SD Burman: ‘The Courage of His Convictions’ (Has his way on Hemant Kumar)

8 October 2019

Guest article by Moti Lalwani as a tribute to SD Burman (1 October 1906 – 31 October 1975)

Ye raat ye chandni phir kahaan’ by Hemant Kumar, lyricist Sahir Ludhiyanavi, composed by SD Burman

(When I wrote a review of HQ Chowdhury’s book ‘Incomparable Sachin Dev Burman’ sometime back, I had mentioned that an acknowledged authority on SD Burman, who has spent his lifetime studying him, and interviewing people associated with him, had sent me some of his articles. The time has come to disclose his name.  Anyone who has seriously studied SD Burman would be familiar with Moti Lalwani. Mr Chowdhury has referred to him eight-nine times in his book; Sathya Saran’s ‘Sun Mere Bandhu Re’ is largely based on his material. Mr Lalwani was always a fan of SD Burman’s music. That became a serious passion to counter some RD Burman-fanatic on a music forum, when he spoke sarcastically of SD Burman.

Mr Lalwani’s channel on the YouTube has over 150 short videos of interviews and other materials associated with SD Burman. He manages a Facebook group on the maestro which has 7600 members.

By profession he was a Mechanical Engineer with L&T, and after working with them for 29 years, he took voluntary retirement long back. Thereafter, he ran his own company for ten years. Even as an octogenarian, his zest for life has not waned, and now he continues serious study and research on SD Burman.

SD Burman is known to have his own methods for choosing which singer would best suit a particular song he was composing, and in this he would brook no interference. His choices were at times against conventional wisdom, but the final product turned out to be outstanding. I am happy that Mr Lalwani’s debut article on the SoY is on this theme, and it shows how the maestro had his way on Hemant Kumar for ‘Ye raat ye chaandni phir kahan’, overriding the doubting voices. I have decided to celebrate October as SD Burman-month as it begins with him and ends with him, all with Mr Lalwani’s articles. – AK)

SD Burman and Hemant KumarAfter a successful career in Calcutta, Hemant Kumar (1920-1989) shifted to Bombay (Mumbai) in 1951 to work for Filmistan Studios. He had sung very few Hindi songs till then, and his voice was unknown to the Hindi/Urdu music lovers. Composer SD Burman had already established himself, with successes in Do Bhai (1947), Shabnam (1949), Mashal (1950), followed by Baazi, Bahar, Naujawan and Saza, all released in 1951 and doing very well.

In 1951 itself, one of the films which Burman Dada had in hand was ‘Jaal’, which later released in 1952. The film, directed by Guru Dutt, had romantic pair of Dev Anand and Geeta Bali in the lead. The lyrics were to be written by Sahir Ludhiyanavi, who had earlier worked with SD Burman in Baazi (1951), a runaway success mainly due to its super-hit songs.

There was a situation in Jaal when the debonair hero Dev Anand, in love with the heroine Geeta Bali, asks her to meet him late in the moonlit night, which she obviously declines. He was insistent that she should come to meet him, making her even more determined to reject his advances. The situation required a romantic song, which could make the heroine leave behind all her inhibitions to meet the hero.

The dialogue between the two lovers goes like this (In Hindi):

Tony (Dev Anand), “Kitni suhaani hogi aaj ki raat, dil ka shikaar. Aur aaj raat tum mere paas aaogi.”
Maria (Geeta Bali), ‘”Yeh nahin ho sakta.”
Tony, “Tum aaogi, main jaanta hoon tum aaogi.”
Maria, “Main nahin aaoongi.”
Toni, “Tumhaari samajh tumhein rokengi. Lekin tumhara dil tumhein le aayega. Tum aaogi, mere paas, us darwaaze par. Chaand ke roop ki pehli kirnen tumhaari sunhari zulphon se khelengin. Hawa ke halke, halke jhonke baar-baar tumhara munh choomenge. Aur, tum mere dhyaan mein khoyi huyi, tabhi zabaan se kahogi, Toni.”
Maria, “Nahin, nahin.”
Toni, “Tum aaogi. Main jaanta hoon tum aaogi.”

The struggle that SD Burman had to undergo to create a song befitting the scene:

Raaj Khosla, Assistant Director:
“I worked as his (Guru Dutt) assistant in Jaal. He wanted me to sing for Jaal, the ‘Ye raat ye chaandni’, he even recorded me but I failed the test. SD Burman said, ‘Guru, not now. He’s too raw, he can’t make it.’ Guru Dutt was very upset as he had wanted me to sing that song.”
(Source: GURU DUTT: A LIFE IN CINEMA by NASREEN MUNNI KABIR – Page 59)

R. D Burman:
“He (my father) loved to experiment. Even in Jaal, when he (Sahir) wrote the song ‘Ye raat ye chaandni’, he transformed its ghazal mood giving it a regular stressed beat. When he sang the tune to Sahir Ludhianvi, Sahir laughed. My father also insisted that Hemant Kumar should sing that song even though everyone had wanted Talat Mehmood to sing it.

“When the song was recorded by Hemant Kumar, Guru Dutt wanted to re-dub the song in Rafi Sahib’s voice. My father said, ‘Nothing doing.’ During the production of Jaal, the song ‘Ye raat ye chandni’ started growing on everyone, so it stuck.”
(Source: GURU DUTT: A LIFE IN CINEMA by NASREEN MUNNI KABIR – Page 126)

S.D. Burman in his autobiography ‘Saragmer Nikhad’:
“I worked hard with Sahir and under my direct supervision he wrote this song. Thereby, I made  Hemant Kumar immensely popular in Hindi films. This too, helped me in generating strong confidence in my capability. At the same time that I was composing a song; I would try to select a singer for it.

“Just at that time, Hemant Kumar was in Bombay with a job at Filmistan, yet to get a big break as a playback singer in Hindi films. I decided to use Hemant Kumar for this new song. I advised him to work hard to improve his Hindi pronunciation and after much practice he sang the song. Through this particular song only, Hemant Kumar got established in the Hindi Film industry. People were also very happy to hear a new voice for the Hindi movies. The song was: ‘Ye raat ye chandni, phir kahaan, sun ja dil ki daastan’.”

YouTube Views:
Even after 67 years (1952 to 2019), ‘Ye raat ye chandni phir kahaan’ continues to be very popular. On the YouTube, in one upload alone it has 3.3 million views as on date.

Bangla Song on the same tune:
Based on the tune of this Hindi song which became a smashing hit, in 1953 Dada Burman composed a Bangla song, ‘Nid hara aaj rate gaaye papiya’ sung by Bechu Dutta.

Channel 4 in Britain on ‘Ye raat yeah chandni’:
The song ‘Ye raat ye chandni phir kahaan’ from the film Jaal opened and closed the syndicated television series ‘Movie Mahal’ on Channel 4 in Britain, even if the viewers did not understand the language, to hear him sing:
This night, this moonlight may never be ours again. Heed the story of my heart….’, was to be transported, even if the viewer did not understand the language. The age-old story of the power of music.

Hemant Kumar’s Voice:
Lata Mangeshkar once said that Hemant Kumar’s voice reminded her of a sadhu singing in a mandir. Salil Chowdhury has said that if God could sing, it would be in Hemant Kumar’s voice.
(www.songsofyore.com)

References:
– ‘Saragmer Nikhad’, an autobiography by S. D. Burman
– GURU DUTT: A LIFE IN CINEMA by NASREEN MUNNI KABIR
sdburman.net (A website dedicated S.D. Burman)
– Hemant Kumar’s Home Page:
http://faculty.ist.unomaha.edu/pdasgupta/hemanta/
– DELHILINK:- http://delhilink.blogspot.com/2008/11/
Songs of Yore (A popular blog dedicated to music)
– SHEMAROO
– Wikipedia

Acknowledgement:
The song videos have been embedded from the YouTube only for the listening pleasure of the readers. This blog acknowledges that the copyright over these rests with the respective owners, such as Saregama India Limited etc.

{ 155 comments… read them below or add one }

1 Dr Pradeep Kumar Shetty October 8, 2019 at 11:36 am

Moti Lalwani ji,
Welcome!
It is a treat to hear from an expert in any field, and ,more so if it is related to Hindi film music.
The story behind creating any great song is always interesting.
Waiting for your next ones.
AK ji,
Happy Dassehra, Ram Leela.

Lalwani ji,
SDB’s use of Talat Mehmood,Rafi, Hemant Kumar, Kishore for Dev Anand in many movies looks very apt. So also, Kishore and Rafi on the Double Rajesh Khanna in ARADHANA.

MERI SOORAT TERI AANKHEN, 1963.

Manna Dey ( with the fabulous Poocho na kaise maine rain bitaye…in it’s two versions) and Rafi ( Naache man mora magan dhighda dhigi dhigi; Tere bin soone nayan hamare _ two versions) both go very well on Ashok Kumar. So does Mukhesh on Pradeep Kumar ( Ye kisne geet cheda, with Suman Kalyanpur).

ABHIMAAN, 1973.

Both Rafi and Kishore Kumar go very well on Amitabh Bachchan.
But, Manhar Udhas!
There must be a special reason for Dada to have opted for him for the duet with Lata…Loote koi man ka dagar..

Please clarify.

2 KB October 8, 2019 at 11:59 am

I feel both Talat and Hemant kumar brought out their best for him. But they have hardly sung about 12 songs each and Mukesh even less but whatever these three have sung for him were evergreen hits !

3 S Joseph October 8, 2019 at 12:46 pm

Having 150 YouTube interviews on SDB itself speaks how much Lalwani ji understands this great and simple MD . Listening to his YouTube interviews almost gives a real life feel of the music room sitting of SDB.

We are lucky to have a true scholar with us to enlighten us on SDB for this series . The write up is the beginning and we look forward to learn a great deal from him.

Movie ..’ Baat ek raat ki ‘ , 1962

Song .. ‘Na hum tumhe…’

Singer … Hemant Kumar

MD …. SDB

https://youtu.be/ngqHy7PV2YM

4 Dr Pradeep Kumar Shetty October 8, 2019 at 1:06 pm

TAXI DRIVER, 1954 , fetched SDB his first Filmfare best music director award , for the soulful Talat Mehmood beauty
jaaye toh jaaye kahan…

Dada used Kishore Kumar for the comic
Chahe koi khush ho
Chahe gaaliyan hazaar de…
&
Jagmohan Bakshi ( who?) for
Dekho maane nahin roothi Haseena…

5 N Venkataraman October 8, 2019 at 5:57 pm

Moti Lalwaniji,
Namaskar,
As an admirer of S D Burman both as a composer and singer, I hold him in highest esteem. And as an authority on S D Burman my respect for you and your work is no less. You are not a new name for me and surely for many more. Your reputation precedes your first appearance in SoY as a guest writer. You have posted a few comments earlier here. I have read a good number of your writings, just to quote a few “the afterward” you wrote in “Sun Mere Bandhu RE’ and the numerous reference therein to your research on S D Burman.

Welcome to SoY. We are honoured to have you as our guest writer.

