refer to your above quote just above Barsaat song .
The tune was taken from the famous melody…..Waves of the Denube –Waltz…..originally composed some time in 1880 and made famous by ION IVANOVICI , a Romanian conductor during 30s/40s. In famous club scene of Barsaat , this melody was announced by the conductor as ION IVANOVICI melody just before the orchestra played….leading to Nargis recognising it….as Babu ji ka baaja….fighting with the conductor and K N Singh bringing back Nargis to the street again .
Waves of the Denube ….is also known as Anneversary Song too. …….A song that exists on this tune……made famous by various instrumentals musical orchestra too.
For record ; the interlude and preludes of this melody is used in the famous duet of Lata and Mukesh….shhod gaaye baalam mera pyar bhara dil tod gaaye . This tune is almost there in all other RK’s Films as background score or as interludes ….such as Sangam , Mera Naam Joker , Bobby..etc.
Anniversary Song … Andy Williams
https://www.youtube.com/watch?v=ekduN2N0eTY
L’amour du Danube- Andre Rieu-Concert-Danube’s love [ My favorite Orchestra ]
https://www.youtube.com/watch?v=fo0R_kLIfsc
A ‘gypsy song and dance’ from the Hindi version of the classic, ‘Chandralekha’ (1949):
https://www.youtube.com/watch?v=vJOwIf9xYbk
V.N.Janaki, who is the main dancer in this item, was MGR’s wife and was Chief Minister of Tamilnadu for a few weeks following his death.
Here is one more…
An iconic song from film Padosi-1941
Kaisa chhaya hai ujala
MD- Master krishnarao
https://www.youtube.com/watch?v=cG6tN86ZEAE&t=158s
Venkatraman @ 13, Canasya @ 26 & others as well.
Thank you very much for your appreciation. The race of chorus songs between Dr Shetty and kasbhatia has begun. (Note: ksbahtia @ 14). Let us see who makes most runs using singles, doubles, and boundaries and sixes. I will not bet on.
About your thirst for more write up and songs in the main body were not possible as editorial constrains need to do the framework and I appreciate AK’s “Herculean” task.
But there is more than one way to skin a cat. You will find in my comments on various contributor comments that come out so much more information and remarks would be coming and there are many commentators who will be adding songs and their own commentary as well besides I shall be giving plenty of touches, remarks information etc. “Aagge Aagge Dekhiye Hota Hai Kyaa……..”
Look Mr Arun Kumar Deshmukh is bringing out great wealth apart from his in-depth knowledge of films and many other areas of humanity and his own perspectives.
I think SoY readers and commentators make the SoY posts a very good place to air views and that is the first principle of the healthy democracy.
You yourself are very widely read and deeply informed about, life, liberty, art, philosophy films and extra pursuits of life and your “Say” is very warmly welcomed by me and other SoY “Biradari”.
Shalan Lal
Ashwin Bhadarkar @ 28
Your information of the Gypsy Dance chorus song is wonderful.
Our family saw this film more than five times. Everybody loved it.
The Gypsy dance and song was extremely well done> This is first Mega Musical on the par of any Hollywood films during the forties.
Thank you very much. Just wonder if you had seen the original Tamil version of this film.
It was shown in one of the Matungam theatres Bombay in sixties.
Shalan Lal
ksbhatia @ 27
What wonderful information about this piece of serenade from the Waltz and RK actually doing it. Perhaps he was miming it.
Thanks for the detail about it.
Shalan Lal
Canasya @ 26
Your choice of the song from “Shama” is wonderful.
This is what I wrote about the trio Ghulam Haider, Noor Jehan and Samshaad above in my write up of Khazanchi”:
“The success of Khazanchi encourged Ghulam Haider to migrate to Mumbai. He came with Noorjehan and Samshad Beghum. Both became sensational and the music in the films changed”.
Thanks for your good contribution.
Shalan Lal
Deshmukh ji ;
Zindgi hai pyar se …..from Sikander is a very nice composition and perhaps was foundation for other patriotic songs [ mostly chorus ] that followed during the later years .
It is a surprise for me when I hear a parody of same in a 1943 movie …Vishwas …and that too sung by children featuring baby Madhubala..!! The song features parody of Khazanchi, (sawan ke nazare hain) also…..a treat for all of us !!
bhojan ke nazare hai…..
https://www.youtube.com/watch?v=R4aEsxHlHYE
Ashwin Bhandarkar @28 ;
The Gypsy dance from Chandralekha is beautiful to listen to . The careful listening indicates that the prelude of the dance composition is a straight lift from the world famous ….Spanish Gypsy Dance . This number was later used in Binaca Geet Mala as sartaj symbol during mid 50s or so.
