Hemant Kumar’s solo songs under ‘other’ batons

25 November 2020

Guest article by Ashok M Vaishnav in the series of Centenary Celebrations of Hemant Kumar (16 June 1920-26 September 1989)

(SOY has launched a befitting Centenary Celebration of the much loved music and film personality Hemant Kumar, starting with N Venkataraman’s foundational article Hemantayan Part 1 on his Birth Centenary, 16 June 2020, which covered his life and career up to 1960. Venkataramanji anchored the post-1960 till the end part of his career with Hemantayan Part 2, published on his 31st Remembrance Day, 26 September 2020. In tandem with that, Ashok M Vaishnav took a closer look at Hemant Kumar’s career as music director with three articles covering his female playback singers, male playback singers and duets.

In the course of his exploration Ashokji felt that with this series, Hemant Kumar’s songs as a singer need a detailed separate post. His songs under his own baton are quite well-known. His songs under the baton of S D Burman and Ravi have been covered earlier in the series on these music directors. Ashokji never chooses the easy path. He expressed a desire to write another article on his songs under the baton of other music directors. I am happy to present it in this calendar year to round off the grand Centenary celebrations of Hemant Kumar. Thank you Ashokji. – AK)

Hemant Kumar with Kishore KumarEvery major article written on Hemant Kumar, invariably runs into a debate of his being more a complete music director or a singer. The discussion invariably moves to the question – whether he sang better under his own music direction or under the direction of ‘other’ music directors. As can be expected, most of such discussions end with the participants divided equally on either side. However, one view which emerges more often than not is that what he lacked in the range as a singer, he was able to more than compensate that by creating songs that other singers could do justice to. Moreover, it is also very commonly agreed that even when he had had some of the most outstanding songs under ‘other’ batons, use of his range as a singer was utilised in a very narrow band by other music directors.

As I commence the present article with these sentences, I fully realize that my own competence is nowhere capable enough to make such a judgement. So, what I write here is what I recollect from what I have read elsewhere, in other articles, under varying contexts, over all these years.

India is a country of a wide range of geographical, social, cultural and linguistic diversity. The cumulative impact of these ‘environmental’ parameters is very easily evident in the physiology of people of different regions, and of course on clothing, eating habits and other social customs and beliefs, including, of course, on the diction of the spoken language. We normally judge the origin of the person with who we interact with, by viewing his/her physiognomy and listening to the diction of the spoken language, even though both the parties would be conversing in a third, or a commonly known, language like English or Hindi.

In that type of branding, Hemant Kumar’s voice was THE Bengali voice. In the language of musicology, if his voice had a baritone scale, to our ears it was soothingly gentle, profoundly resonating and thought-provokingly grave. His voice would kindle very intense emotions in the mind of the listener. However, having kindled such intense emotions, his voice also acted like balm that smoothed the frayed nerves. It was perhaps this intrinsic ‘Bengali’ nature of the tonal chord that led the leading Bengali music directors of Hindi cinema, Anil Biswas, S D Burman, or Salil Chowdhury, to consider Mohammad Rafi, otherwise a very versatile and adaptive singer, a bit too ‘loud’ – a typical ‘Punjabi’ tone – for their comfort. (Note: In my opinion S D Burman cannot be clubbed in this group. Rafi was his mainstay in many films, he was his singer of choice for many exceptional songs of all ranges and all genres. – AK)

Shakeela, a leading lady of mid ’50s to ‘60s, in one of the conversations described Hemant Kumar’s voice as one that creates the serenity that the leisurely flowing waters of river Ganga create in the evenings, when the Sun sinks down in her waters. His knowledgeable Urdu cotemporaries would classify his voice as ‘Nida-e-maztoob’ (the sound of resonating humming).

Hemant Kumar’s pronunciation of Hindi or Urdu words was considered grammatically fairly correct, even though his diction may not have that natural flavour of delivery that one associates with the natives of those languages. That may have inhibited his being presented as a ‘common man’s singer’ in the Hindi cinema. As a result, even as S D Burman preferred him as Dev Anand’s playback voice, he had to fall back upon Rafi for many of the Dev Anand songs in the same films. As this comparison with Mohammad Rafi has cropped up, it should be opportune to note that Hemant Kumar’s ‘mike-sense’ was considered as good as that of Mohammad Rafi. I will take this opportunity to remind myself that the ‘mike-sense’ is the judgement required to maintain distance from the microphone so as to create the right tonal effect on the final outcome of the recorded sound. The sound recording engineering states that a slight distance from the mike makes the voice sound heavy, and from a close distance, the echo gets subdued.

I will end this prologue with a few mundane issues.

As compared to singing around 90 songs in his own music direction, Hemant Kumar has rendered around 199 songs under ‘other’ music directors during his active career in Hindi Films. His duets-to-solos ratio is almost 50:50 under ‘other’ music directors.

Hemant Kumar’s duets, with Lata Mangeshkar and with ‘other singers’, have already been well discussed on SOY. Therefore, this post has focussed on Hemant Kumar’s solo songs under ‘other’ music directors. While presenting the song in the chronological order of year of release of the film, I have restricted only one solo song for each music director. When Hemant Kumar has more songs under any music director, I have consciously bent my selection in favour of less familiar song that can also help in presenting as wide variety of genres as possible. I have also dropped some music directors from my raw collection of the songs, to avoid over-presentation of any one genre. I have not included here Hemant Kumar’s solo songs composed by S D Burman and by Ravi, since these too have been covered well earlier on SOY. And lastly, I have not gone beyond the year 1972, even though there are a couple of solo songs thereafter too, because, in my personal view, these songs are so unbecoming of Hemant Kumar songs that we cherish.

I present herewith my choice of Hemant Kumar’s solo songs under ‘other’ music directors, in the chorological order of year of release of the respective film.