A nice topic to begin with. S D had the conviction to insist on having a singer who would do justice to the tune. And you have brought in your brief and crisp write-up this trait of S D Burman by citing circumstance that led to the selection of Hemant Kumar for the particular song you have chosen for this article.

Thanks a lot and would be looking forward to your other write-ups too.

6 Mahesh October 8, 2019 at 8:19 pm

https://youtu.be/PAOoA_EbASY

The duet version is no less magical. And, Lata is clearly dominant.

@KB ji,
Mukesh sang exactly 12 songs for SDB.

Moti Lalwani ji,

Thanks for this interesting writeup n looking for more.

7 N Venkataraman October 8, 2019 at 8:41 pm

Moti Lalwaniji,
Thanks a lot posting the Bengali version of the song, “Yeh Raat Yeh Chandni phir kahan”, penned by Pranab Roy.

Akji,
Thanks for introducing Moti Lalwaniji SoY members.

Moti Lalwaniji & Akji,
“Yeh Raat Yeh Chandni phir kahan”was the first Hindi solo song rendered by Hemant Kumar for S D Burman. But in the previous year release, Sazaa S D Burman gave him a nice duet with Sandhya Mukherjee, “Aa gup Chup gup Chup pyar kare”.

But there association had started much earlier from their Calcutta days. Hemanta was a fan of S D Burman. Both S D Burman and Hemanta Mukherjee had mentioned this in their respective biographies. He was part of the group of boys who gathered outside his South-end Park residence to listen to his singing in the mornings.

Besides, Hemanta had rendered 5 Bengali film songs for S D Burman in Calcutta. Rajkumarer Nirbasan (1940) had two songs & Matir Ghar (1944) had three songs. Thus Hemanta Kumar’s association was from 1940 onwards.

Presenting two solos

First from the film Rajkumarer Nirbasan (1940), lyrics Ajay Bhattacharya
Jaago Pratham Pranay Laj Laye
https://www.youtube.com/watch?v=zzoHlaoR3Rc

Mati Ghar (1944), lyrics Shailen Roy
Ki Naame Dakibo Tare Jar Anurage Jage
https://www.youtube.com/watch?v=0X6ltrBYaAM

I think the other three songs were duets.

8 N Venkataraman October 8, 2019 at 9:19 pm

KB @ 2
You are right, Hemant Kumar sung about 12 songs for S D Burman in Hindi films. But the solos in Manzil and Solva Saal had two versions. If you count them as separate songs then the total number comes to 14 (9 solos and 5 duets in 8 films). Add if you add the 5 songs in Bengali films (2 solos and 3 duets in 2 films), then we have 19 songs (11 solos and 8 duets in 10 films).

9 Moti Lalwani October 9, 2019 at 6:41 am

Dear Dr Pradeep Kumar Shetty,
Thanks for kind words.
The trend of playback singing in our Hindi films used to be a particular singer for each hero. It was Mukesh for Raj Kapoor, Rafi for Dilip Kumar and later Shammmi Kapoor, Kishore Kumar for Dev Anand and later Rajesh Khanna, and so forth.

It was Sachinda who broke this trend of one playback singer image of a particular hero/heroine. For one hero/heroine in the same film, he chose up to three singers, and did it successfully many times:

‘Shabnam’ (1949): Geeta Roy (Dutt), Lalita Deolkar and Shamshad Begum for Kamini Kaushal
‘Manzil’ (1960): Manna Dey, Hemant Kumar and Rafi for Dev Anand.
‘Jewel Thief’ (1967): Kishore, Rafi, and Bhupindra Singh for Dev Anand.
‘Abhimaan’ (1973): Kishore, Rafi and Manhar Udhas for Amitabh Bachchan.

Fans at large accepted and some probably did not even notice as the songs blended so well with the mood and the scene. SDB created a song for a particular voice which was selected to convey a particular emotion. Let’s not forget, he was trend setter in many ways.
* * * * *
As far as Abhimaan is concerned, I am willing to guess. We know that Dada was a wizard with magical powers. I am not joking, but he always had a plan why he did something, and succeeded in implementing all his plans with honors. Here is my guess:

‘Meet na mila re man ka’ – Kishore Kumar sings for Amitabh:
SDB chose Kishore to depict hero Subir Kumar as a carefree young man with no care in the world whatsoever. Listen to the tune, pay attention to the words, and you will know that a flamboyant Subir, full of confidence and style with no care in the world sings his type of a song.

‘Teri bindiya re’ – Rafi Sings for Amitabh:
Here Subir Kumar is a married man, with wife in tow. Most of you who are married will remember how overnight we all changed and sobered down to become more responsible, at least for some initial period 🙂 . His wife Uma is a classically trained singer, and has low opinion about ‘Meet na mile re man ka’ type of songs. Here Rafi and Lata are an apt choice for the situation, as the heroine is classically trained singer.

‘Lootey koi man ka nagar’ – Manhar sings for Amitabh:
This is their first recording together after marriage. Manhar Udhas is the right choice here just to show that Uma is more talented when Subir and Uma sing together.

These 3 songs are the most important of the turns in the life of Subir the hero. There’s one more song of KK, which I have yet to try and analyse.

10 Moti Lalwani October 9, 2019 at 10:52 am

S Joseph@3
Thank you for your kind words. I have been an avid follower of Dada’s music since 1954, collecting published articles on him. I am no scholar, only a hard core SD Burman fan. I used to enjoy his music, and had not thought of research. The reason I started my research was unkind comments of RDB fan/s, which galvanised me. I was open to Dada’s flaws as well as positive points. What I discovered is solid gold. I am in my 10th year of research and often thank that RD Burman fan for putting me on the track.
There are many scholars on SD Burman, including here in SOY. I have to learn from them. With all humility where we score – my colleague Ms Richa Lakhanpal and I – is having met and recorded a number of musicians, solo players, arrangers, music directors, stars (including Big B whom we couldn’t record instead he wrote on SDB and his music), authors who wrote on SDB, and last but not the least a visit to Calcutta and Agartala by me. The idea to upload video interviews on YouTube was given to us by music director Shantanu Moitra. In every way Dada comes out as a winner. There’s a lot to be shared with fans, while time is a constraint.
Regards.

11 Moti Lalwani October 9, 2019 at 2:41 pm

N Venkataraman@5
Namaskar ji, I am humbled by the kind words with which you have welcomed me and my article. I have read a number of your comments in the past and respect your knowledge of HFM music, and SD Burman.

Burman Dada did not like interference in his work from any quarter whatsoever, to the extent of threatening to stop the work, and actually even even stopping the work in one case. That one case was of O.P. Ralhan whose Magnum Opus Talash (1969) got stuck for six months as Dada told him to find another music director. Anyway, that’s for another time to narrate.

The original name of these articles is:
“S.D. Burman – ‘The Courage of His Convictions'”
(And the Confidence to Carry Them Out)

There would be about 6 to 7 articles in the series when I get time to complete the remaining from the raw material that I have.

I just remembered, that, Anandji told us Dada would give no choice to the director, declaring this is the song good for the situation, saying that, “Tere ko akal nahin hai”. It’s on the YouTube in one of the parts of our interview with Anandji. Incidentally, he has gone on record in an interview on YouTube (not ours), that both the brothers accepted Burman Dada as their Guru.

Regards.

12 Moti Lalwani October 9, 2019 at 4:27 pm

Mahesh@6,

Thanks dear for comments. I will try not to disappoint you.

13 Moti Lalwani October 9, 2019 at 5:40 pm

N Venkataraman@7

‘Aa gupchhup gupchhup pyar karein’ happens to be one of my most favourite songs, where music, lyrics and singers all jell together very well to make one of the best songs that any two young lovers could sing. Sazaa (1951) is one of Dada’s number of films where all the songs became popular.

Hemant Kumar’s Bangla songs under SD unfortunately all are not available, to my knowledge. I will be obliged if I can get the YouTube links. I am aware of Hemant as a young boy would go to hang outside Dada’s home to hear him sing.

I am sharing excerpts from separate interviews with their source, what Hemant Kumar had spoken about S.D. Burman:

Pulak Bandyopadhyaya (lyricist and music composer of Bengali cinema) in ‘Bhati Gang Baiya’:
“Everybody in Mumbai respected him as Dada. Hemanta Da would love to crack a joke, ‘I am going to learn song from Sachin Da. Manna babu, Talat, Mukesh, Rafi, everyone would learn it without the slightest knowledge that who would finally record it. Dada will finalize it on hearing the performance’. At that time artists had no objection regarding the issue, neither had they had any complaints against Dada.”
* * * * *
Hemant Kumar on Burman Dada:
Sachin Babu (Sachin Dev Burman) was associated with Navketan and he was a very successful music director in Bombay. I knew Sachin Babu before he came to Bombay and made a big name for himself.

(My last song) was Baat Ek Raat Ki… “Na Tum Hamein Jaano…”. After that he did not call (smiles). In Bombay film industry, when a singer got a call from Sachin Babu, it was big news. But I didn’t get a call.

(Hemant Kumar in an interview with MRITYUNJOY KUMAR JHA)
https://www.thequint.com/entertainment/flashback/singer-composer-hemant-kumar-interview
* * * * *

I have more on SD Burman by Hemant Kumar, but I think these two are enough to show what he thought about S.D. Burman.

Talking about ‘Yeh raat yeh chandni phir kahan’ being the first hit song of Hemant ji, Dada had many firsts with other singers too, which some day I’ll share.

Regards.

14 Mahesh October 9, 2019 at 5:56 pm

Moti Lalwani ji,

Whilst we are into this month of celebrating SD Burman’s work, it would be interesting if anyone could come up with any more details about the songs in Chittor Vijay 1947 which seem to be lost forever.

HFGK attributes 8 songs to this film but is devoid of playback singers names.

Since Raj Kapoor was in the cast, there could be possibilities of Mukesh being involved.

15 Giri October 9, 2019 at 6:12 pm

AK,
Thanks for bringing Lalwaniji to SOY. I am sure this series is going to be a hit.
Lalwani ji,
Thanks for sharing insights of working of SDB. I can only say,
“Yeh dil maange more”

16 KB October 9, 2019 at 7:02 pm

I would like to share an interesting aspect here. SDB used Mukesh’s voice for Dev Anand in VIDYA and for Dilip Kumar in SHABNAM and also used Kishore kumar for Raj Kapoor in PYAR. Incidentally he used Talat for both Dilip Kumar and Dev Anand and Raj Kapoor’s own voice for himself !

17 Moti Lalwani October 9, 2019 at 7:21 pm

Mahesh@14
Chittor Vijay had 8 songs, that is true. The opening mukhra line of 8 songs is mentioned in latest biography ‘Incomparable Sachin Dev Burman’ by HQ Chowdhury. I have the book.

In our SDB group of 7,600 members, we hav some members who know about all available songs. I have asked one of them about the songs. If anything concrete comes, I’ll share with you.
Regards.

18 Moti Lalwani October 9, 2019 at 7:27 pm

Giri@8

Janaab, after all the research, my heart still says, “Yeh dil maange more”.
I have always maintained, that one life is not enough to unearth all about Sachin Dev Burman. I call him a Rishi/Munni after doing research on him. If you know as much as I know, you would say the same about him.