Chandralekha had many chorus songs….some listed below.
kadam badaye jaa kadam milaye jaai Chandralekha (1948).
https://www.youtube.com/watch?v=0CQiiZ4oxWs
Same song Tamil Version……
https://www.youtube.com/watch?v=XywGeACPiJw
Above was sort of Gemini’s Signature Slogan . Other films like Mangla and Nishan too carried chorus songs with back drops of horse riders singing and celebrating.
Mat Gaa Re – Various artists – CHANDRALEKHA
https://www.youtube.com/watch?v=7-bXwDN_E4o
Nadiya Kinare Ram Bagiya – Bharat Vyas – CHANDRALEKHA
https://www.youtube.com/watch?v=7tS8cZldVeA
…..to be contd.
In continuation …..Some more songs….
basant[ 1942]..aaya basant sakhi…….parul ghosh
https://www.youtube.com/watch?v=jiLWYq0EIMU&t=291s
Rumjhum Barse Badarwa…. Zohrabai Ambalawali…..Rattan….Naushad
https://www.youtube.com/watch?v=-397AopLBLI
Shalan Lal @ 31,
Thanks for the appreciation. Yes, I have watched the original Tamil version of ‘Chandralekha’ – did so on DD way back in the 70s.
Here is another chorus song/dance, this time from ‘Mahal’
(1949):
https://www.youtube.com/watch?v=kNOq4r6W40Y
Is the dancer Sitara Devi?
Bhatiaji @35,
Thanks for the information and for the others songs from ‘Chandralekha’
ksbhatia ji @ 34
The Sikandar song was a good one, but it was certainly not a foundation for other patriotic songs, because there were dozens of such songs in the 1930s period. For example..
Insaan ya shaitan-33
Mazdoor-34
Balidan-35
Kunwari ya widhwa-35
Deshdeepak-35
Jay Bharat-36
Lutaru Lalna-38
Duniya na mane-37
Kangan-39
Comrades-39
Punjab Mail-39
Imperial Mail-39
Watan ke liye-39
Bandhan-40
and many more. MD Master Mohammed was well known for composing Patriotic songs in the 30s.
In film Sunehra Sansar-36, there was a parody song of “Sare jahan se achha “.
This is only for information please.
-AD
Dr PradeepKumar Shetty @ 16
Your mention of the songs :
“Vijayi Vishwa Thiranga Pyara
Jhanda ooncha rahe hamara…
The Patriotic song remembered reverently along with our National Anthem, National song and Saare Jahan se achha…was written by Shyamal Gupta ‘ Prashad’ in 1924 and was selected as the official Flag Song of Congress”
-Is excellent mention and so far nobody had thought that so much singing and songs writings had gone into the Indian Independence movement.
There is certainly a great wealth of these songs and a need to be explored and brought under the umbrella of the SoY.
The earlier mentioned song from the film “Shahid” “Watan Ke Nare Bewatan Ke Shahido” was tailored in the style of the Rashtriya songs of the Independence with deliberate effort.
“Rashtra Seva Dal” and also not much loved by the Congress “the Lathidhari Sangha Parivar” also are great contributor to many songs and most of the famous person Netaji Subhashchandra was also responsible for creating the marching songs.
Incidentally the procession of the song “Watan ke Nare…” had additional scenes that were actually added by the cine technique of the real procession after the death of “Nariman Gandhi” the secretary of the Congress and also devotee of Gandhi and very important person of the Indian Independence movement. His name was given to the West reclamation of the Bombay where the Marine Drive ends in the South Bombay on the right side of the Brabourne Stadium.
Somebody like you should do a post on it.
Incidentally the song “Sare Jahanse Achha “ you mentioned as written by Shymala Gupata. But for a long time I believed that it was written by Dr Allma Muahmmad Iqbal who later on joined the movement of the Independent State for the Muslims. But that song is still famous.
Manojkumar’s film “Shahid” had a few Rashtriya patriotic songs. “Mera Basanti De Kurata….” is a very famous song.
Thanks for your mention of the heritage of the “National Songs”.
Shalan Lal
ArunKumar Deshmukh
Your information about the patriotic songs in the thirties and forties is very compelling.
Thanks for it.
Shalan Lal
Shalan Lal ji,
Oh! No!
You misread my sentence. The author of Saare Jahan Se Achha is, indeed, Iqbal. My indication was about the song in question,Jhanda Ooncha Rahe Hamara.
It is interesting to note that the famous lines
मजहब नहीं सिखाता आपस में भेद रखना
हिंदी है हम वतन है हिंदूस्थान हमारा।
written in 1904 gave way to
चीन ओ अरब हमारा, हिंदूस्थान हमारा
मुस्लिम है हम वतन है,सारा जहां हमारा।
in 1910 when he had become a very strong advocate of a separate Muslim Pakistan.
You may recall Sahir Ludhianvi’s famous take on the above from PHIR SUBAH HOGI:
चीन ओ अरब हमारा,हिंदूस्थान हमारा
रहने को घर नहीं,सारा जहां हमारा।
( चीन ओ अरब= Central Asian & Arab countries= Muslim World).