1. Hum to hain kathpule kaath ke…..hum to hai khel khilone, khelo jee bhar ke raamShikast (1953) – Music: Shankar Jaikishan – Lyrics: Shailendra

Hemant Kumar was typecast for Sadhu songs or background songs in Hindi films. Of course, this is the only song that Shankar Jaikishan have composed as a Sadhu song, in Hemant Kumar’s voice. The other solo that they recorded in Hemant Kumar’s voice – Rulakar chal diye ek din (Badshah, 1954) – and a duet each for Patita (1953) and for Badshah have been filmed on the lead actors belong to classic ‘romantic’ genre.

2 Ae dil tu kahin le chalShole (1953) – Music: Naresh Bhattacharya – Lyrics: Kamil Rashid

The song has very distinct Bengali music touch.

The song has had a twin version wherein after the initial start by Hemant Kumar for Ashok Kumar on the screen, Shamshad Begum takes over on behalf of Bina Rai on screen.

3 Aaya toofan….kaise koi iiye zehar hai zindagiBaadbaan (1954) – Music:  Timir Baran/S K Pal – Lyrics: Indeevar

To the extent that this, and its twin song in Geeta Dutt’s voice, remain very well-known songs, the song is an exception to self-imposed rule of selecting less known songs for the present article.

4. Jhoom jhoom Manmohan re murli madhur suna jaBiraj Bahu (1954) – Music: Salil Chowdhury – Lyrics: Prem Dhawan

Salil Chowdhury has used Hemant Kumar very selectively. However all the duets that he has composed with Hemant Kumar and Kaubuliwala (1961)’s solo Bhatiyali folk style-based Ganga aye kahan se have been enshrined into roll of the all-time golden songs.

Salil Chowdhury has selected Hemant Kumar’s voice for Abhi Bhattacharya, the lead actor – there is another Baul folk music based bhajan – Mera man bhoola bhoola kahe dole – in this film and, interestingly, has given a Sadhu song to Mohammad Rafi.

5. Chandan ka palna resham ki dori, jhoola julaun neendiya ko toriShabab (1954) – Music: Naushad – Lyrics: Shakeel Badayuni

Having heard the solo version in the film when I had seen this film first time, when I purchased the LP record (Odeon ‎– MOCE 4181), I was surprised to find that the song was not included on the record. In fact, the song has three more versions in the film. In one version, we get to listen one line as Bharat Bhushan teaches the song to his ‘alms-seeking’ ‘pupils’ who earn their livelihoods from singing his songs. The second version is a duet with Lata Mangeshkar, which we have been listening to on the records, begins as chorus and then turns into a duet of father and son duo of alms-seeker. The third version has been used, in a very slow-paced rhythm, to end the film.

Hemant Kumar solo, that begins with a saakhi (the couplet):

Sangeet hai shakti ishwar ki, har sur mein base hain Ram
Raagi jo sunaaye raag madhur, rogi ko mile aaraam

is simply so divine rendition that it should be able to cure the insomnia in the real life too.

The following clip has all four versions

6. Main gareebon ka dil hoon, watan ki zabaanAab-e-Hayat (1955) – Music: Sardar Malik – Lyrics: Hasrat Jaipuri

Aab-e-Hayat (the fountain of life, elixir) was a film based on Arabian mythical story of a do-gooder a la Robinhood style. We have here a rare Sardar Mallik- Hasrat Jaipuri- Hemant Kumar combination, that was immensely popular in its heydays, and sounds very charming even today.

If I recollect correctly, this must be the only instance when Hemant Kumar has not been able to clearly pronounce a Persian phrase ‘machalati sabaaN (the flowing breeze of early morning air)’ and to many sounds like ‘watan ki jabaaN’. Normally, his diction of Urdu words used to be grammatically correct enough. (Note: Ashokiji had written the second part of the mukhada as ‘machalti sabaaN’ consistent with his write up. But I am not convinced with his reasoning. I have heard it as ‘watan ki zabaan’ for ages. After Ashokji’s write-up I heard the song repeatedly and it sounds the same to me. No lyrics site mentions ‘machalti sabaaN’. To me, ‘watan ki zabaan’ fits better with the song, “I am the heart of the poor and the Nation’s voice”. And lastly ‘saba’ does not have a nasal sound which is very prominent in the song – AK)

7. Ye baharon ka sama, chand taaron ka sama, kho na jaye aa bhi jaMilaap (1955) – Music: N Dutta – Lyrics: Sahir Ludhyanvi

N Dutta has used Hemant Kumar as Dev Anand’s playback, perhaps, in continuation of the track that his erstwhile senior S D Burman had set up.

The song has a Geeta Dutt–Hemant Kumar duet version too. The clip here has both versions.

8. Le le dard paraya, kar de door gham ka saaya, teri khushi tujhe mil jayegi Chhote Babu (1957) – Music: Madan Mohan – Lyrics: Chandrasekhar Pandey

A fakir (or a Sadhu or even a street-singer) singing a song that is reflecting the feelings, or gives a useful message to the ruffled feelings, of the principal protagonists had been a popular genre in Hindi films.

Presently, Madan Mohan turns up a signature Hemant Kumar song to a telling effect.

9. Kah rahi hai zindagi ji sake to jiJalti Nishani (1957) – Music: Anil Biswas – Lyrics: – Qamar Jalalabadi

The song has an unmistakeable Anil Biswas stamp. There is an interesting story which states that the song was originally recorded without the present chorus accompaniment as obbligato support. No wonder, Anil Biswas thought it prudent to add the chorus effect, as an after-thought! The chorus, as the counter-melody support, has yielded that ethereal feeling to the song!

10. Din raat badalte hain, haalat badalate hainNaya Sansar (1959) – Music: Chitragupta – Lyrics: Rajendra Krishna

One may not know whether the essential nature of the composition was the cause for selection of Hemant Kumar as the singer or because Hemant Kumar was chosen, the songs has been set to his style of singing. The fact remains that even as the music director and the singer have their unique styles in this song, the outcome is a complete synthesis of the two melodious styles.