19 Moti Lalwani October 9, 2019 at 7:29 pm

Giri@15,
Sorry for mentioning the reference No as 8. Thanks.

20 AK October 9, 2019 at 9:21 pm

Giriji @15,
You are welcome. I am sure you will like the remaining articles from Mr Lalwani.

21 R Vasudevan October 10, 2019 at 1:16 pm

Hemanth Kumar-SD Burman a rare combination as they both are different in comparison to their respective counterparts – Music Director, Singers.

SD Burman used a minimum of instruments and occasionaly heavy orchestra unlike music directors like SJ, LP, KA, Naushad,Madan Mohan OP Nayar to name some.

Voice of Hemanth Kumar is quite unique. Sometimes it sounds as if very old man is singing ( ya dil ke suno duniyawalo — film Anupama) and some of his songs has innocense (bekarar karthe hame milne jayeeye – film Baat ek raat ki) a young Romeo singing – ye raar ye chandini – Film Jaal)

Thus their combination is rare.

22 Shalan Lal October 10, 2019 at 2:37 pm

Moti Lalwani post is very valuable and it increases our treasure of the information how the songs have been made under different Music Directors here in particular a very creative and experimental music director Sachin Dev Burman.

His richness is now more revealed by the art of Moti Lalwani.

I hope he would in future contribute more gems like the present post.

I am enjoying it as it is developing in many aspects.

Thanks again Motiji.

Shalan Lal

23 Dr Pradeep Kumar Shetty October 10, 2019 at 2:55 pm

R Vasudevan ji,
I am sure you meant Bekarar karke hame yoon na jaayiye from BEES SAAL BAAD.
Yes, the other Hemant Kumar solo Jara nazron se keh do ji, Nishani chook na jaaye is also youthful.
He sounds mature in the philosophical songs like the title songs of DOOR GAGAN KI CHAON MEIN and DOOR KA RAAHI.
And, absolutely mesmerizing in Ye nayan dare dare, Jjag dard e ishq jaag, Tum pukaar lo… etc.
I love almost all the songs of SDB as a singer…

Sun mere Bandhu re…
Ore maaji..
Wahan kaun hai tera…
Allah megh de, paani de…
Prem ke Pujari…
Saphal hogi teri Aradhana..
Meri duniya hai Maa..
Zindagi se Zindagi…
Piya tune kya kiya re…
Doli mein bitaike kahaar..

I have mentioned the ones from 50s and afterwards.
I said almost all because I can’t bear to listen to the SDB, Lata, RDB song from YE GULISTAAN HAMAARA ..Raina soyee soyee….No offence meant for anyone, no disrespect towards SDB. He was great!
Just a matter of personal likings.

24 mumbaikar8 October 10, 2019 at 5:07 pm

Moti Lalwani,
SDB being my most favorite music director I am familiar with your work on YouTube.
It is great to see you at SOY as a guest writer, it has added one more feather in AK’s cap.
Thanks for sharing all the information about Yeh raat yeh Chandni phir.
Waiting for more to come.
As you have done so much research on Dada I would like to know more about his alliance with Rafi.
For most of the great golden era’s MDs, in early to mid 50s, (except Naushad, Rafi was his sole singer) Rafi was not the choice for heroes playback for solos.
His advent to dada’s camp happened with Pyaasa and there was no looking back for next ten years.
I personally feel that it was Guru Dutt who had worked with Rafi right from his first production venture.Baaz and then in Aap Paar and Mr & Mrs 55 got him in.
@ 18
“If you know as much as I know, you would say the same about him.”
I understand you have researched a lot to know but if you can share some of it with us we will be obliged.

Dr. Shetty @ 1
About Lute koi man ka nagar Canasya had said Mukesh was the original but was not available hence it was recorded with Manhar.
It could be true, because in s Abhiman there is a shlok when Jaya Bhaduri is introduced Anuradha Paudwal that would have sung by Lata too, Arunadha Pudwal was used as a dummy singer, but Dada was liked it and retained the shlok in Anuradha’s voice. Motiji can correct if I am wrong.
https://youtu.be/W3oqXKGdw7g

Venkataramanji,
Do you have information about Bechu Dutta the singer of the Bengali song.
He sounds somewhat likes SDB.

25 Moti Lalwani October 10, 2019 at 5:40 pm

Shalan Lal @ 22,

Thank you for kind words. I will try to match your expectations.

26 Moti Lalwani October 10, 2019 at 8:02 pm

mumbaikar8 @ 24
Thanks for your comments which make me visit journey of KK to Rafi and back to KK.
SD Burman cared primarily for the voice of a singer, and not the singer as much. His songs were like his dear babies. He would call up his singers at odd hours just to know how their voice sounded the night before recording. Singers too were eager to sing for him, because they knew that if they sang for Dada, there song was bound to become super-hit. There was a time when SD Burman would call Rafi, Manna Dey, Hemant Kumar, Talat, Mukesh for rehearsal. All of them would come for rehearsal without knowing who would finally be picked up.

Dada loved to compose romantic songs for the voice of Kishore whom he had mentored. The biggest achievement of Dada was to take him away from copying K.L Saigal.

Kishore’s voice sounded different and fresh for the listeners and his songs were well received. Dada being an intelligent composer carved out a niche for Dev Anand who became one of the top 3 heroes.

My guess is that after success in the mid 1950s, KK was perhaps not giving dates to Dada, who started looking for anther singer to fill in the gap. Pyaasa came along where Guru wanted Rafi, but Dada said ‘No’. Geeta Dutt who was close to Dada brought Rafi to him. Rafi with folded hands told Dada he was willing to learn, and the final decision would be Dada’s. They sat down on the floor of ‘The Jet’ bungalow for a month, where Dada brought down Rafi’s voice to a low pitch acceptable for Vijay the poet. A new Rafi was born, at the right time when Dada was looking for another male singer.

During Chalti Ka Naam Gaadi, Dada composed original tunes, which when heard by KK who rejected them. He was also harsh in language with Dada. These were the tunes which were ultimately used and became super-hit. There is an apology from KK with me where he confesses about it.

My guess is that Dada refused to work further on CKNG. Ashok Kumar who was close to Dada must have taken up the matters to mollify him. They were both close to each other from Filmistan (1944) days. If you watch titles of CKNG, in the singer’s names KK’s name is missing, one reads three names of Asha Bhonsle, Manna Dey and Sudha Malhotra. After that KK was dropped by Dada except for very few songs and films where KK was the hero, until one day when Dev Anand brought Kishore to Dada during Guide days, and all was forgiven and forgotten. That’s for another day to be told.

27 N Venkataraman October 10, 2019 at 9:54 pm

Moti Lalwaniji @ 11 & 1

All the songs of Sazaa (1951) were great, especially the song “Tum na jaane kis jahan pe Kho Gaye”. In this film too we find S D Burman using both Hemant Kumar & Talat Mehmood for Devanand. He used Lata Mangeshkar for both Shyama and Nimmi. Infact he used Lata for Nimmi’s sad songs and Sandhya Mukherjee for Nimmi’s happy songs. And we also find the use of Bangla Dhol in a couple songs.

‘Aa gupchhup gupchhup pyar karein’ is a popular song and favourite of many. The song sounds as beautiful and fresh as the day it was first heard .The young lovers are in a happy mood. But before they get to sing it, Asha (Nimmi) describes what love means to her and this itself lasts for about 3 to 4 minutes with background music ( I think S D Burman had lent his voice here). This portion is not in the link that I have provided below. There are a lot of beautiful shots of trees swaying, birds flying, water rippling, clouds scurrying across the sky etc, while Asha goes over the top with her descriptions. It is like a dream sequence and this sequence goes on for 5 minutes, just a medley with background scores. It is an emotional confession of their love for each other. This is followed by the song “Aa gupchup gupchup pyar karein”. But one thing I could not understand is why S D Burman added the lines “Tang Bali to Tang Bali, Nake Mukhe Chun Kali”. Is it to make a break from the long dialogue and background sequence and to make the right entry. May be you can throw some light on this. Here is the song with its full background music.

https://www.youtube.com/watch?v=3miYyMRKxO4

28 N Venkataraman October 10, 2019 at 10:04 pm

Moti Lalwaniji,
Continuing form where I left @27
I felt S D Burman had a say in the picturisation of the entire 12 minutes, the dialogue+ the background score and then the song. Is it true that S D Burman sometimes differed with directors regarding the picturistion of a song and had his final say?

I am sure the other articles from your pen would be equally interesting. There are several incidence showing SDB’s courage of conviction and the confidence to carry them out. He stuck to his guns not only in selection of singers, but also held his ground even in the selection of genre of songs too. Probably your future articles will cover those aspects
and also his tiff with Sahir Ludhyanvi, which led to their parting ways.
Thanks once again.

29 N Venkataraman October 11, 2019 at 12:32 am

Moti Lalwaniji @ 13
‘Hemant Kumar’s Bangla songs under SDB unfortunately all are not available, to my knowledge. I will be obliged if I can get the YouTube links. I am aware of Hemant as a young boy would go to hang outside Dada’s home to hear him sing.’

Hemant Kumar rendered only 5 songs (2 solos and 3 duets in 2 films) for S D Burman. Links to 4 songs ( 2 solos and 2 duets are available.
I have presented the links to the solos @7 and here are the links to the two duets

Bhalobasar basa with Suprabha Sarkar ,Mati Ghar (1944), lyrics Shailen Roy
https://www.youtube.com/watch?v=dfrcWHlQoBI

Jato cheye dekhi bare bareJato cheye dekhi bare bare with a unidentified female voice from the same film
https://www.youtube.com/watch?v=K1ArQ-OrtrE

30 N Venkataraman October 11, 2019 at 12:34 am

Mumbaikarji @ 24,

Although quite a number of songs, sung by Bechu Dutta are available for hearing, very little is known about him. Yes, he sounds like S D Burman at times.

Bechu Dutta was born in the year 1918 and died in 1991. He was a very popular singer, had a good singing voice. He could have achieved a lot, but due to lack of discipline he faded away. I am not aware of any of his songs rendered before 1940. In 1940 he sang a duet with Saila Debi in the Bengali film Swami Stree, lyrics Sailen Roy, music Himangshu Dutta.

Presenting a song rendered by Bechu Dutta based on a Hindi song from Malhar (1951-Roshan-Indeevar)
Here he sounds different
https://www.youtube.com/watch?v=BUIKLmPV6do

He also rendered a nice duet with Rama Devi for the Hindi film Iran Ki Raat (1949), music Kamal Dasgupta
https://www.youtube.com/watch?v=S3GtnW9vLS8

31 SSW October 11, 2019 at 1:09 am

I have a question about @26 where Mr. Lalwani says that it was in Pyaasa that Rafi’s voice was brought down in pitch to be acceptable for Vijay the poet. What does this mean exactly?
Rafi started his career by being pretty low in pitch and was at one point the only male singer in the Hindi Film industry who provided an example of full throated singing which was why some MD’s opted to make him sing higher and they stuck him up there. But he has sung in low pitches for Husnlal Bhagatram (see “tuunay mera yaar”) and Naushad (see “yeh zindagi ke mele”) so I don’t see what was new from that point in Pyaasa. IMO none of the songs in Pyaasa span a deeper point than what Rafi had done earlier.
Perhaps Mr.Lalwani means voice projection rather than pitch?