I’m late to join the post. Both the posts are insightful and must have needed extensive research. Hats off to you, Shalan ji. I have no much knowledge about the songs of 30s. So I didn’t comment on the last post.
But I remember one of my favourites, that may suit the theme.
From Mirza Sahiban,
Haye uda jaye re
https://youtu.be/OEeyh6IfJVE
Anup
🙂
kasbahtia @ 34 & Arunkumar @ 38
I have already praised the list of Arunkmarji.
But what Bhatia has written is also needed to be considered. He had written: “Zindgi hai pyar se …..from Sikander is a very nice composition and perhaps was foundation for other patriotic songs [ mostly chorus ] that followed during the later years . ”
So above words ” Zindgi hai pyar se …..from Sikander is a very nice composition and perhaps was foundation for other patriotic songs [ mostly chorus ] that followed during the later years.”
So later means forties and onwards. The song from Shahid is surely one and then later on songs in the films like “Samadhi” and next decades needed to be looked into.
C.Ramchandra gave music to his forties film called “Sukhi Jeevan” 1942 tha had a patriotic song.
Shalan
Mehfil Mein Meri @ 42
There is never late at the “SoY” it is open all ours, days, months and years on!
Your selection of the song is a right choice.
Shalan
A K Deshmukh ji ;
Thanks for the listing of patriotic songs of the pre 40s movies . I must confess I am ignorant about those songs . As I stated in my earlier remarks that the songs like the one in Pukar got thru my head when I saw the movie sometime in the middle of 50s when screened on the rear lawns of our own house . The song got added up in my collection of patriotic songs …..which were often sung in our school too . Some of the post 40s songs got etched in my memory and just now I am remembering some of such songs from Chandralekha also.
Patriotic songs have always managed to stir up the patriotism with in us…….and…. Patriotism is the best foot forward leading to freedom. Door hato aye duniya walo …..stir up such a courageous feelings in every one’s heart even after attaining independence. In fact we will remain free as long as our land is the home of braves. A few such songs are here…..
Badle Jo Zamane Ki Taqdeer (HD) – Taqdeer [1943]
https://www.youtube.com/watch?v=m6RyRutbexI
Meri Maata Bharat Maata | Taqdeer (1943) Nargis | Motilal | Shamshad Begum
https://www.youtube.com/watch?v=8gr1-FsrYWA
In continuation some more chorus songs ……
A comic song to start with….and game of our childhood dance….kokli chhupaki and kiklee….
Mirza Sahiban [1943]- Aaj Miyan Ji Ko Chadh Aaye Bukhar
https://www.youtube.com/watch?v=fXeMMkW9MjA
Aji Dil Ho Kaabu Mein – G M Durrani, Mohammed Rafi – Gaon Ki Gori [1945]
https://www.youtube.com/watch?v=JWfQ89GtGKg
Mera Mauka Ho Ya Sasuraal│Taqdeer [1943]│Shamshad Begum
https://www.youtube.com/watch?v=cEMmmnpGjnE
Le Lo Le Lo Ji …Meena Bazar…1950…Singer…Shamshad Begum,Mohammed Rafi
https://www.youtube.com/watch?v=lQ_qxzwaehw
….to be contd.
I don’t know whether Anil Biswas has created many Qawealis.
Came across a very lively one from BEQASOOR,1950.
Khabar kisi ko nahin
Woh kidhar ko dekhte hain,
Ye kaun jaane ki
Dil ya jigar dekhte hain…
Rafi,G M Durrani, Mukhesh & chorus.
Ehsan Rizvi.
While on Anil Biswas,a dance number ( Cuckoo & Gope?) from ARZOO,1950.
Jao sidharo,He Radha ke Shyam.
Shamshad Begum,SD Batish, Mukhesh & chorus.
Majrooh Sultanpuri.
N Venkatraman ji;
Long time back I had posted one or two chorus dance numbers of vasuntharadevi which I am not able to locate now . Till I find those here are some songs which are rare and listening to them for the first time.
Insan Ki Tehzeeb – Elan [1947….. Amirbai….Naushad
https://www.youtube.com/watch?v=yKx5VQYKL3g
Dekh Khuda Ki Shaan Sahali Song || Hindi Movie Elan 1947
https://www.youtube.com/watch?v=CWHd_0bR1QI
…..to be contd.
Life is like shredding a pencil …as you crave for more of its fineness ……the more you become shorter . It is never more than me than I have ever been. No one can remake you…..but in cinema one can achieve wonder by remaking old classics.
I generally avoid watching colour version remakes of old B & W classic movies with distorted musical and visual effects …..but remakes made like Mother India is an example where Producer Director excelled in every department ….improving a lot and coming very close to international standards.