11. Kahta hai pyar mera o mere laadle Santaan (1959) – Music: Dattaram – Lyrics: Hasrat Jaipuri

This is also a twin version song. Lata Mangeshkar version is played in the background of very tragic situation on the screen. Hemant Kumar version then is a song of happy mood, with underlying shadow of those tragic circumstances. The deep voice of Hemant Kumar seems to be an ideal fit for bringing in such complex emotions into the song.

The video clip here has both the versions.

12. Laharon pe lahar, ulfat hai jawan, raaton ki sahar, chali aao yahaanChhabili (1960) – Music: Snehal Bhatkar – Lyrics: S R Ratan

This song is so much discussed that I do not need to say anything more about it.

Aside Trivia: The song is inspired from Dean Martin’s 1957 song The man who plays Mandolino, which in turn is inspired by Aurelio Fierro’s 1956 rendition of Giuseppe Fanciull composition Guaglione.

13. Eetal ke ghal ke teetal, bahar achha ke bhitalBahurani (1962) – Music: C Ramchandra – Lyrics: Sahir Ludhyanvi

Hemant Kumar and C Ramchandra’s singer-music director relationship dates to Anarkali (1953).

Presently, C Ramchandra has innovatively used Hemant Kumar’s voice for a child-like song, filmed on a physically grown but (with deliberately villainous design) mentally retarded Guru Dutt.

14. Jagat bhar ki roshni ke liye….suraj re jalte rahnaHarishchanra Taramati (1963) – Music: Laxmikant Pyarelal – Lyrics: Pradeep

During their initial few films, every call Laxmikant Pyarelal took with a song was a trump, even if the film was mythological or a B-grade thriller. And they could never have had a better ace than Hemant Kumar for such a song. The song first comes up as a credit title song and later on when the King Harishcnadra, with his family, is bidding farewell to his populace, as he leaves all his belongings behind.

The following video clip has both versions.

15. Raahi tu mat ruk jaana… toofan se mat ghabranaDoor Gagan Ki Chhaon Mein (1964) – Music: Kishore Kumar – Lyrics: Shailendra

Kishore Kumar and Hemant Kumar have now switched the roles. Door Gagan Ki Chhaon Mein was a dream project for Kishore Kumar. No wonder, he would have opted for Hemant Kumar to render this credit titles-cum-theme song, so passionately penned by Shailendra.

16. Tumhein jo bhi dekh lega, kisi ka na ho sakaegaMajboor (1964) – Music: Kalyanji-Anandji – Lyrics: Anand Bakshi

Kalayanji (Virji Shah) when he stepped in as the independent music director in the Hindi Films, paid his respects to Hemant Kumar by composing a duet – Neend na mujhko aye (Post Box 999, 1959) that suited Hemant Kumar’s style of singing. They even dared to experiment Hemant Kumar’s voice for playback to Shammi Kapoor – Ae dil ab kahin na ja (Bluff Master, 1963). But it sems that they got a heavenly opportunity to immortalize their respect for Hemant Kumar here, when they got to compose a solo for Biswajeet on the screen. They have created a song that possibly Hemant Kumar himself would have created similarly. The challenge could not have been more demanding, for Hemant Kumar himself had composed extremely popular, and well-acclaimed, songs in Bees Saal Baad (1962) and Kohra (1964) as playback to Biswajeet.

Aside Trivia: Interestingly, Laxmikant Pyarelal who were assistants to Kalayanji-Anandji in Majboor (1964), went on to compose music for ‘another’ Majboor (1974).

16. Tera hai jahan sara, apna magar koi nahinUski Kahani (1966) – Music: Kanu Roy – Lyrics: Kaifi Azmi

Here is a song that seems to have been composed with Hemant Kumar as the singer – the song being composed in a Bhatiali (boatman’s) folk style.

17. Jo diya tha tumne ek din mujhe phir woh pyar de doSambandh (1969) – with Mahendra Kapoor – Music: O P Nayyar – Lyrics: Pradeep

Sambandh (1969) is one film wherein O P Nayyar has used Hemant Kumar only once in his career, even if we discount the fact that the songs are filmed on Pradeep Kumar. There is full-sized solo song, Apni maata ke dulare, tujhpe main kurban pyare bachche which follows Mahendra Kapoor solo – Mere paas aaj hai na kuchh logo, to bas aankh mein aansoo laya hun – in the first part, in the climax of the film. There quite a few more clips that are recoded in the film (Chirogan ka laga; Kitna payara tha and Sarva mangal mangal) in the voice of Hemant Kumar. However, the present male-male duet remains one of the most remembered songs in the portfolio of Mahendra Kapoor, Hemant Kumar, and of course, O P Nayyar.

18. Hum chaahein ya na chaahein, hamraahi bana letin hain hum ko jeevan ke raaheinPhir Bhi (1972) – Music: Raghunath Seth – Lyrics: Pt. Narendra Sharma

The song is about the journey of life that is hardly under our control. Howsoever we may try to shape our own destiny, the life has its own uncanny ways to guide its course on the track of its own choice, and making. And whether we like it or not, realise it or not, our life travels this path, and meets our predestined destination.

Incidentally, this could not have been more prophetic to the career of Hemant Kumar as well.

Beginning with Hemanyan Part I, SOY has charted this course to track Hemant Kumar’s career to commemorate his birth centenary. At the end, for the time being, of this journey, we too end up wondering, like Kaifi Azmi does:

घुल-सा जाता है सुरूर फ़िज़ा में
तेरी आवाज को सुनूं या तेरी मौसीक़ी को सराहूं ?

Acknowledgement and Disclaimer:
1. I have taken Kaifi Azmi’s couplet and some other information from Sumit Paul’s article titled Hemant Kumar: Singer with a perfect baritone  published in the Indian Express.

2. The song videos have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog does not claim any copyright over these songs which vests in the respective owners, such as Saregama India Limited and others.

{ 57 comments… read them below or add one }

1 Dr Pradeep Kumar Shetty November 25, 2020 at 2:12 pm

Ashok ji,

Eagerly awaited post. Well written. Informative.
Thank you.