32 Moti Lalwani October 11, 2019 at 6:42 am

N Venkataraman ji @ 27
First of all, let me compliment you on your observation on Sazaa songs. I will have to revisit the scene. Thanks.

‘Nakhe mukhe chukale’ as one of the Bengali fans told me is an equivalent of, ‘Buri nazar waale tera moonh kaala’. As per Sandhya Mukherjee it was added by Dada. Rest of the sounds don’t mean anything except to fill in the gap.

33 Moti Lalwani October 11, 2019 at 7:08 am

N Venkataraman ji,
You are right when you ask if Dada had differences on picturisation of his songs. Not only Dada sometimes differed and had his way, but at times he even threatened to stop composing if the director didn’t agree.

Vijay Anand was one director who listened to SDB w/o any problem. The song ‘Rimjhim ke aayi barsat’ from Kala Bazaar was picturised in the background on the suggestion of SD, It turned out a super idea and the song picturisation turned out to be no less than ‘Pyar hua, iqrar hua’ from Shri 420.

Even though Bimal Roy respected Dada, he was not agreeable with Dada’s suggestion for two songs: ‘Jalte hain jiske liye’ from Sujata when Dada wanted it to be sung on telephone, and ‘Mora gora ang lai le’ when Dada wanted Nutan to go outside the house to sing. Both times Bimal Roy, being the puritan that he was didn’t agree and Dada threatened to compose further if his song was not handed his way. In both cases Bimal Roy had no option but to relent. For the former I have Majrooh’s audio and for the latter I have Gulzar’s.

Regards.

34 Moti Lalwani October 11, 2019 at 7:15 am

N Venkataraman ji @ 28
Dada left Dev Anand when he didn’t like Dev Anand’s handling of his songs in Prem Pujari. He didn’t compose for Dev after that. One has to watch our interviews with Waheeda and U.K. Dubey, as well as the facts that SDB didn’t take further assignments of Dev.

35 R Vasudevan October 11, 2019 at 8:26 am

From the above postings it seems SD Burman was a bit eccentric and also adamant? Throw lights please. Hope I am not wrong.

36 Ashish October 11, 2019 at 3:03 pm

Respected Moti Lalwani ji
@26

Dada was certainly a great musician but he was one of the other great composers of his time. He was not came from another world. After reading your thoughts, especially in the comment section, it appears that you are not a fan of him but a devotee. There is nothing wrong in liking someone like this but it is also not a good thing to degrade someone.
Regards

37 AK October 11, 2019 at 4:15 pm

Ashish,
Welcome to SoY, but I didn’t feel Mr Lalwani was degrading anyone.

38 Rahul Bhagwanrao Muli October 11, 2019 at 6:49 pm

On one of the YouTube uploads where there was a comment made by somebody attributing a song composed by SDB to someone else to which I had responded & that triggered an interaction with Motiji .
He asked me to join SDB fans group & also see videos uploaded by him. I did both & found great insights to both music & persona of Sachinda. I would forever remain greatful to him for opening up these new vistas in respect of a person whose music I adored since my childhood.
In a comment above Motiji has been called a devotee rather than a fan. After watching his videos of persons related to Sachinda & his music and realising the efforts that would have required to accomplish the same one would agree with the statement . But nobody can say he has degraded the other composers in the above article. So far I have not read any comment from Motiji belittling other composers for projecting Sachinda’s greatness.
Regarding the choice of singers we know that Sachinda always wanted tune first words later but in case of some of his compositions did he think of the singer first & selected the tune in sync with that singer’s style?
For example Khawb ho tum & kahi bekhayal hokar
( The way Kishor rendered phir pukaro mujhe & Rafi crooned are mujhpe naazwaloo are matchless for individual styles hence the above observation)

39 Moti Lalwani October 12, 2019 at 6:14 am

R. Vasudevan @ 35
“Eccentricity is often associated with genius, intellectual giftedness, or creativity. People may perceive the individual’s eccentric behavior as the outward expression of their unique intelligence or creative impulse.”
(Often said. I remember having read it somewhere.)

40 Moti Lalwani October 12, 2019 at 6:32 am

Ashish @ 36

I am sorry you got that feeling. We have a policy in our SDB group of 7,600+ members not to hurt anyone’s feelings by act or words. The group has several RDB fans some of them senior, who have a vast change in their thinking about SDB. At the same time, facts should not be hidden, altered or suppressed. For instance some of the music directors manipulated awards. SD Burman refused to buy Guide award. If that hurts fans, so be it. You can see, even here I have refrained from naming them, which is not right as per me.

As far as devotee or a fan is concerned, with an open mind if someone can sit with me for a day, I’ll make him hard-core fan if not devotee.
Thanks for comments.

41 Moti Lalwani October 12, 2019 at 6:53 am

Rahul Bhagwanrao Muli @ 38,

Thanks for your kind words. I am happy to be able to connect with you here.

‘Khwaab ho tum’ tune was composed by Dada first. Please read the following from passage from Vijay Anand’s interview by Peeyush Sharma, who has done service to fans of HFM through his innumerable interviews.

Vijay Anand: It happened just like that. Firstly, Kishore was preoccupied with Madhubala’s health. He was not being able to devote time to rehearsals and recordings. And then with Rafi Sahab, our association was working perfectly. But Dev Bhai was missing Kishore for a long time and so he went to meet him. And then caught hold of him and sort of dragged him to Burman Dada’s home.

Burman Dada had a magnanimous and generous personality. The moment he saw Kishore he said in Bengali, ‘why didn’t you come all these days’ and hugged him. They loved each other a lot. Burman Dada then said let us start the rehearsal, we are going to record a song. And he started composing the song, ‘Khwaab ho tum ya koi haqeeqat kaun ho tum batalao’ sitting right there, with Dev Bhai in front of him and Pancham joining them.

This song was the first song Kishore recorded for Dev Bhai after a long hiatus under Burman Dada’s music direction. Kishore sang it so wonderfully, he won everyone’s heart. This is exactly what all of us, including Dev Bhai were missing. Burman Dada kissed his (Kishore’s) head. He was delighted.
…………………………..
However, as far as ‘Kahin bekhayal hokar’ is concerned, it should be a joint effort. Please watch my video, ‘S.D. Burman and his Lyric Writers’ on YouTube, specially a part where Ranjit Gazmer speaks how a song was created. The entire video is worth watching.

Thanks again.

42 R Vasudevan October 12, 2019 at 12:09 pm

Apropos my comment at 35, let me clarify:

I am a big fan of SDB ofcourse next to my all time fav, Shankar Jaikishan.
I have read some articles where it was mentioned that Burman dada was
moody and sometimes sticking to his decisions etc. Hence my posting was sent.

I am yet to find a match or an equivalent song to the following
solo by Rafi from the film Bombai ka babu.
“saathi no koi manzil ha mera, chala gaya akela

just a few instruments what a deep feeling it gives on hearing.
Rafi Sahib gives life to the words immeasurably though his rendering..

43 Moti Lalwani October 12, 2019 at 5:53 pm

SSW @ 31

Sorry, not pitch, I meant loudness.

As I understand, Bengali music directors till Pyaasa were averse to take Rafi, except occasionally. That full-throated voice came against him. After Pyaasa they took him more often.

Dada took pains to bring the singer to perfection, like no one would do. A case in point is described below in Majrooh’s words:

Majrooh,
“Talaash ek film thi hum dono (Dada aur Majrooh) ne ki. Ek duet tha usmein Rafi sahib aur Lata ji ka, ‘Palkon ke peechhe se kya tumne keh dala’. Usmein Rafi sahib ki thodi si humming hai, Ummmm, is tarah apni line shuru karne se pehle. Kitni baar wo humming hogi aur har bar Rafi sahib kis tarah usse gaayenge, is par koi char din nikal gaye perfect karte-karte. Bahut hi zeyada dhyaan dete the perfection par. Koi doosra unka gaana kya hi unki tarah record karvaayega!

Please read the entire interview here:
https://learningandcreativity.com/silhouette/majrooh-sultanpuri-interview/2/

44 Dr Pradeep Kumar Shetty October 12, 2019 at 6:24 pm

Mumbaikar ji,
I had read , long back, another version of the Loot koi man ka dagar . That, SDB recorded it in Manhar’s voice because Mukhesh was away and he would sing it on his return.
When Mukhesh heard it, he was highly impressed and requested Dada to retain the same.
So far, so good.
But, recently, I read the same story again. But, this time around, the song was
Aap se humko bichde hue… from VISHWAS!!!
Hence, I wanted Moti ji to clarify.

I always feel If Only… about some songs…
If Mukhesh were to sing Loote koi, it would have been a great fete. Amitabh Bachchan lipsyncing to Rafi, Mukhesh and Kishore in a single movie!

If Asha Bhonsle were to be a part of
Humko tumse ho gaya hai pyar…AAA.

If Rafi were to sing…Chalo ek baar phir se ajnabi ban jaaye hum dono..

45 KB October 12, 2019 at 7:12 pm

ZIDDI (1965) also had wonderful songs with Joy Mukherji and Asha Parekh and went on to become one of the biggest hits of its time , although it was only a light comedy. So, subject really does not matter and this was also true with films like Sharmilee (1973) which was outside the Navketan.

46 Kalpesh Bhatt October 12, 2019 at 11:23 pm

Dr. P. K. Shetty,
“But, recently, I read the same story again. But, this time around, the song was Aap se humko bichde hue… from VISHWAS!!!”
Yes, I also had listened same matter from the horse’s mouth on radio, i.e. Kalyanjibhai of KA duo, who were MD in the film. He had told this in a Vividhbharti’s special Jaymala Program broadcasted on a Saturday evening. He also told that after coming to recording studio, when Mukesh informed that for sake of shooting the song has been recorded in a newcomer’s voice. Mukesh asked him that he wants to listen that recording. And after listening, Mukesh left the studio having said that while this newcomer has sung the song so nicely, why you are insisting me to sing the song?

47 Manoj October 13, 2019 at 8:02 am

SDBji many a times selected himself as a singer.
Any light on such selection?

48 Dr Pradeep Kumar Shetty October 13, 2019 at 12:18 pm

Kalpesh Bhatt ji,
So, there is truth in the Aap se humko… episode.
Thank you for the information.