Here are three chorus songs from Aurat [1940] the shades of which can be found in its remade Mother India .
Kahe Karta Der Barati – Aurat…..Anil Biswas
https://www.youtube.com/watch?v=WlhZxIVWjbA
Gagri Sukhi Bail Piyasa….Aurat
https://www.youtube.com/watch?v=0xKQ_nppgeQ
Jamuna Tat Shyam Kheln Holi…Aurat –
https://www.youtube.com/watch?v=_KrIM7MDSEc
Dr. Shetty ji @47;
Anil Biswas with qawali number is surprise for me also . Both songs from Beqasoor and Arzoo are good . Here are the links….
Khabar Kisi Ko Nahi.
https://www.youtube.com/watch?v=yJsUZ0Ndl6c
Jao Sidharo He Radha | Arzoo 1950 | Shamshad Begum, S D Batish, Mukesh
https://www.youtube.com/watch?v=rZHpRYZ20dQ&t=151s
Bhatiaji @ 48, 49 & 50
Probably you are referring to the 1943 Tamil film ‘Mangamma Sabatham’ starring Vasundhara Devi and Ranjan. You had posted the song ‘Ayyaiyaiya Solla Vetkamaguthae- the Tamil version of Carmen Miranda’s song. “I, Yi, Yi, Yi, Yi (I Like You Very Much)”. But it was not a chorus. If I remember right, there was no chorus song in that film. The 1950 Hindi version ‘Mangala’, starring Bhanumati & Ranjan’ too had a similar song.
In the Hindi version “Mangala’ there was a song which cannot be considered as a chorus although there was a very short chorus singing for 10 seconds at (01:05).
khet mere khet mere babul ka khet lahraye re by Shamshad Begum
https://www.youtube.com/watch?time_continue=3&v=P9dI8EqdnFY
The songs from Elaan, Aurat, Beqasoor & Arzoo were good.
Strictly speaking songs of Aurat should be in the previous chorus post.
A chorus song from 1944 film Jwar Bhata, lyrics Narendra Sharma, music Anil Biswas
aa ra ra aa ra ra gao kabir
gao kabir udao abeer
……………………………..
lal gulal ke badal chhaye
barse kesar ki rangini
Anil Biswas & Chorus
https://www.youtube.com/watch?v=7GEudRDmT5c
In anticipation of Ram Rajya
Jhananan Jhananan Baaj Rahi Hai, Aayaa Raam Raajy Tyohaar film Bhaat Milap (1942), lyrics Pt Indra Chandra, music Shankar Rao Vyas.
https://www.youtube.com/watch?time_continue=65&v=qrfrLVWy9cg
Here is one of my favourites from film Ramrajya-43, sung by Saraswati Rane and Chorus.
Awo ri suhagan naari, mangal gao ri
Janak dulari ki godh bharao ri……
https://youtu.be/P6cfQdB2vjc
N Venkatraman ji;
You are right the Aurat songs should be on previous post , my mistake …my apology .
A song for recall of Nishan , Mangla and Chandralekha….the movies that trained me how to play sword during my childhood during Dushhera and Diwali . Those were the days when flattened bamboo sticks with silver paper lining were sold as small swords for children to play with ….assuming the characters of Ram, Laxman etc.
Jaiyo jaiyo sipahiya bazar..Nishan1949_Shamshad Begam and chorus
https://www.youtube.com/watch?v=ThY571Nm3Y4
Listen carefully to stanza / line in Bengali . The tune that appeared in Dilip’s Devdas …..aan milo aan milo …..and punjabi lines repeated in Naya daur.
Thanks for song from Bharat Milap.
MANSAROVAR,1946.
Jai Hind Jai Hind Jai Hind
Jai Hind ki kahaniya..
Rafi,Geeta Dutt & chorus.
If what I have read on various articles on the net are factual,it is the first film song to use the slogan Jai Hind in it and also the first duet of Rafi and Geeta Dutt.
N. Venkatraman @ 53 & Arunkumar Deshmukh @ 54
Venkatraman you have anticipated the next film of the Bhatt Brothers in your comment and luckily Arunkumar Deshmukh has made Sarsati Rane doing the chorus in the Ramrajya.
Is it srendipity or mere chance?
Shalan Lal
Pradeepji @ 47
Pradeepji the Qawwali from Beqasoor (1950) is indeed a lively one. The other Anil Biswas composition Jao Sidharo He Radha is also a nice addition. Yes, I know of one more Qawwali song composed by Anil Biswas in 50s. It would be appropriate for the next post. The voice of Mukesh reminds me of another song
Mohabbat Karne Walo Se by Mukesh, Shamshad Begum, Md.Rafi & Chorus, film Hanste Ansoo (1950), lyrics Shewan Rizvi, music Gulam Mohammad
https://www.youtube.com/watch?time_continue=2&v=pJxgHGf6uHw
Pradeepji @ 56
You may be right. The slogan ‘Jai Hind’ became popular as a greeting of the Indian National Army organized by Subash Chandra Bose and his colleagues, particularly between 1943–45. It is likely that the slogan was first used in a film song in 1946. Thanks for posting this chorus song.