I am tempted to add a Marathi song that I like so much. Surprisingly, for no reason at all, yesterday I shared this with 2 of my doctor friends, SOY regulars !

Swarajya thoran chadhe…
….
Marathi pavoola padle pudhe..

Hemant Kumar, Hridaynath , Lata, Meena, Usha ( All Mangeshkar siblings except Asha. )
Shanta Shelke.
Anandaghan ( Lata’s pseudonym for her Music director avatar. )

MARATHA TITUKA MELAWAWA, 1963.

2 ASHOK M VAISHNAV November 25, 2020 at 4:19 pm

Dr Pradeep Kumar Shetty (#1)

Thanks for adding a Marathi song of Hemant Kumar. Here is the link

https://youtu.be/ce4TKodXUFc

3 Dr Pradeep Kumar Shetty November 25, 2020 at 4:59 pm

Kishore Kumar chose HK again for the poignant title song of DOOR KA RAHI, 1971.

Chalti chala jaaye zindagi ki dagar

Door ka rahi..

4 Dr Pradeep Kumar Shetty November 25, 2020 at 6:20 pm

NETAJI SUBHASCHANDRA BOSE, 1966, had some beautiful songs.

Kavi Pradeep, Salil Chowdhury.

Janmabhoomi Maa
Main yahan, tum wahan…

HK , Sabita Chowdhury.

Jhankaro Jhankaro
Jhanan jhan jhankaro
Jhankaro Rudra Beena…

HK, Sabita & chorus.

Dushmano saavdhan
Shatruo saavdhan…

HK, Rafi & chorus.

( Over the years, I have listened to this song dozens of times. But, I can’t distinguishe Hemant Kumar’s voice here !

5 R Vasudevan November 25, 2020 at 8:04 pm

A fine tribute to Hemanth Kumar.
HK being him self a Music Director cum singer has sung under nearly 15 music directors and I wonder is it a record? Is there any other MD who had sung under so many music directors. Perhaps Kishore Kumar. But KK is primarily a singer.

6 ASHOK M VAISHNAV November 25, 2020 at 8:56 pm

Dr Pradeep Kumar Shetty (#3)

That again is a very sensitive composition. Thanks for posting it here.

https://youtu.be/J-PRs50lQ2E

R Vasudevan (#4)

Someone more knowledgeable about the records should be able to state who among the music directors would sung maximum songs under any other music director.

But, indeed, Hemant Kumar was as much a music director as he was a singer. And he has been able to play both the roles perfectly.

7 ASHOK M VAISHNAV November 25, 2020 at 10:00 pm

I am sorry for errors of incorrect references in my response @#6.

This is the correct one:

Dr Pradeep Kumar Shetty (#3)

Chalti chala jaaye zindagi ki dagar again is a very sensitive composition. Thanks for posting it here.

https://youtu.be/J-PRs50lQ2E
Links to songs @ (# 4)

1. Janmabhoomi Ma
https://youtu.be/6ItDjZBVOEo
2. Jhankar Jhanakar
https://youtu.be/hxhdzlXZr5w
3.DushmanO Savdhan – a classic example of an all male chorus song –
https://youtu.be/Xpo0Ymun7Y8

R Vasudevan (#5)

Someone more knowledgeable about the records should be able to state who among the music directors would sung maximum songs under any other music director.

But, indeed, Hemant Kumar was as much a music director as he was a singer. And he has been able to play both the roles perfectly.

8 Dr Pradeep Kumar Shetty November 25, 2020 at 10:00 pm

Madan Mohan’s first outing with HK was in 1953…
DHOON.

Hum pyar karenge, hum pyar karenge
Hum ladke jhagdke bhi pyar karenge…

With Lata.
Bharat Vyas.

9 Canasya November 25, 2020 at 10:10 pm

Ashok ji:

A very satisfying post that rounds up well one aspect of HK’s oeuvre that had not yet been fully covered in SoY. Thanks.
In 1960, HK sang one song in a (then East-) Pakistani film. Here is ‘Raat Suhani hai’ from Humsafar, MD: Moslehuddin:

https://www.youtube.com/watch?v=Y2xuBrZudmU&ab_channel=ShemarooFilmiGaane

10 Dr. Rajesh Deshpande November 25, 2020 at 10:49 pm

Ashokji,

An excellent post that completes the grand centenary celebrations of Hemant Kumar in style.
All your posts on Hemantda have been very comprehensive, encompassing his brilliant career as a singer as well as MD.

I know, you have not purposefully included his songs for SD Burman.
Still, I would like to add here one of my favorites from Manzil 1960.
Hemant Kumar – SDB – Majrooh
Yaad aa gayi wo nashili nigahen

https://www.youtube.com/watch?v=wWSMuvS__OU

11 Rahul Bhagwanrao Muli November 25, 2020 at 10:53 pm

Ashokji
The way in which you have presented different facets of Hemant Kumar in your articles is fabulous .
I am posting 3 solos , one of them a huge hit & the other two less prominant.
Ae dil ab kahi
Bluff master – KA
https://youtu.be/znNJoXP25BY
Na Ghar mera na Ghar tera – Sehra – Ramlal
https://youtu.be/ws6Jn97mE0g
In fact this is a singlet & not a full song but as it involves a very rare combination of HK & Ramlal , I have picked it.
Bhor bhayi uth jaag re – Mere lal
LP
https://youtu.be/LFLZ-sOJfm8

12 Dr. Rajesh Deshpande November 25, 2020 at 11:28 pm

From the 40s

Zameen Aasman 1946
HK – Kamal Dasgupta – Faiyyaz Hashmi
Ek raat kabhi aisi aayi

https://www.youtube.com/watch?v=keVLBm7Lr3I

13 ASHOK M VAISHNAV November 26, 2020 at 9:34 am

Dr Pradeep Kumar Shetty (#8)

Thanks for adding up that Madan Mohan song. Madan Mohan has used Hemant Kumar very effectively, whenever he did so.