Moti ji,
One more query I always had was about SDB choosing Hemant Kumar for the lone Jaane woh kaise log the jinke pyar ko pyar mila…in a Rafi fest, PYAASA.
Serious/ profound/ philosophical…Jinhe naaz hai Hind par woh kahan hai;
Ye duniya agar mil bhi jaaye toh kya hai;
Romantic duet…Hum aap ke aankhon mein.
Comedy song…Sar jo tera chakraye.
Hemant Kumar’s song is equally iconic and looks tailor made for his voice!
( For some reason, I always remember Ya dil ki suno duniyawalon while listening to Jaane woh kaise…)

Today being Kishore Kumar’s remembrance day, I have a question.
Many articles say MILI, 1975 was Dada’s last project. I would rather it be so because I love the Kishore song Badi sooni sooni hai very much and Aaye tum yaad mujhe is quite good, too. ( I know many who like Lata’s Maine kaha phoolon se…).
ARJUN PANDIT, BAROOD, DEEWANGEE ( only one song by Dada? and the project completed by Ravindra Jain?) and TYAAG also released after Dada’s demise.
TYAAG ,1977, Rajesh Khanna_ Sharmila Tagore; Anand Bakshi invariably makes me think of ARADHANA, 1969 , and, the songs of the former fail to hold a candle to the legend that is ARADHANA.
Kore kagaz pe likhwale…sing Kishore,Asha, and, I long for Kora kaagaz tha ye man mera!!!
Kishore,Lata go Man pukaare ,and, lo and behold, I want to listen to Dil pukaare aare aare aare!!

ARJUN PANDIT, TYAAG , and, to some extent, YE GULISTAN HAMARA are the albums of SDB that I don’t want to associate with him!!
Purely personal opinions; no disrespect towards the gargantuan talent.

49 Moti Lalwani October 13, 2019 at 7:12 pm

Manoj @ 47
To say SDB selected himself is incorrect.

Financiers/producers/directors/lyrics writers, and others who mattered wanted SD Burman to sing, knowing that the film would attract discerning viewers and add value to it. After a gap of 13 long years Dada, who initially declined saying he had given up singing, was coaxed by Bimal Roy to sing in Sujata (1959), and what a song it turned out to be!

Our interview with Hariprasad Chaurasia brought out information that in a live program at Rang Bhavan (Marine Lines, Bombay), Nargis asked Dada to sing which he refused point blank. Nargis, who had worked with Dada in 4 films, prevailed upon him and when he finally sang, this is what Hari Prasad had to say,

“Uske baad unhonein itna achha gaya, itna badhiya gaaya ki audience mast ho gaye, mantra mugdh (deeply engrossed) ho gaye.”

Generally he refused to sing, but one wonders how OP Ralhan made him sing in Talash (1969). When Yogesh requested him repeatedly (Us Paar – 1974), Dada got angry with him.

One more aspect of SDB is that even though he was a composer and senior most singer in the film, his name appears last in the titles. Guide is one such film. Obviously SDB wanted it that way. There is one more film but I forget the name.

50 Moti Lalwani October 13, 2019 at 7:35 pm

Dr Pradeep Kumar Shetty @ 48
It is known that Guru Dutt wanted Rafi to which Dada declined, finally giving in to his protege Geeta Dutt. I have no proof, but my gut feeling is that Dada wanted to prove it to Guru Dutt that other singers too could have done justice. I should be excused, if someone doesn’t agree.
It is tailor made because it was created Dada would create a song keeping in mind who is going to sing.

Mili (1975) was thought to be Dada’s last film, because that’s when he got stroke after rehearsing Kishore ‘Badi sooni sooni hai’. Tyaag, produced by Shrmila, took 4 years to complete. Similarly, I presume other films would have take time to complete. There’s a possibility that Meera would have composed some songs, again I have no proof.

51 Kalpesh Bhatt October 13, 2019 at 9:44 pm

Dr. P. K. Shetty ji,
I am extremely sorry and ashamed for mistakenly not giving due respect to you by not adding the suffix ” ji” after your name in my comment. This came to my notice when you responded me by addressing me “Kalpesh Bhatt ji”. As you are a doctor and very knowledgeable person of HFM, you need not to call me with ” ji”.

52 SSW October 14, 2019 at 3:33 am

@43 Mr.Lalwani, thank you for the clarification.
S D Burman for me, was a composer who time and time again breathed magic into a simple melody.

53 Moti Lalwani October 14, 2019 at 6:28 am

SSW @ 52
Most of us know SD Burman as a composer who gave class music in all genres, be it classical (which he knew well but was of the opinion that HFM is not the place to use it extensively), classical-folk fusion which he created from 1930 to 1936, romantic (he was a romantic at heart), club/cabaret, etc. One would find that he didn’t compose many bhajans, unless the situation demanded.

If one watches our non-interview videos on YouTube, I have tried to compile his other aspects as one who praised his contemporaries, suggested changes to compositions of junior composers, encouraged and nurtured his assistants, getting the best out them even though they kept on changing (due to less work he took and other reasons), used minimal instruments in songs and even background music (single instrument twice in background music and zero background music in another film shocking the director and others but finally accepted by them), survived gloriously without Lata for 5 years, etc. The list is long, some videos are in the editing and time is too little.

Regards.

54 Ashok Kumar Tyagi October 15, 2019 at 8:04 am

Moti Lalwani ji
Thanks for a beautiful post.
As stated @53, SDB composed less number of bhajans but they were all top-quality, I am madly in love with:
a) Aan milo…shyam saanware (Devdas)- Geeta and M. Dey sang superbly. In the antra sad Geeta finished her portion, Manna joined with alaap, o o o o…truly divine singing.
b) Na main dhan chahoon (Kala bazaar): Here again choosing Geeta Dutt and Sudha Malhotra was a wise move. If we listen carefully the tabla beats we observe that bayaan tabla (the bigger one) has got more prominence- very unconventional for bhajans but very beautiful because the beats resonate so well with the voices of Geeta and Sudha.
Thanks and regards

55 R Vasudevan October 15, 2019 at 9:31 am

I have question ro Mr Moti Lalwanj ji. Has the great SDB composed a quwali?

56 Dr Pradeep Kumar Shetty October 15, 2019 at 9:49 am

Kalpesh Bhatt ji,
Absolutely no problem.
I, as a rule, address everyone with a ji and it is fine with me if it is not reciprocated.
Thank you for your reaction.

R Vasudevan ji,
गुस्ताख़ी माफ़।
Moti ji will answer. But, before that, I would like to mention a song from
BENAZIR, 1964 which is almost like a qawwali.

Lata, Asha, Usha Mangeshkar; Shakeel Badayuni.

Mubarak hai woh dil jisko kisise pyar ho jaaye…

There is one more song teasing my brain.
Will get back later.

57 Ashok Kumar Tyagi October 15, 2019 at 10:10 am

Sirs
How do we categories ‘Kisne chilman se maraa bazaars mujhe ‘?(Manna Dey- Baat ek Raat ki)?

58 Dr Pradeep Kumar Shetty October 15, 2019 at 10:17 am

Ashok Kumar Tyagi ji,
I ,too, love both the songs mentioned by you, for Dada’s brilliant composition and, also, for Geeta Dutt.
How beautiful she sounds!
After Rafi, it is only Geeta Dutt, for me, who can be as effective in a bhajan as in a comedy or seductive number.

Dada’s choice of Usha Mangeshkar for the Meera bhajan Mere toh Giridhar Gopal, in doosro na koi… PHAGUN, 1973, is surprising. But, the results are fantastic. Usha’s nasal twang is hardly heard in this beautiful rendition. Otherwise, Lata Mangeshkar on Waheeda Rehman would have been a foregone conclusion.
That’s what we have been discussing about Dada’s power of finding the suitable voice for a particular song, right?

59 Dr Pradeep Kumar Shetty October 15, 2019 at 10:50 am

Can we call the following songs from VIDYA, 1949 ,as devotional?

Lyrics: Anjum Philibiti.

O Krishen Kanhai
Asha ki duniya mein hai
Kyon aag lagi?

Suraiya.

Bhagwan tere sansaar ki hai..

AmeerBai Karnataki.

And, what about
Allah, megh de, paani de, chaaon de…?
Isn’t Guide the only film after Dada’s initial years, to have two songs in his own voice?

It will be interesting to compare Shailendra’s lyrics with those of Gulzar in his rare outing with LP in PALKON KI CHAON MEIN.
Allah megh de paani de…
Kishore, Asha, Chorus.

MUNIMJI, 1954.

Shiv ji byah ne chae paalki sajaa ke..

Hemant Kumar, Chorus; Shailendra.

A fun number, Masthi bhara Gaana?

It is one of the very few early Dev Anand movies I don’t feel like watching for a second time! Dev Anand, in his Munimji Avatar, is a strict No No for me!!

60 Dr Pradeep Kumar Shetty October 15, 2019 at 12:07 pm

JYOTHI, 1969.

Anand Bakshi.

Mere Shyam Mere Nandlala
Sagre Jagat ka tu hai rakhwala…

Lata, Usha (Mangeshkars).

Pag mein ghunhroo chamke
Main nachoon Meera banke…

Hemlata.

ABHIMAN

The Shiv Shloka by Anuradha Paudwal for Jaya Bhaduri’s introduction scene.

61 Rahul Bhagwanrao Muli October 15, 2019 at 12:23 pm

Pradeepji forgive me for intervention but the song you may be having in your mind is
Pucho to yaro hum Kaun hai from Chupa Rustoom

62 Dr Pradeep Kumar Shetty October 15, 2019 at 1:08 pm

Rahul Muli ji,
Perfect guess, accurate diagnosis, Bull’s Eye!!!
Thank you. Otherwise, it would keep on pestering me till I could remember it.
Forgiving for intervention? Not at all! On this Forum everyone has the freedom to express him/herself.
Don’t remember seeing your name earlier, Rahul ji.
देर आए दुरुस्त आए।

Hum Chupe Rustam hain…

CHUPA RUSTAM, 1973.

Manna Dey, chorus; Neeraj.

Probably the only qawwali composed by Dada? And, the only one by Neeraj?
Of course, I am no expert. I may be proved wrong.

63 Dr Pradeep Kumar Shetty October 15, 2019 at 2:45 pm

Bhajan again….

APNA HAATH JAGANNATH, 1960.

Kaifi Azmi.
Two versions:
Asha Bhonsle/ Asha Bhonsle and chorus.

GhanaShyam GhanaShyam Shyam Shyam re…
….
Draupadi ko diya sahara….

64 Shachindra Prasad October 15, 2019 at 5:39 pm

Moti Lalwani jee,
Saadar Pranaam from a disciple of SOY. It is great to have you on the blog. What a blissful joy it is to slowly imbibe your article and comments. My knowledge and information horizons have widened. Music of Sachin Dev Burman is truly immortal.

Dr Shettyjee,
Would you please listen the song HOTHON ME AISI BAAT MAIN CHHUPA KE CHALI AAYEE for me. The superb male voice, doing hoo ho haa etc, is stated to be Bhupendra’s. But, on careful hearing it seems more like Rafi or some very good singer of hilly folk. Since it is officially Bhupendra, no amount of praise is enough to his wonderful rendering. Salute to great Burmandaa for extracting such quality work from Bhupendra. Trust, you will listen and comment.
Regards.