Posting another chorus from the same film
Badhe Chalo Badhe Chalo
https://www.youtube.com/watch?v=JJJrGFm9KHU
When a child laugh with a giggle its music…as clear as a ringing tone . The full throat giggles turns into chorus as they grow old …and music goes on . Music is Life itself ….no matter how long it is . Look at Butterflies ….even with short lives they remain in our hearts for ever.
A few songs that impressed me for its lyrical quality and hopefully you all would like too.
Kanchan 1941: Paani ka tu bulbulaa tera kaun tthikaana (Gyan Dutt, Kesari, Chorus)
https://www.youtube.com/watch?v=tgsslEr_Oq4
Bhakta Kabir 1942: Ek saahab ki saahibi ghat ghat / Bhaj man raam raheem [ii] (Munir Alam Chorus)
https://www.youtube.com/watch?v=Gcj1anQHqZg
PAAK DAAMAN (1940) – Ae ae ae Jagmaali, phooli daali daali chhaayi niraali – Feroz Dastoor & Kaka ji
https://www.youtube.com/watch?v=OwfXzdBOI_s
…..to be contd.
Bhataiji @ 55
The Bengali stanza and the Punjabi Stanza are certainly similar to the Devadas Song ‘Aan milo Aan Milo’ and the Naya Daur song ‘Dil leke daga denge’. But Devdas was released in 1955 and Naya Daur in 1957, much later than Nishan (1949).
The original version of ‘Aan milo Aan Milo’ was Bengali basic song penned by Dukhai Khondakar & Jasimuddin and rendered by S D Burman. The song was recorded in 1945. I think the song ‘Dil leke daga denge’ must be based on some traditional Punjabi folk song. You should know better.
Earlier you posted two songs from Elan (1947). A similar song from Dard (1947)
Ham Dard Kaa Afsana Duniya Ko Suna Denge by Shamshad Begum & Chorus, film Dard (1947), lyrics Shakeel Badayuni, music naushad
https://www.youtube.com/watch?v=GBjwyP5o52o
…..in continuation , few more songs :
MERA GAON (1942) – Nandrani ki kasam, thakurani ki kasam – K C Dey, Unknown female singer, chorus
https://www.youtube.com/watch?v=48VUC7W22RE
ZAMEEN AASMAAN (1946) – Ek geet sunaana hai hamen – Kalyani Das – Jagmohan Sursagar
https://www.youtube.com/watch?v=54s82A-1kDA
Kanchan 1941: Saath raho more raaja re ho mhaara jiya nahin (Miss Iqbal, Unknown males, Chorus)
https://www.youtube.com/watch?v=y8jQMHRrpkU
……to be contd.
N Venkatraman ji @61;
You are absolutely right . These are all based on Folk songs . O P Nayyar sort of enjoyed liberty to use Punjabi folk tunes in his large number of songs . Chopra’s camp had at least one such song in their every movies ……a necessity by choice.
Bhatiaji @ 60
Thanks for the songs from the films Kanchan (1941), Bhakt Kabir (1942) & Paak Daman (1940?). All nice additions.
Acouple more form the early forties.
Tujhe kya bataaun ke kya justajoo hai by M. Sharif Qawwal, Chorus film Circus Ki Sundari (1941)
https://www.youtube.com/watch?v=j5iGB1LhbOg
Yeh rail hamaare ghar ki by Rajkumari Dubey, Prem Adib, Chorus, film Station Master (1942)
https://www.youtube.com/watch?v=O35fdOBEasI
Shalanji @ 57
‘Venkatraman you have anticipated the next film of the Bhatt Brothers in your comment and luckily Arunkumar Deshmukh has made Sarsati Rane doing the chorus in the Ramrajya. Is it srendipity or mere chance?’
Yes I did expect someone to post a song from Ram Rajya. And Arunji was prompt in his response. I feel he read my ‘expectation’.
SARGAM,1950.
Chitalkar, Lata Mangeshkar & chorus; Pyarelal Santhoshi; C Ramchandra.
Mombasa Mombasa…
The nonsensical/ funny lyrics are quite unique.