The link to Hum pyar karenge , which is a duet. But it is rare in thesense that it is filmed on Raj Kapoor.

https://youtu.be/vQODcwnsRuI

Canasya (#9) | Dr. Rajesh Deshpande (#10 / #12) | Rahul Bhagwanrao Muli (#11)

Thanks for your very generous appreciation.

THe songs that you add here further enrich the post.

14 R..Nanjappa November 26, 2020 at 11:24 am

I am not an expert. I just want to add one bit of information in respect os S.D.Burman-Rafi association. I have read that SDB did not use Rafi much before 1957. For Pyaasa, Guru Dutt insisted on Rafi as his voice, since it had been made the standard by OPN. But SDB had his reservations about the ‘Punjabi’ factor. Anil Biswas has said in an interview that SDB spent quite some time training or moulding Rafi’s voice to suit his style of composition. The result is an incredibly sweet Rafi that we hear in Pyaasa, Kala Pani, Kala Bazar etc. though later it tended to be a bit loud even under SDB.

15 Dr Pradeep Kumar Shetty November 26, 2020 at 11:57 am

Pagal pagal hai ye mausam..

HK, Asha Bhosle, Chorus.
Pradip RoyChowdhury, Bappi Lahiri.

HAIWAN, 1977.

Masti mein bait ke lagao oonchi udaan..

HK, Asha, Kishore Kumar.
Majrooh, RDB.

CHOR HO TOH AISA, 1978.

Is it the only song of HK on Pran ?

16 S Joseph November 26, 2020 at 12:07 pm

A well written post with a great song selection made with considerable efforts .
We cannot expect that after so many years you could have collected any of the information for this writeup from any living persons really close to Hemant Kumar. Now as MDs Ravi and SDB are not included here , the total number of solos possible under this post would be less than the approximately 100 solos under the baton of other MDs.

‘ Chaandi ke chand…’/ 1959 / SATTA BAZAR / Gulshan Baora / Kalyanji Anandji / Hemant

https://youtu.be/4_mgDShGJG8

17 KB November 26, 2020 at 12:46 pm

Under the other composers Hemant Kumar’s song in Chhabili (1960) Leheron pe leher with Nutan could be the most outstanding composition as I could see. Snehal Bhatkar to be complimented for the same on this !

18 ASHOK M VAISHNAV November 26, 2020 at 2:23 pm

R..Nanjappa ( #14)

Thanks for sharing some info on SDB- Rafi factor. I am nowhere near any expertise on this subject. But have read several such anecdotes at different times. Hence, my (rather) sweeping observation.

Dr Pradeep Kumar Shetty (# 15)

Thanks for adding these songs.

I am personally highly biased in so far as his 70s songs. The songs do not at all do justice to his voice. Hence consciously stayed away from a couple of solos from that period.

S Joseph (#16)

Thanks for your kind appreciation.

Kalyanji Anandji have been able to use HK very effectively in the songs where they chose him.

KB (#17)

Yes, Chhabili both versions are immortal compositions. Thanks.

19 D P Rangan November 26, 2020 at 3:55 pm

Ashokji

The four posts on Hemant Kumar are piece de resistance. Your concluding part is equally well written and the way you had commented on each song bringing out its soul is le mot juste. All the quartet individually qualified to be described as creme de la creme.
It will be quite an effort for me to search a song from music directors other than Hemant Kumar and S D Burman. Dr. Shetty is eminently qualified to flood the post with songs like the present hurricane sweeping through Chennai.

20 Subodh Chandra Agrawal November 26, 2020 at 4:41 pm

Thanks Mr Vaishnav and AK for another collection of gems from my favourite singer. I have come across a few in this list that I did not recall – that’s an added bonus.

Shakila’s quote on Hemant’s voice is indeed apt and beautiful. There is ample testament to the soothing nature of his voice in the song from Shabab. Naushad is not a name one normally associates with Hemant, but he too opted for him for the key song of the film.

21 D P Rangan November 26, 2020 at 4:53 pm

Ashokji

After strenuous efforts to recollect songs on the theme, got hold of a song from Satta Bazaar (1959). Music Kalyanji Anandji, Lyrics Gulshan Bawra. The song brings out the theme of the film about selling self respect, honour for money.
Chaandi ke chand tukodon ke liye –
https://youtu.be/4_mgDShGJG8?t=1

22 Dr Pradeep Kumar Shetty November 26, 2020 at 5:17 pm

Rangan ji,

Hope Chennai is safe and the hurricane doesn’t cause too much damage.

HK sings for Usha Khanna.

AAG, 1969.

Santan badal jaate hain
Par tu na kabhi badli..
….
Ae naari isiliye duniya mein aayee tu…

Couldn’t locate it on the YouTube. But, it does come at 1 hr 30 mts in the movie as, what else, a background song.

23 Rajan N S November 26, 2020 at 5:20 pm

Thanks, Mr Vaishnav.
A very good write up with some in depth perceptions on Hemant Kumar. One must remember that in the initial, formative stages of the world of Hindi Film Music, it was principally innovative and learned composers and composer/singers from Bengal (which then included the present Bangladesh), and the North East of India who, together with composers largely from Punjab, that laid the foundations of what was to become the structure and spirit of our ‘Hindi film music’.
Hemant Kumar was a later follower of this group, but just as accomplished.
I would like to touch upon one interesting observation that you have made about SD and Rafi. (also raised by R. Nanjappa here).
SD gave a very large number of songs to Rafi. But, in most of them (not counting few exceptions like: ‘Yeh duniya agar mil bhi jaaye to kya hai), SD helmed Rafi only through the ‘softer’ version of his voice and deliberately made it sound velvety. (Tere mere sapne ab ek rang hain, Apni toh har aah ek toofan hai etc).
Thus, SD gave Rafi songs that he would otherwise have had to call upon Talat Mahmood to take. And for some reason or the other, SD was not very keen on Talat (notwithstanding ‘Jalte hain jiske liye’).
That is how we get to hear so many exquisitely soft and lilting Rafi songs from the baton of SD.