65 Moti Lalwani October 15, 2019 at 6:26 pm

Ashok Kumar Tyagi @ 54
Anything that SDB composed has to be top quality. I will draw your attention to Dada’s lories. Each and every lori is a masterpiece. One of his earliest lories that I love is from Jeevan Jyoti (1953). Dada has made Lata sing in an extra soft voice. Dada used to rehearse each and every singer to perfection. One has to listen to believe how Dada would have rehearsed her. All of the mother’s love has been poured in to it. Another thing about Dada is that he makes the singer sing in a way that one feels those emotions while hearing those words. Enjoy the song here: https://www.youtube.com/watch?v=vIY_lO8YXIE
*****
Anther lori that I love is, ‘Nanhi kali sone chali, hawa dheere aana’ from Sujata (1959). This is what Javed Akhtar has said abut this lori:

“Ek taraf to itni purkaari aur itni intricacy, aur doosri taraf dekhiye jab master (SD Burman), simple hone ki baat sochta hai to kya karta hai.

Bahut si loriyaan maine aisi suni hain, aur badi popular bhi hui (hain), ki mujhe aisa laga ki ma agar bache ko lori sunaaye, to pehle to kam-se-kam teen saal classical sangeet seekhe, tab yeh lori ga sakti hai, usmein itni meend, itni mudkiyaan, itni harkaten (hain)!

Lekin yeh dekhiye, yeh music director (SD Burman) jo kisi bhi tarah ka gaana bana sakta tha, jab ek lori bana raha hai ‘Sujata’ ki, ‘Nanhi kali sone chali, hawa dheere aana’, itne limited notes pe hai, itni simplicity ke saath hai, chaahe uska mukhda, chaahe uska antara. Yeh ek master (wizard) hi kar sakta hai! Jise apne fun (art) pe poora control aur confidence ho, ki ‘Itna kaafi hai’. Aur, ‘Yeh itna kaafi hai’ ka jo yakeen tha, woh aapko SD Burman mein bahut jagah milta hai.”
(Source: ZEE CINEMA – Classic Legends)
Enjoy this lori here:
https://www.youtube.com/watch?v=x7-ce7Z4OUc
********
I will pick up the last one from Aradhana (1969). This is what Saif Ali Khan has said about this lori:
“I love Amma’s (Sharmila Tagore) song from Aradhana. There’s pain and poetry in the track that is larger than life. Though, I’ve rarely been star struck.” (Source: Article titled ‘Rattle & Rock’ in ‘Mumbai Mirror’ dated July 27, 2009.)

On YouTube, in one upload this lori has 52,313,842 (52.31 million) views till date. Enjoy this lori here:
https://www.youtube.com/watch?v=YMcg7TMj1RM

66 mumbaikar8 October 15, 2019 at 6:33 pm

Dr. Shetty
Two proper qawwaalis and one improper bhajan
Bewaqoof – Mubarak Ho
https://youtu.be/-SbJcvjxdqM
Society, Yr 1955, Song Nighaah ko… ab aa bhi ja by Rafi Sahab & Balbir.flv
https://youtu.be/XL4L9V4iCXA
Improper Bhajan 😉
Apni To Har Aah Ek Toofan Hai Mohd Rafi Film Kala Bazar 1959 SD Burman Shailendra
https://youtu.be/1qjTd4FR1X4

67 Hans October 16, 2019 at 1:12 am

Lalwaniji
First of all a hearty welcome to the long list of guest writers of this blog. Next, I thank you for remembering a great song which is perhaps the favourite of everybody here. I am also a fan of SDB. I have known your views on SDB from what you wrote in a couple of posts earlier. You opposed the theory of RDB composing songs of Aradhana. I had earlier done that on this blog with a lot of statistical support. But, on the other hand I have opposed some other theories which gave undue credit to SDB.

When I saw that the song is the subject matter, I was expecting some details about the song. AK had earlier done a couple of songs exclusively. I hoped for something on the same lines. But, what you have written is sort of anecdotal comments. You have got a few fans among the readers, calling for more anecdotes. But, what you wrote in the comments surprised me. You say you were pushed into research by some RDB fanatic, but in return you have become akin to one. Ashish’s objection was rejected by AK. SSW politely reminded of Rafi’s variety prior to Pyaasa. I was at first inclined to ignore these, because I am notorious here for putting forward views against the general flow, but Ashish comment encouraged me.

Let us first examine the three anecdotes which show SDB’s courage of conviction for this song. Raj Khosla’s statement means nothing, because, if he was such a singer and Guru Dutt was so enamoured of him, then why he did not give him a song later when there was no genius like SDB to refuse him in his later films. Moreover, he says his song was recorded without any objection by SDB. The second is RDB’s statement. You might remember that in the post on KK-SDB songs you rejected the theory of one Abhijit based on Amit Kumar’s statement saying that he was 14 or 15 when Aradhana happened. But, now you are relying on RDB who was not even 13 when Jaal happened. You have next given excerpts from SDB autobiography, where SDB claims that he asked Hemant to improve his Hindi pronunciation.

It normally happens that if you are a blind supporter of somebody, you tend to forget things around you and only see one side of the story. Otherwise how is it possible that a person of your experience and age does not question SDB’s statement about the pronunciation of Hemant. Hemant had recorded two version songs of film Babul under Naushad, who did not even spare Lata and Rafi in this regard. I do not claim that Hemant’s pronunciation was perfect, but Naushad must have recorded it only after he got a certain degree of perfection. Hemant also recorded two version songs of film Aan. These are well known facts. So SDB claim is baseless. AK or Venkataramanji or may be both have mentioned the sanskrit background of Hemant Kumar somewhere in the comments. In my view he was given the music composition task of Anand Math due to this reason. Anand Math and Jaal came just about at the same time in 1952. Hemant sang 5 songs in that film. He had also recorded 4 songs in 1951.

Consider also these facts
1) Geeta Dutt was singing big time in Anand Math and she must have recommended Hemant to Guru Dutt. So I dont think there was any objection to it from his side, especially because he had not used Rafi yet. Dev Anand was very willing to take his voice after ‘aa gup chup gup chup’.
2) SDB did not give any song to Hemant in the following two years of 1953 and 54, when he composed 69 songs for 8 films. Of these 8 films 7 were resounding flops and only Taxi Driver was a hit.
3) He used Hemant again in 1955 in House No 44 and Munimji which were both Dev Anand films.
4) Of all the songs he gave to Hemant, barring the Pyasa song, all the remaining songs are in Dev Anand films. The Pyasa song Guru Dutt allowed to soothe his feelings, because he was forced to use Rafi against his will.

So where is the love of SDB for Hemant. It appears Dev Anand was the one who sought Hemant. The reason which I read is that initially Dev Anand was against using KK, so until he got ready for KK, SDB used Hemant who had some voice similarity. The song ‘teri duniya men jeene se’ was composed and got sung in KK style and perhaps KK sang it before Dev Anand which clinched the issue and KK entered Dev films through Funtoosh and Paying Guest. It is pertinent to note that when KK became acceptable, Hemant was not given a song in Dev films. He was called again only when KK was not being given songs by SDB, because he wanted to show Rafi that he is not the only singer he is using. Even Mukesh and Talat were recalled after a long gap with the same purpose. After KK returned and SDB sidelined Rafi, he never gave any song to Hemant even in Dev Anand films.

I would continue further in my next post.

68 Moti Lalwani October 16, 2019 at 8:25 pm

R Vasudevan @ 55

kisne chilman se mara ..Manna Dey-Majrooh Sultanpuri- S D Burman- Baat Ek Raat Ki 1962
https://www.youtube.com/watch?v=u6p56t5MLkc

69 Moti Lalwani October 16, 2019 at 8:35 pm

R Vasudevan @ 55

Hum Chhupe Rustam Hain
https://www.youtube.com/watch?v=Npwk0H32l7Y

70 Rahul Bhagwanrao Muli October 16, 2019 at 11:29 pm

There is an outstanding article in silhouette magazine by Peeyush Sharma titled
The music director knows which voice will do justice to his compositions – In conversation with Hemantkumar
The article is in fact sort of interview of Hemantda in which he eloquently explains how Sachinda would chose a singer for a particular song
As they say from horse’s mouth
https://learningandcreativity.com/silhouette/hemant-kumar-interview/

71 Ashish October 16, 2019 at 11:32 pm

AK ji @37, Lalwani ji @26
Hans ji 67

AK ji first of all thanks for welcoming me. Though that was my first comment but I am following the blog for years.

Hans ji thanks for endorsing my thoughts.

Actually my submission is related to what Lalwani ji wrote in their reply @26 to Ms Mumbaikar ji. I am sure she also not expect such reply (guessing) by Lalwani ji. In his reply he wrote

“My guess is that after success in the mid 1950s, KK was perhaps not giving dates to Dada, who started looking for anther singer to fill in the gap. Pyaasa came along where Guru wanted Rafi, but Dada said ‘No’. Geeta Dutt who was close to Dada brought Rafi to him. Rafi with folded hands told Dada he was willing to learn, and the final decision would be Dada’s. They sat down on the floor of ‘The Jet’ bungalow for a month, where Dada brought down Rafi’s voice to a low pitch acceptable for Vijay the poet. A new Rafi was born, at the right time when Dada was looking for another male singer.”

I would like to mention few points here

1. How and why Mohd Rafi went to Dada with folded hand. By 1957, Rafi had become the number one male singer so he did not need to fold hands to ask for work.

2. If success of song is the yardstick, then Shankar Jaikishan and OP Nayyar were ahead of Dada. And of course Naushad was ahead of all but he was not available to everyone.

3. Because Mohammad Rafi already had worked with SD Burman many times before and he was not new to him, it seems wrong to Geeta Dutt has to recommend Rafi voice to SDB.

4. I guess there was a rift between SDB and Lata at that time so they were not working together and at such a time, SDB would have felt the need for Mohd Rafi’s voice to be successful.

5. As far as the duet song of the guide film is concerned, the only reason may be that Mohd Rafi and Lata were not working together at that time, so SDB had to either replace Lata or Rafi and he replaced Rafi and record duet with KK.

Regards

72 Moti Lalwani October 17, 2019 at 6:04 am

Shachindra Prasad @ 64

I am humbled by your kind words.
SOY has some of the most learned music buffs in general and S.D. Burman in particular. I am a great admirer of SOY. I am here mainly to learn, and, share my knowledge on Dada.

73 Moti Lalwani October 17, 2019 at 6:57 am

Hans @ 67
Thanks for the warm welcome.

Wow! This is something great. Our Jugalbandi may open up some new vistas from me. I am open to learning something new, for, one who thinks there is nothing to learn anymore, that is the end of his further development of wisdom.

A request here: First and foremost, we have to keep our minds open, and anything we discuss, has to be supported by proof/s.
******
You: “Raj Khosla’s statement means nothing, because, if he was such a singer and Guru Dutt was so enamoured of him, then why he did not give him a song later when there was no genius like SDB to refuse him in his later films.”

Me: This can only e answered by Guru Dutt.
********
You: “You might remember that in the post on KK-SDB songs you rejected the theory of one Abhijit based on Amit Kumar’s statement saying that he was 14 or 15 when Aradhana happened.”

Me: I don’t remember what I wrote. If it’s about SDB composing ‘Roop tera mastana’ in a bhatiyali style’, then it is outright rubbish. I would like to ask those who believe this trash, how come SDB composed such romantic songs on Dev Anand in Munimji, Funtoosh, Nau Do Gyarah, Paying Guest, Kala Bazar, Kala Pani, before ‘Roop tera mastana’.
Are you aware that Manna Dey has gone on record that in his presence SDB pulled up Pancham for having claimed tune of ‘Roop tera mastana’ as partially his contribution? I have the link to the interview.