Choco Cola Mombasa
Chiki Chiki Mombasa
Fiki Fiki Mombasa
Rupyo mharo Mombasa
Paiso mharo Mombasa…
Dal mein kaala Mombasa
Ghadbad jhala Mombasa…
Pradipji,
here is the link to your post from Sargam (1950)
https://www.youtube.com/watch?time_continue=1&v=xof8D-fOQQw
From the early 40s,
Haiyaai haiyaai re, Koyal boli meetthi bol by Rajkumari Dubey, Chorus, film Mata (1942), lyrics D N Madhok , music Vasant Kumar Naidu
https://www.youtube.com/watch?v=c28YOpga5Cs
From the late 40s,
Daa Dir Daaraa, Meri Laadali Ri Meri Laadali Ri Bani Hai – Lata Mangehkar & Chorus, film Andaz (1949), lyrics Majrooh SUltanpuri, music Naushad
https://www.youtube.com/watch?v=fwa5qWHkBQM
Here is another wonderful chorus song from film Sargam-1950.
Jab dil ko sataye ghum, tu chhed sakhi sargam…
Lata, Saraswati Rane and Chorus
MD-C Ramchandra
https://www.youtube.com/watch?v=LPjnd4lE0Vo
One more song from Sargam (1950)
Mausam-e-bahar yar, dil hai gulzar yar
aaja aaja ek bar, aaja aaja ek bar
yar vai vai, yar vai vai, yar vai vai, yar
yar vai vai, yar vai vai, yar vai vai, yar
https://www.youtube.com/watch?v=6UrRyRFEuK0
Dr Pradeep, N. Venkatraman Arunkumar Deshmukh and others
I enjoy your memories of the songs from the film “Sargam” 1950. It is one of my favourites of RK films not necessarily of RK trademark films.
From the same film following songs could fit the bill:
Baap Bhala Naa Baiya (2),
Budha Hai Ghoda Lallawa Hai Lagam
Mai Hoon Ek Khalasi
Mai Hoon Alladin Mere Paas Chirag-e-Chin
Shalan Lal
Happy black and white to you. Yes, the most colorful thing in the world is black and white …..except the souls which we always imagine in Grey….sort of white on black . The eye should learn to listen before it looks.
Black and white isn’t just a classic, it’s also timeless. A zebra will never see the funny side of things because he is always thinking in black & white. Man discovered good music and chose B&W keys for Piano, Harmonica etc….and the Good music lived for ever with no expiry date.
Here is a mix of black, white and grey shades of songs , some funny and some enjoyable and serious too.
Dhandora 1941: Dhak dhak dhak dhak / Nis din saanjh savere (Noor Mohammad Charlie, Shamim)
https://www.youtube.com/watch?v=UvkUTvfzUdY
Darshan 1941: Pardesi baabu baabu aate jaate rahna [i] (G. M. Durrani, Prem Adib, Jyoti, Chorus)
https://www.youtube.com/watch?v=NKpR42uSL9s
Lal Batti / Red Light 1947: Ghareebon ko laazim hai yeh jaan jaayen (Unknown males, Chorus)
https://www.youtube.com/watch?v=wCwxlDDb4-k
Pyari Pyari Ye Sukhad Maatrubhumi, Starring: Jayashree, Movie- Shakuntala 1943
https://www.youtube.com/watch?v=TMnESXNp-1w&t=65s
…..to be contd.
…..In continuation, some more shades to add on….
Chand Sa Nanha Aaye, Starring: Jayashree, Movie- Shakuntala 1943
https://www.youtube.com/watch?v=TrXrdX4t5CE
Dhadak Dhadak Tere Bin Mera Jiyara – Suraiya – SINGAAR[1949]
https://www.youtube.com/watch?v=L8kNySgAMI4
Vakil Saheb 1943: Aaya aaya khushi ka din aaya (Rajkumari Dubey, chorus)
https://www.youtube.com/watch?v=Ho4-gjfGEBA
Aayi Aayi Suhaag Ki Raat Shamshad Begum Film Singaar (1949) Music Khurshid Anwar
https://www.youtube.com/watch?v=iWDh9x1oyfc
….to be contd.
Hope this is not already mentioned.
A very good song from Dr.Kotnis ki amar kahani-1946.
Zindagi zindagi zindagi…Khan Mastana and Chorus
MD-Vasant Desai
https://www.youtube.com/watch?v=k3kpkxglGdc
Arunkumar Deshmukh ji;
Thanks for this beautiful song . Khan Mastana seems to have poured his heart and soul to this beautiful worded song . The other things that impressed me is its visuals…..a fine example of excellent cinematography for which V Shantaram is known .
V Shantharam again.
An interesting story telling song from SHAKUNTALA,1943. Tells the Vishwamitra _ Menaka episode, birth of Shakuntala & her being brought up by Maharshi Kanva.
Pyari pyari ye sukhad Matrubhoomi apni.
Parshuram (who?),Zohrabai Ambalewali, Jayashree.
Dr.Shetty ji @76
Parshuram was a talented but unlucky actor/singer in the 30s, 40s and 50s.
I had interviewed his daughter,in 2013
Read all about him here-https://memsaabstory.com/2013/01/23/guest-post-parshuram-a-forgotten-gem/
-AD
N Venkatraman ji ;
Behind every beautiful melody….there is a great dreamer who can woo thee thru soft melody . Troubled water does’t bother bridge above as long as water waves match sound waves .