24 P S Seshadri November 26, 2020 at 5:34 pm

A very. very satisfying tribute to Hemanta in four parts. All these have unearthed some rare and lesser heard numbers.

Thanks for featuring a gem from “Naya Sansar” I am not tired of hearing

25 ksbhatia November 26, 2020 at 6:15 pm

Ashok M Vaishnav ji , Venkatraman ji , AK ji ;

For a worldly hearing charm it is important to bio focus both eyes and ears as well. It is a great pleasure to know all the talent that Hemant Kumar had….and that will remain with us thru fine historical background of this fine composer and singer .

Yes ….Rula kar chal diye …and …Ganga aaye kahan se ….are such songs that connects me to Hemants ji great voice that enhanced the qualities and meanings that had great depths. Those who concentrated on…are blessed forever.

Hearing such songs …..well that leads to focused life forever…..

YEH SONE KI DUNIYA (1960) Hemant Kumar Lyric Bharat Vyas Music S. Mohinder Film Do Dost

https://www.youtube.com/watch?v=PXN-UBAgFz8

Ganga aaye kahan se….Kabuliwala….Salil da

https://www.youtube.com/watch?v=_HNsAq85ju8&t=20s

YE ZINDAGI HAI IK SAFAR – -hemant kumar- prem dhawan -anil biswas (RAHI1953)

https://www.youtube.com/watch?v=DYNkZo0BWo0

HEMANT KUMAR-Film-PEHLI SHADI-1953-Abad Ko Barbad Karna Seekhe Koi Zamane Se

https://www.youtube.com/watch?v=Wc0ey0oYDUM&list=RDWc0ey0oYDUM&start_radio=1&t=83

….to be contd…

26 ksbhatia November 26, 2020 at 6:26 pm

In continuation…..

MOVIE. — NETAJI SUBHASHCHANDRA BOSE (1966).
LYRICS. — KAVI PRADEEP.
SINGER. — HEMANT KUMAR. [ Lata as co chorus ?]

https://www.youtube.com/watch?v=VZerR8rkbWs

aasman aasman tu kya jane dil ki dastan..Hemant Kumar_Prem Dhawan_Chitragupt

https://www.youtube.com/watch?v=EPEzZXR7A4Y&t=151s

DIN RAAT BADALTE HAIN – HEMANT KUMAR- RAJINDER KRISHAN -CHITRAGUPT ( NAYA SANSAR 1959 )

https://www.youtube.com/watch?v=zt6641B6Dqc

to be contd…

27 S Joseph November 26, 2020 at 6:40 pm

Zindagi pyar ki…’/ 1953 / ANARKALI / Rajinder Kishan / CR / Hemant

https://youtu.be/4D90FqpkhCM

28 Mehfil Mein Meri November 26, 2020 at 8:41 pm

Ashokji,
What a nice post to conclude the celebration. Very well written and you must have done a lot of research for this one.
A lot of my favourite songs there on the list!
And, though I’m not as expert either I want to share my opinions on a few points,
In my opinion too, Rafi was a regular with S D Burman and he continued the association in 1970s though the songs offered to him were much less in number. But I certainly won’t put S D Burman in the group of other Bengali composers, who had reservations for Rafi’s voice.
And,
for the Ab e hayat song, it sounds more like Watan ki Zabaan to me too. And As Akji siad, it goes with the story as well. I also have been hearing it as Watan ki Zabaan.
Very happy to see the Bahu Rani song by C Ramchandra. So different from HK’s usual songs.
Thanks a lot for a wonderful post and congratulations!

Anup
🙂

29 ASHOK MVAISHNAV November 26, 2020 at 9:24 pm

Subodh Agrwal (#20) | | D P Ranagan (# 19, 21) | Rajan N S (#23) | P S Sheshadri (#24) | ksbhatia (#25,26) |S Joseph (#27) | Mehfil Mein Meri (# 28)

My sincere Thanks for so generous appreciation.

Every song being added adds to the variety, breadth and depth of the range of solo songs that Hemant Kumar sang for other music directors on the same page. Simply wondeful co-operation. Thanks again.

Ksbhaitiaji, Thanks for bringing up Yeh Sone Ki Duniya Ye Chandi Ki Duniya (DO Dost) – S Mohinder depths of the subconscious memories.

30 S Joseph November 26, 2020 at 10:18 pm

‘Kaun albeli akeli…’/ 1953 / RAMI DHOBAN / Ram Murti / Ninu Mazumdar / Hemant

https://youtu.be/66k4EX8fCXE

31 S Joseph November 26, 2020 at 10:20 pm

1)’ Panchhi ud gaya…’/ 1953 / RAMI DHOBAN / Ram Murti / Ninu Mazumdar / Hemant

https://youtu.be/2rGglqCduEI

2)’Rothi hai duniya…’/ 1953 / RAMI DHOBAN / Ram Murti / Ninu Mazumdar / Hemant

https://youtu.be/TzrnD_UsXjA

32 S Joseph November 26, 2020 at 10:52 pm

‘ Zameen chal rahi…’/ 1954 / PEHALI JHALAK / Rajinder Krishan / CR / Hemant

https://youtu.be/1UH-JvmtcYU

33 Dr. Rajesh Deshpande November 26, 2020 at 11:18 pm

Ganga Jamuna 1961
HK- Naushad – Shakeel Badayuni

Insaaf ki dagar pe bachcho dikhao chal ke

https://www.youtube.com/watch?v=OKT2ZNHBVfs

34 Dr. Rajesh Deshpande November 26, 2020 at 11:42 pm

Hemant Kumar with lesser known composers:

Taj aur Talwar 1956
HK – Sudipt
Dil ki baatein dil mein hi rakhna

https://www.youtube.com/watch?v=pEoaVi_vD8Y

Sailaab 1956
HK – Mukul Roy – Majrooh
Hai ye duniya kaun si aye dil mujhe kya ho gaya

https://www.youtube.com/watch?v=8Y7K6ltpNEs

35 Dr. Rajesh Deshpande November 26, 2020 at 11:45 pm

Khiladi 1961
HK – Sardul Kwatra – Prem Dhawan
Kabhi yahan chale kabhi wahan chale

https://www.youtube.com/watch?v=UZXLi2gPGBY

Janam Janam Ke Saathi 1965
HK – Gyan Dutt – D N Madhok
Shamshan jala insaan jala

https://www.youtube.com/watch?v=mkLi792WP30

36 Dr Pradeep Kumar Shetty November 27, 2020 at 10:28 am

Dr Rajesh ji has posted a solo from ZAMEEN ASMAAN, 1946.
Here is a duet with Kalyani Das.