I have also proof of Pancham accepting, later in life after his father’s death, that he had lied/boasted when he had said that his father had used his tunes.

Amit Kumar is a showman. His job is to get and entertain audience. But he is doing a dis-service to his father by making people believe falsehood.

I do hope you will believe those who were on the scene, most of whom taking part in the creation of Aradhana and its music. I have a whole lot of videos on Aradhana, including that of Shakti Samanta (Not my interview), that I have lost count.
**********
That’s the end of my today’s response. Your comments are too long for me to answer in one go. Normally, I don’t like to get in to argument, because it leads to nowhere. It is better you stick to your beliefs, and I to my proofs. No hard feelings.

74 AK October 17, 2019 at 7:09 am

Ashish @71,
I have to specially welcome you again because it is always delightful to meet a silent reader of the blog who is as involved as active participants.

When I read the quoted portion of Mr Lalwani’s reply, I read it as Rafi’s natural humility for which he was so well-known, which did not make him small. I agree with you that by that time Rafi had already become the top playback singer thanks to Naushad’s Dulari, Deedar, Aan, Baiju Bawra, Shabab, Amar and Urankhatola and also superb songs by other music directors. However, his songs for SD Burman before Pyasa were not significant, and this film marks the beginning of Rafi’s establishment as Dada’s leading playback singer, as he was for almost everyone.

Since none of us has first-hand knowledge it is difficult to speculate what could be the reasons behind the choices made by Dada or any other MD or singer. One day or the other Rafi had to happen to SD Burman in a big way and we are thankful for that. What great songs this combination gave! I am not a spokesman for Mr Lalwani, but I think his ‘intent’ was not to slight any artiste.

75 Dr Pradeep Kumar Shetty October 17, 2019 at 10:53 am

As I have clarified earlier I am no expert in any field of music.
Being a great lover of old Hindi, Kannada, and, to a certain extent all the other South Indian languages plus Marathi, I have listened to the treasure of songs. Have read many available materials. Whatever I write is basically my feelings/ thoughts, often backed up by something I have read earlier.
I completely agree with Hans ji about Rafi approaching Dada Burman with folded hands. Yes, Rafi had become almost every composer’s Number One choice by then and was almost indispensable.
Poor Geeta Dutt! Even during the No Lata Mangeshkar phase of SDB, she was only the ‘ other’ singer for him, most of the songs going to Asha Bhonsle.
Digressing here, I have always felt bad for her, and for Guru Dutt, for their fairy tale romance going sour and, in the process, affecting the creativity and professional career of two hugely gifted individuals.

SAHIB BIWI AUR GHULAM is one movie whose songs always sound close to SDB style to my ears. And, the three artists par excellence, Meena Kumari,Geeta Dutt and Guru Dutt ,all going through personal turmoil, being victims of alcoholism ( I don’t know how much truth is there in the tales about SBAG being the movie, during the shooting of which Meena Kumari became a slave to the liquid poison.) Still, what a classic the film turned out to be! Personally, I place it among some of my all time favourite Hindi movies…. MADHUMATI, MOTHER INDIA, BANDINI, SAARANSH, ARTH, SHOLAY, DEEWAR ….

76 Dr Pradeep Kumar Shetty October 17, 2019 at 11:17 am

Sachindra Prasad ji,
I listened to, and, saw, Honton pe… several times in the past few days.
All through my childhood, when listening to the songs was a simple pleasure, not going into too many details about them, I assumed the male voice was Rafi’s. Into my college days, deeply into the world of film music, and , catching up with the Classics in their re runs, I became aware of the voice being credited to Bhupinder ( one of my favourite singers after the big 6( Rafi, Mukhesh, Kishore, Talat, Manna Dey, Hemant Kumar; a little ahead of Mahinder Kapoor.) But, honestly, even after repeated hearing ( which I have done earlier,too) I can’t vouch for it. But, as you have said in your comments, since it is officially Bhupinder, let us agree with it, unless someone comes up with a solid evidence to prove the contrary.

77 Dr Pradeep Kumar Shetty October 17, 2019 at 5:18 pm

Mumbaikar ji,
Two proper qawwalis , yes!
The improper bhajan’s ” ooparwala jaan kar anjaan hai” always makes me smile!
And, then, I visualise,in front of my mind’s eyes ” Hai apna dil toh awara..”
Train, Dev Anand_ Waheeda Rehman, SDB; Rafi, Shailendra/ Hemant Kumar, Majrooh.

78 Moti Lalwani October 17, 2019 at 6:55 pm

Ashish @ 71,
Dear friend. To complete short missing gaps, when one has other strong material with proofs, some honest guess should be acceptable. By honest I mean one makes it known in the beginning and doesn’t hide it. I have used ‘guess’, while you have used ‘sure’ w/o proof, what Ms Mumbaiker would have thought of, when you wrote, “…. reply @26 to Ms Mumbaikar ji. I am sure she also not expect such reply (guessing) by Lalwani ji.”

Now the proofs:
Kishore Kumar on S.D. Burman, who had threatened to drop him (Courtesy Ameen Sayani):
Kishore, “Ek zamaana aisa aaya jab mujhe ‘income taxam’ bharne ke liye kai ‘stage shows’ karne paDe. Tab Sachin-da ki pareshaani aur baDh gayi. ‘stage’ par uchhalte koodte aawaaz thak rahi thi meri, aur thes lag rahi thi Sachin-da ke dil ko. Ek din chale aaye ghar pe, aur DaanT kar kehne lage, “Kishore, I am telling you very seriously, tu ‘seriously’ sun. Agar tu apni aawaaz ko naheen sambhaalegaa, to aawaaz bhi tere ko naheen sambhaalegaa. Phir koi aur to kya, ham bhi tumko koi gaana naheen gawaayunga. I tell you very seriously, be careful.” (Text Courtesy: Sujoy Chatterjee)
************
Mohd Rafi- Association with Bengali Composers:
“The gap perhaps existed with a lot of musicians hailing from the East. No regionalism intended, but it is a surprising fact that Rafi was not the most used male singer by any Bengali Director of that period. From Anil Biswas to Bappi Lahiri, Rafi was never the prime choice. S D Burman, R D Burman, Bappi Lahiri used Kishore more(although, Rafi enjoyed being the prime singer for the Burmans in the 60s), Salil chowdhury used Manna De the most, while Anil Biswas’ favourite remained Talat. Hemant Kumar recorded 30 odd songs with him, but again, his maximum memorable male songs were crooned by him only. And then, there were MDs like Shyamal Mitra, who in spite of composing in around half a dozen Hindi films, carefully overlooked Rafi. Was there a disconnect?

Rafi had very few low octave exhibitions- of course in his youth, he could touch around 1-2 notes in the lowest octave in “Man tadpat hari darshan” and “Toote hue khwabon ne”. Salil Chowdhury, reportedly had repeated problems with Rafi’s hitting low notes and had a small skirmish during the recording of “Tasveer teri dil mein” when Rafi wanted the scale to be higher to his comfort. All these Bengali music directors were good singers as well, barring perhaps, Salil. The Burmans, especially, were classically trained and possessed supreme vocal skills and had a range more resembling towards the traditional Bengali school. S D Burman, between 1958- 1965, used Rafi the maximum. Looking at his usage of Rafi, vis-à-vis SJ or Naushad, it is not surprising to notice that he used Rafi at a different scale and with “controlled emotions”( barring a few situational requirements like “Yeh duniya agar mil bhi jaye” climax) as compared to Naushad or SJ who wanted him to be higher and higher. It is worth mentioning here that, the notes Rafi touched in tara saptak like in “Zindabad zindabad ae mohabbat zindabad” are unmatched in the industry. He was the King of High notes.

Salil never used Rafi in the 70s all throughout. R D used him, but always like a distant, light-years behind second. SD was worse than his son, in the 70s. Anil Biswas anyhow was out of the gambit long before, even when he was, he carefully opted out of Rafi. Hemanta had only one movie with Rafi in the 70s- Love In Canada- way later in 1979. Shyamal Mitra had none. Basu Manohari had no Hindi releases but a few Bengali modern songs for Puja in 1978. Ironically, Rafi, who seemd to have covered all ranges of music in his 36 years career, never had a Rabindra Sangeet album released. It seems, Shantidev Ghosh- the Tagore erudite- had some Rabindra Sangeet recorded with Rafi, but did not get clearance from stringent Vishwa Bharati those days. A gap in musical school, perhaps…

Read te entire article here: http://arghyatext.blogspot.com/2013/11/mohd-rafi-association-with-bengali.html
**************
Tere Mere Sapne Ab Ek Rang Hain (Excerpts):
With Do Bhai in 1947 SD Burman made use of Rafi for the first time in Duniya mein meri aaj andhera hi andhera. But for the next ten years they came together for only 7 more songs. (Eight songs in 10 years.)

The Bengali music directors in Hindi film industry did not typically choose Rafi for their songs. Rafi’s was a pure and boisterous Punjab voice and succeeded greatly with the Punjab music directors such as Husnlal Bhagatram, O P Nayyar (majorly), Hansraj Behl, S Mohinder, Shyam Sunder, among others. Naushad’s classical compositions and folk from UP and Bihar suited Rafi’s voice perfectly.

The Bengal brigade on the other hand preferred softer voices. Anil Biswas’ non-preference of Rafi has been documented and much discussed. He picked Talat Mahmood and Mukesh mostly as Talat was already successful in Bengal as Tapan Kumar singing Bengali and Hindi songs and Mukesh was trained by Anil Biswas and Ashok Ghosh, brother of renowned flautist Pannalal Ghosh. (Anil Da’s sister Parul Ghosh, a noted singer herself was the wife of Pannalal Ghosh). Salil Chowdhury had told to me in a one-on-one chat that he did not prefer Rafi. Hemant Kumar had a liking for Rafi but used his vocals much later in his films. During my over one hundred hours spent with Anil Biswas, I tried to figure out the reality and reason behind all this.

Anil Da had explained to me that his own soft compositions were not suited to Rafi’s “Punjabi style of singing”. This was true with other Bengali composers as well. For Do Raha (1952), Anil Da had recorded two songs with Rafi. But after the recording was done, he scrapped them and had Talat re-do the songs as Rafi’s rendition did not appeal to him at all. But, added Anil Da, in 1956 Rafi was summoned to sing the Heer songs for him. That Rafi had turned into a class singer was owing to the training provided by SD Burman. And this is how Anil Da narrated the story behind it all to me:

For approximately five years, from 1954 to 1959, Anil da and Sachin Dev Burman would meet for morning walks almost each day. They were acquainted with each other earlier in Calcutta too in the mid-thirties, before they had both landed in Bombay. Anil Da was a senior by ten years to Burman Dada in the Bombay film world. During these walks they would discuss the movies, producers, singers, music and anything under the morning sky that came up.