Behind a beautiful smile are great ears .The world always looks brighter from behind a smile. …..but focused ears can bring tears to eyes ……and listen to this oldie ….
Sari Duniya Musafir | Padosi 1941 | Balwant Singh | Anees Khatoon
https://www.youtube.com/watch?v=b4MuohvHHfM
…..to be contd.
….In continuation, some more oldies….
Mata 1942: Sajan aaye gali mein raam qasam sharmaa gayi (Shobhna Samarth, Unknown females, Chorus)
https://www.youtube.com/watch?v=p1L56V_RCU0
Circus Ki Sundari 1941: Yeh khel tamaasha do din ka (Hafiz Khan Mastana, Miss Kamla, Chorus)
https://www.youtube.com/watch?v=j5iGB1LhbOg
Mamaji 1942: Meri kheti maata kheti maata anna basan dhan jan ki daata (Chorus)
https://www.youtube.com/watch?v=0rt0B7nar-M
….to be contd.
Shalanji
The write up is mostly informative. But the song number is again on the lower side. AK mostly prefers 10 plus songs. Many of the songs posted in his earlier comments by Dr Shetty are quite well known and should have been in the main write up.
I would like to comment on the Barsaat song write up. The lyrics in the second antara are all jumbled up and in fact this is the first antara in the song. The correct lyrics are given below
नैनों से झांकेगी मस्त जवानी, मेरी मस्त जवानी
कहती फिरे दुनिया से दिल की कहानी, मेरे दिल की कहानी
उनकी जो मैं उनसे कैसी शरम, कैसी शरम
Also in the last antara the word ‘man’ should be replaced with ‘gham’
आग की लपटों में पुकारे ये मेरा ग़म
Regarding the claim that Lata got only Rupees 75 for 10 songs of Barsaat does not appear to be true. If this was her remuneration then she would have been better – to say it idiomatically – to have done पापड़ बेलना, instead of getting 1200 or so rupees for her 150 or so songs. It is generally agreed that at that time Shamshad was the highest paid singer at 300 rupees among male and female singers. The second rung singers like Lata, Rafi etc. got around 100-150 rupees. Your other claim that RK was the first to use one singer for multiple characters in Barsaat, is also far from the factual position. I would like you to have a look at the songs of film Khazanchi (1941) in which Shamshad sang all the songs of female characters. There were many such cases before Barsaat, but I am mentioning Khazanchi because videos of this film are available on Youtube, which would make it clear that she sang for multiple characters.
Ashwin @37
Reference your query about the dancer. She is not Sitara Devi. She is Neelam who played minor characters in some films. You will find her as Gope’s secretary in Chori Chori in one or two scenes. She was also there as Baby Farida’s mother in Phool Aur Patthar in two or three scenes. Baby Farida played the part of the girl who is rescued by Dharmendra from a house fire. You can call her one of the extras whose name was known by very few. I recognised her because I have seen Phool Aur Patthar a number of times and her name I got from IMDB.
Dr Shetty @41
In my view, in the matter of ‘sare jahan se achha’ we have been fooled by the rhetoric of leaders who need votes by winning a war of perception. This ghazal of Iqbal had nationalist connotations in only four shers out of the nine, which four are always taken in the song. These shers were kept by Iqbal to fool people and for the special occasion of the function in Government College, Lahore. Look at these two following shers. They are clearly targetted at muslims.
ग़ुर्बत में हों अगर हम, रहता है दिल वतन में
समझो वहीं हमें भी दिल हो जहाँ हमारा
ऐ आब-ए-रूद-ए-गंगा! वह दिन हैं याद तुझको?
उतरा तिरे किनारे जब कारवाँ हमारा
Since a ghazal is supposed to be having the same thread in all shers, it can be construed to be conveying the same meaning through various shers. The last three shers if read in the light of the above two shers are targetted at muslims. The last sher given below cannot be at all related to Indian psyhe.
इक़्बाल! कोई महरम अपना नहीं जहाँ में
मालूम क्या किसी को दर्द-ए-निहाँ हमारा !
If we look at this sher of his second avtar
तौहीद की अमानत सीनों में है हमारे
आसां नहीं मिटाना नामो निशां हमारा
it will be clear that the sher
यूनान-ओ-मिस्र-ओ-रूमा सब मिट गए जहाँ से
अब तक मगर है बाक़ी नाम-ओ-निशाँ हमारा
is only for muslims.
In fact, the congress before our freedom was called a Hindu party not only by the Muslim League but also by the Britishers. So they developed this rhetoric to claim their secular credentials by highlighting selected lines from a poet who was considered a pioneer in founding Muslim League. Just like the present ruling party is raking up issues like teen talaq etc. to show their secular credentials. The remaining part of the ghazal was not highlighted because it would have exposed the reality. Another example of the hypocrisy of our leaders is the national anthem itself, which was written in praise of the British King Emperor.