Faiyaz Hashmi, Kamal Dasgupta.

Papiha Papiha tu peeyu ko pukaar.

37 D P Rangan November 27, 2020 at 1:22 pm

Dr. Shetty
Do not mistake me for my comments on your extraordinary ability to upload songs relevant in a jiffy and in profuse numbers immediately after AKji airs a post. That is why I compared your talent to that of floods in streets in Chennai. I have great respect for you.
You tube link for the song – Papiha papiha
https://youtu.be/-GUcqQfIV_M?t=15
Another song from the film by the same pair :
Suno suno ke bahut dukh –
https://youtu.be/YsC-h4Gq5vM?t=57

38 ASHOK M VAISHNAV November 27, 2020 at 1:53 pm

S Joseph (# 30,31)

In so far as Rami Dhbanis concerned Neenu Mazumdar is credited at many sources, however as per HFGK Hiren Bose has been mentioned as the only music directors on the 78 rpm records.

However, keeping these technicalities apart, thanks for posting these very sweet songs.

39 ASHOK M VAISHNAV November 27, 2020 at 2:03 pm

S Joseph (#32) | Dr. Rajesh ZDespande (#33, 34, 35) | Dr Pradeep Kumar Shetty (#36) | DP Ranagan (#37)

Thanks for adding all these wonderful, receding from the memory songs.

40 ksbhatia November 28, 2020 at 4:47 pm

Ashok M Vaishnav ji ;

Opening slowly my cards from the long heard rare songs of Hemant Kumar that had plenty of sadness and equally sung good under different MDs.

Ae Baad E Saba Ahista Chal – Hemant Kumar – Anarkali

https://www.youtube.com/watch?v=0STdP7GaXRQ&t=89s

AE DIL TU KAHIN LE CHAL (1953) Hemant Kumar Lyric Kamil Rashid Music Naresh Bhattacharya Film Shole

https://www.youtube.com/watch?v=ojXB-RJfGhs

Hemant Kumar – Baadbaan (1954) – ‘kaise koi jiye…Timir Baran

https://www.youtube.com/watch?v=rD9Fn3aWJMU

41 S Joseph November 28, 2020 at 9:31 pm

1) Meri soyi re…’/ 1954 / CHAKRADHARI / Kavi Pradeep /Avinash Vyas / Hemant

https://youtu.be/_h0J-23GHKE

2) ‘ O duniya ke …’/ 1954 / CHAKRADHARI / Kavi Pradeep /Avinash Vyas / Hemant

https://youtu.be/oWaPDJ5XJ84

42 ASHOK M VAISHNAV November 29, 2020 at 12:37 pm

ksbhatia (#40, 41)

Thanks for posting more songs…..in the style of Hemant Kumar singing…burning slowly but spreading the fragrance for long time.

Ae Bade Saba was discussed in Hemnatyan # 1 w.r.t Hemant Kumar’s unfulfilled dream of singing a Heer in Bengali films. Moreover, All songs of Anarkali have been so popular that they are well remembered even today. Si I had skipped them form my final choice.

Ae Dil Kahin Tu Le Chal and Kaise Koi JiyeN have been discussed in the article.
However, I was ambivalent when it came to including Avinash Vyaas’s songs I had to make choice between including one more music director vs. trying to minimize the repetition of a particular genre. You have now taken care of what I had finally omitted. Thank you so much.

43 ASHOK M VAISHNAV November 29, 2020 at 12:41 pm

I am really sorry for one more goof up !!!!!

(#41) is by S Joseph and not by ksbhatia as mentioned in my previous comment.

However, my views on Avinash Vyas’s (Chakradhari) songs remain valid.

44 ksbhatia November 29, 2020 at 11:22 pm

Ashok M Vaishnav ,S Joseph;

Every correct statement is endorsed by ….Therefore . And every …why…for wherefore . Joseph ji is a great person and he too celebrate bringing out the hidden songs that gladden me the most. Chakradhari songs were new to me . The rare songs i do listen for hidden meanings and melodies .

A few songs , again least heard but a great charm…..

Insanon Se Nafrat Karna….Hemant…Jogi Aur Jawani [1974]…V Balsara.

https://www.youtube.com/watch?v=KRPULKxLHwM

Musafir Mujhko…..Hemant…Subhashchandra [1966]…Composer: Aparesh Lahiri…[ related to Bhappi Lahiri ?]

https://www.youtube.com/watch?v=6hEKGVZ3hms

45 ksbhatia November 29, 2020 at 11:52 pm

Ashok M Vaishnav ,S Joseph;

In continuation of songs from # 44…..

Chal Ri Chali Chal Naiya Hemant Kumar Film Sardar (1955) Music Jagmohan

https://www.youtube.com/watch?v=kbzT4ti3x00

MERE MAN BHOOLA BHOOLA KAAHE DOLE -HEMANT KUMAR -PREM DHAWAN -SALIL(BIRAJ BAHU 1954)

https://www.youtube.com/watch?v=j1JW0qYnKec

46 ksbhatia November 30, 2020 at 12:11 am

Ashok M vaishnav ;

In continuation one mile stone song……

Phir Muhabbat Ke Payaam – Hemant Kumar ….film – Iraadaa (1944).. Amarnath

https://www.youtube.com/watch?v=32ZRNcwKLRc

47 ASHOK M VAISHNAV November 30, 2020 at 10:46 am

ksbhatia (# 44, 45, 46)

Thanks for some wonderful hardly heard gems.