A number of chorus songs have been posted by friends. But, some of the very famous songs have been left out. Here are some
1. Gore gore o banke chhore – Samadhi – Lata, Amirbai & chorus
https://www.youtube.com/watch?v=Co42dt6HY8Q
2. Thandi thandi ret men khajoor ke tale – Saajan – Zohra & chorus
https://www.youtube.com/watch?v=yUPZnKsibfY
3. Mohe laaga solvan saal – Mashal – Shamshad, Arun Kumar & chorus
https://www.youtube.com/watch?v=a2TRRusE91Y
4. Mere ghoonghar wale baal – Pardes – Shamshad & chorus
https://www.youtube.com/watch?v=wXwUhsBr3Y8
5. Namaste-2 pehle to ho gayi namaste – Patanga – Mohantara, Shamshd, Rafi, Chitalkar & chorus
https://www.youtube.com/watch?v=pjZv0diFLho
There was a film Khidki (1948) which had ten songs and surprisingly, CR composed 9 of them as chorus songs. That must be some kind of unique thing. Here are five songs from that film
1. jai bolo mahatama gandhi ki – lalita deulkar +
https://www.youtube.com/watch?v=-QKsST5uKXE
2. aji khushiyan manayen kyun na hum – six singers
https://www.youtube.com/watch?v=qqvZSubicHw
3. badi badi pati likhwaiyan – shamshad +
https://www.youtube.com/watch?v=ml2aFJqEeCg
4. tere bina soona soona hai mera angana – lata, geeta, chitalkar +
https://www.youtube.com/watch?v=qjtRvzYjoVI
5. aji mera bhi kuchh haal suno – shamshad, chitalkar, rafi +
https://www.youtube.com/watch?v=K8cfzrJKCU8
In continuation of my comments at 80, I would like to add that instead of one singer singing songs of more than one actors, more surprising is the fact that for the same person two or more persons lend their voices. Even this has regularly happened in Hindi films. There are examples of this nature even when the character being played was a poet or singer.
Hans ji,
When Rajesh Khanna has Mukhesh singing Jis gali mein tera ghar no ho balma in a movie stuffed with multiple Kishore Kumar beauties,it is surprising…
KATI PATANG.
In RAJA RANI, though,it is 1:1… Kishore singing Main ek chor Tu meri Rani and Mukhesh, Haan toh main kya keha raha tha( I used to think it is Haathon mein kya keha raha tha in childhood!).
More surprising because Mukhesh wasn’t a regular for either RK or RDB.
Manoj Bharath Kumar has used both Mukhesh and Mahinder Kapoor nicely in UPKAAR, PURAB AUR PASCHIM, ROTI KAPDA AUR MAKAAN..
Ashok Kumar getting the fantastic Rafi and Manna Dey numbers in MERI SOORAT TERI AANKHEN.
Naache man mera magan dhagdha dhighi dhighi and Tere bin sooni nayan hamari; Poocho na kaise maine rain beetaayi.
Asha Parekh has both Lata and Suman Kalyanpur playback for her in the same movie.
I am trying to recall a movie where the hero had 3 singers playback for him. I am sure there are quite a few of those.
HUM KISI SE KUM NAHIN ,1977 has Rishi Kapoor singing in the voices of both Kishore Kumar and Rafi. The second hero Tariq sings in the voices of both Rafi and RDB in the same frame… the competition songs, Chand mera dil Chandni hai tu and Tu kya jaane Mohabbat kya hai.
Dr Shetty
Bluff Master – Shammi Kapoor
1. Govinda ala re – Rafi
2. Ae dil ab kahin le ja – Hemant
3. Socha tha pyar hum na karenge – Mukesh
And all the three were super hits. Kalyanji Anandji has this habit of using multiple voices for the same character. In Abhiman, Amitabh played the character of a singer but SDB used three different singers on him and voice tenor off all three singers Rafi, Kishore and Manhar was different from each other.
Even is the film you mentioned Mirza Sahiban Lata, Asha and Shamshad gave playback for Shyama.
There are so many examples that AK might think of a separate post for this phenomenon.
Hans ji,
Very apt examples. Hemant Kumar in the earlier and Manhar in the latter are unusual choices for the hero concerned.
PYAR KA MAUSAM is a case of some perplex. To have Rafi as the voice of Shashi Kapoor only ,we have the unusual Bharat Bhushan_ Kishore Kumar combination here!
Hans ji,
Babita,in PEHCHAN,1970, has Lata, Asha and Suman Kalyanpur singing for her. If,in the song Woh paree kahan se laaoon…, Sharda was made to sing for her, instead of SK,it would have been a record,I think!