48 ksbhatia November 30, 2020 at 11:13 pm

Ashok M vaishnav ;

Rare songs can’t remain silent for long ….one must have an hidden key to open the chest board . Finding key is difficult and finding hidden song….well more difficult !!!

tumhi karo uddhar gangey hemant in …..prabhu ki maya

https://www.youtube.com/watch?v=0nFYdWoQGRE

ek pal daras dikha jaa..Hemant Kumar_Prem Dhawan_Salil Chaudhary

https://www.youtube.com/watch?v=zew-yI9MvAo

He Babu He Bandhu Part – 1 · Hemant Kumar, Chorus

Insaaf Kahan Hai…..Robin Banerjee

https://www.youtube.com/watch?v=PCosqJ1cEQM

49 Ashok M Vaishnav December 1, 2020 at 9:38 am

ksbhatia ( #48)

Bhatiaji, it seems you have finally cracked the password and now have all keys to this veritable treasure.

Thanks for sharing these gems.

50 Dr. Rajesh Deshpande December 1, 2020 at 11:04 pm

Bhatiaji@44

It is nice to hear many rare and hardly known songs of HK. Thanks for posting them.

I was checking on the films – Jogi aur Jawani and Subhash Chandra. Incidentally, both these movies were never released or certified.

HFGK classifies Jogi aur Jawani in the section of films that were either incomplete or not censored.

Subhash Chandra is an original Bengali movie made in 1966. It was dubbed in Hindi but not officially censored or released.
Both versions are available on YT.
There is no mention of this film in HFGK.

And yes, Aparesh Lahiri is the father of Bappi Lahiri.

51 ksbhatia December 2, 2020 at 10:30 pm

Ashok M vaishnav ji @50 ;

Yes all these songs are from unreleased or incomplete films. Thanks to internet as now they all are day lighted for us to hear and even watch clips from these hidden songs and films.

Aparesh Lahiri , I think has sung some songs under Shankar Jaikishan also.

52 Ashok M Vaishnav December 3, 2020 at 10:27 am

ksbhatia (#41)

I respective of the fact that the films was released or not, the fact that these songs have been brought up here under one page is itself a great service.

SJ – Aparesh Lahiri song is Jaage Mera Dil Soye Zamana – Badshah (1954)

https://youtu.be/OMAf6hNi2GM

53 Arunkumar Deshmukh December 3, 2020 at 5:03 pm

Ashok ji,

I dont see this popular song by Hemant, posted here by anyone so far (?).

Film -Munimji-1955
Shiv ji bihane chale …
MD- S D Burman
https://www.youtube.com/watch?v=bIGJymRn5tQ
sorry if posted already.

54 ksbhatia December 3, 2020 at 11:13 pm

Arunkumar Deshmukh ji;

Shiv ji bihane chale …is a very popular song . The reason it was not posted ….may be because of restraint rider of Ravi and SDB songs . …, but I think solos from NFS under other batons including Ravi and SDB could be a good idea for inclusion as some songs are really of rare qualities .

55 Ashok M Vaishnav December 4, 2020 at 9:50 am

ArunKumar Deshmukh(#53) / ksbhatia (#54)

Shivji Chale is highly innovative of Hemant Kumar’s songs by othe music directors, even by SDB’s own standards.

Thanks for posting it here.

The constraint of not including SDB’s and Ravi’s HK composition was more for me to define / clarify the scope of my coverage, since there have been posts on the past on SoY.

56 S Joseph December 4, 2020 at 2:06 pm

@55 ….To avoid such misunderstanding about any missing songs under any post , it may help if such posts prominently clarify about exclusions and also give the links to the connected previous posts under SOY in the beginning . Software experts could suggest some kind of Hyperlinking option . Such situation would increase with time .

57 Hans December 23, 2020 at 8:44 pm

Vaishnavji,

I was very busy these days, so I could not respond in time. But, there are some points I would like to make. You wrote about Hemant Kumar’s voice:
“His voice would kindle very intense emotions in the mind of the listener. However, having kindled such intense emotions, his voice also acted like balm that smoothed the frayed nerves.”
I think there is no better description of the impact of his songs on listeners. This post covers a lot more songs with your special style of description and good supporting information in the write-up.

I would also like to offer my opinion on your take about Bengali composer’s views about Rafi. You have named three. I would here mention SSW’s views on Rafi’s voice. He said Rafi’s was the only international voice. So bracketing him as a Panjabi voice is not correct. It is very well known that New Theatres flourished so much on the vocals of a panjabi voice, which means not only Bengali composers accepted panjabi voice but Bengali public too adored his voice.

Anil Biswas was dead against Rafi, ever since Naushad made him his primary male singer, because Naushad not only had toppled him, but never let him come near the top. He was caught in his own net when after composing a qawwali in Beqasoor in which Rafi was a singer and using him in Heer, he had to deny that he ever used Rafi. For Beqasoor he simply refused he had composed that song and for Heer he said his assistant recorded the Rafi songs. This statement of his was exactly opposite than the various circumstances where he had claimed credit for films which were credited to other composers.

As for SDB, I would say he never said anything in public against Rafi. But, in his case the matter of loudness would just be a joke, because he was the whole of his career, busy in promoting Kishore Kumar, who was without any doubt the most loud voice out of the male singers in the golden era.

Salil Choudhary was clearly favouring Lata in their spat on the Maya song. I think this instance is the only one where Rafi ever asked a composer what was wrong in his singing in the song ‘tasveer teri dil men’. Salil sided with Lata who was trying to puncture holes in Rafi’s singing. When Salil could not answer Rafi, he went on to sing the song the same way he was rehearsed and Salil duly recorded that and no listener found any fault in Rafi’s part in that duet. If Salil used him rarely after that under Lata’s influence, that was his loss and not Rafi’s.

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