During one such walk, SD Burman informed Anil Da that Guru Dutt had asked him to provide music for his Pyaasa and wanted Rafi to sing the songs. The reason was Rafi was Guru Dutt’s voice in Aar Paar and Mr. & Mrs. 55 and the music of both films were huge hits. The public identified Rafi’s voice with Guru Dutt. SD Burman was aware that Pyaasa was a very sensitive film, different from run-of-the-mill and extremely dear to Guru Dutt. Although SD Burman wanted to use Hemant Kumar, Talat Mahmood and if need be, Manna Dey for the playback, Guru Dutt had requested him to try out Rafi before finalizing, for he knew Dada Burman would not compromise on the quality of composition and it’s delivery ever.

Thus Rafi was asked to come to SD Burman’s house for rehearsals. He watched Geeta Dutt and Hemant Kumar being rehearsed for their parts. Geeta’s Aaj sajan moge ang laga lo janam safal ho jaye, was finalised and recorded, so was Hemant’s Jaane woh kaise log the jinke pyar ko pyar mila.

Even though Rafi had recorded 8 songs with SD Burman in the last ten years, but this was a different atmosphere now. Three hours was allotted for practice each day. The first song rehearsed was the duet with Geeta Dutt, Hum aap ki ankhon mein is dil ko basa den toh. It was to Rafi’s credit that he really worked the hardest in learning from SD Burman the finer nuances of a song’s delivery. (SD Burman, one must not forget, was a hugely popular singer in his native Bengali language songs and each year was creating more and more chartbusters.)

The recording of the duet was accomplished. Two days later, when the recorded version came to SD Burman on a spool, he made Rafi sit and listen to it intently, asking him to pay attention to Geeta’s singing and point out where she had made mistakes. After listening to it for two or three times, Rafi fell at SD Burman’s feet and said, he knew exactly where he had faltered and promised it would never happen again. SD Burman drew him into an embrace and blessed him. The real training was now complete and SD Burman was ready to start with Yeh mehlon yeh takhton yeh taazon ki duniya.

Rafi, mild, humble and a true saint that he was, once said, what he learnt from SD Burman during those days, he applied to his singing all his life. It was a changed Rafi, from Pyaasa onwards. The next immediate impact of the change was audible in Nau Do Gyarah songs.

Anil Da insisted that now Rafi was a real singer to reckon with and thus recorded three Heer songs with him. That Heer released earlier than Pyaasa is a different story.

The way was paved for Rafi to play a major role in SD Burman’s recording room from now onwards. Rafi was versatile and being natural was his advantage. He was learning from all and quickly adapting and improving. He was not demanding, he was courteous and soft and humble. His exposure to all variety of composers from all over helped him learn well.

Read the complete article here: https://learningandcreativity.com/silhouette/songs-of-sd-burman-rafi/
*****************
Kishore Kumar’s Confession on his ridiculing S.D. Burman:
“… Phir ek din maine apni hi film launch ki. Iska naam tha ‘Chalti ka Naam Gaadi’ (1958). Apne sahi hone par mujhe itna yakin tha ki jab sangeetkaar S. D. Burman ne iske liye banaayi hui kuch maulik dhunein mujhe sunaayeen, to maine unhein hadka diya. Maine kaha, ‘Kya aap ko lagta hai ki janta yeh sun-na chaahti hai? Kripa kar ke aap kisi music store mein jaayen aur kuch Rock-n-roll records khareeden. Lekin, dhyaan rakhen, ki aise records na khareed lijiyega jo doosre sangeetkaar bhi khareed rahe hon.’ …”

English Translation:
“… Then, one day, I launched my own film. It was called ‘Chalti ka naam gaadi’ (1958). I was so confident of myself that when the music director SD Burman gave some original tunes he had composed for the movie to me to listen to, I ridiculed him: ‘Do you think the public wants to listen to this? Please go to a music store and buy some Rock-n-roll records. But do take care not to buy the same records that others were buying too.’ …” (End of the relevant portion)

Note I: I have an old URL, which doesn’t work anymore, due to copyright problems. Luckily I have four pages of scanned copies of Tehelka magazine in which it appeared. Anyone wants me to mail these pages, please send me Email address. I understand originally it appeared in Filmfare 1960.

Note II: Anyone wants to differ is welcome, but it should be supported by proofs. Opinions don’t matter. If we keep our mind open, there is lot to learn.
This is enough for the day.

79 SSW October 17, 2019 at 9:00 pm

@78, Mr.Lalwani. I may be wrong but don’t think Salil Chowdhury used Manna Dey more than any other singer. Towards the earlier part of his stint in Hindi films he used a lot of male singers including Rafi, Talat, Mukesh, Hemant Kumar etc. I daresay Rafi had as many solos than Manna Dey though I am no statistician and have very little interest in any statistical analysis related to music. I have heard that he was more partial to Talat earlier. Towards the latter half of his stint in Hindi films he preferred Mukesh.

I wouldn’t put too much credence in the “Tasveer teri dil mein” imbroglio. The scale of that song is already high. I doubt Rafi would have asked for it to be higher making it even more difficult. It’s tuned in B major but Salilda uses the scale oddly so that at times it seems to be in the related minor key of A flat, sort of a Bhairavi type change. There is a rapid changing of notes in the antara which is not easy to deliver and maybe Rafi had problems with that in the begining. Lata probably did not have the same issue in that recording as she had recorded the Bengali version for Salilda a year earlier and knew precisely what to expect. We will never know whether she found the antara challenging too when she sang it for the first time. Sometimes some writers like to rake up muck if it serves their purpose.

Lastly in terms of lowness of pitch “Toote hue khwabon ne” isn’t that low. It ‘s moderate for a high baritone that Rafi possessed. The song spans approx a little more than 1 and a half octaves in the scale of the natural E minor (I think). The beauty of it is the way Rafi sings “Dil ne jise paaya tha”. Between “Dil” and “Ne” there is exactly one octave but Rafi sings it so smoothly that as the pitch rises you really don’t hear an effort.

80 Hans October 18, 2019 at 12:13 am

Lalwaniji
In your comment 11 you said SDB did not like interference in his work. In comment 33, you say he threatened to stop composing in Bandini and Sujata, when Bimal Roy did not agree to his suggestions in picturisation of the songs. There was a similar story about Naushad which some say Naushad himself told that once Mehboob was interfering in his composition and next day Naushad went on the film’s set and started giving directions. Mehboob told him he is director of the film and Naushad told him he is Music Director of the film and after that Mehboob did not interfere.

If SDB did not tolerate interference in his work then how he interfered in the director’s work. These are all cooked stories to make SDB god. Bimal Roy is a world renowned Director. To say such things about him is a slight, degradation and also defaming him. First the script is prepared with song situations and then they are given to the Music Director. Music Director as well as others connected with the film or even some unconnected persons whom the Director respects can give suggestions, but the final authority is Director. Similarly assistants, musicians, singers and others may give suggestions in music composition, but the final authority is Music Director.

So under what authority was SDB threatening to stop work. I personally dont believe he did anything like that. The people who are cooking these stories, have not even cared to watch the films. In the film Bandini, the character of Kalyani played by Nutan goes out frequently. She goes to study with a lady named Rama Devi and also conveys a letter to Ashok Kumar, in his place of detention – who plays a revolutionary and who is detained in that village – without even the knowledge of her father. Before the song ‘mora gora ang’ she sings ‘jogi jabse tu aaya mere dware’ outside the house. If you see the picturisation of the song ‘mora gora ang’ it looks quite natural and even the lyrics suggest she is going out. There was a song by Pankaj Mullick, ‘piya milan ko jana, jag ki laaj man ki mauj dono ko nibhana’. The theme of this song is based on that premise. Similarly if you watch Sujata, you would come to know that the telephone song is just natural in the situation.

HQ Chaudhary’s book has Dev Anand interview at page 272. I will put the question and answer here before saying any further about situations in Dev Anand films.

“Question – Did you change song situations for him (meaning SDB) then?
Answer – No, he would not ask us to change anything. He was too sensible to do such things. He realised that he was doing a film where he had to put his personal opinions aside.”

Can there be anything more clear and forthright than this answer. The situation you suggest in the song ‘rimjhim ke tarane leke aayi barsaat’ is tailor made for a background song. Flash backs of various events are being shown. The second line of mukhda says ‘yaad aaye kisi se wo pehli mulaqat’ which means the song is not for face to face singing. Your interview of Waheeda Rehman also suggests that SDB did not have the courage to say anything about picturisation of songs in Prem Pujari and he asks her to talk to Dev Anand in that matter. In comment 34 you said that SDB did not do any film of Dev Anand after Prem Pujari in protest against his not handling the songs properly. Can you tell me, whether Tere Mere Sapne came after Prem Pujari or before that?

Another important issue you raised was about his refusal to use Rafi for Pyasa. I am sure he did not do so otherwise he would have been cooling his heels instead of doing Pyasa. But, since you claim this, can you tell me which singer did SDB suggest to Guru Dutt for the film when he refused Rafi. As per you, at the time of Jaal he recorded Raj Khosla at the behest of Guru Dutt, who had never sung a song. But, now he refuses to take Rafi, who has sung more than 1000 songs by then. Did his level of courage of conviction has been raised by 1957, which was low in 1952. I dont know whether you know that in olden times there were parallel stories about Pyasa, which suggested that some of the songs, like ‘tang aa chuke hai’ and other recitals of ‘shers’ were tuned by Sahir and Rafi themselves, as they did not need any orchestra. The reason, they said, was that SDB did not understand shayari much and was making too much fuss about Rafi.

You said about Rafi that he had a full throated voice and was known for loud singing before Pyasa and due to that no Bengali composer used him and after Pyasa, Benagali composers started using him. If I had not known about the habits of SDB fanatics, I would have toppled myself laughing on this. Bengal and North East is known for its full-throated and loud singers. KK has become a synonym of full throated and loud singing. And you say Bengali composers did not take him for that reason. Anyway can you tell me the name of a Bengali composer who started using Rafi after Pyasa and had not used him before Pyasa.

You said SDB survived without Lata for 5 years. Have you checked the facts or just repeating the SDB fanatics theme. Lata sang for him in 1958. She did not sing for him in 1959 and 60. That is all. Only two years. He did not have a film in 1961 just because he was busy composing for RDB’s first film. He sent RDB to call for Lata and made peace with her at the same time. Lata sang in his 1962 films Baat Ek Raat Ki and Dr Vidya and in all his films in 1963 and 64. So which are those 5 years?

81 Hans October 18, 2019 at 12:56 am

Lalwaniji
Half of my comment which is on 80 was typed out in the comment box. So first I completed that and now I am responding to your comment at 73. You have written a note II at comment 78 that opinions do not count only proofs matter. But, unfortunately you have in the same comment 78 have pushed opinions of others as proofs. If these are proofs, then please be free to be happy with them. You have advised me to stick to my beliefs and you will stick to your proofs. What a choice of words. Your beliefs based on opinions of others are proofs and my facts are beliefs. You have not answered yet some facts I gave in my original post.

You say you dont remember what you said about Amit Kumar. For this you can read the article again. I had named that article. You have admitted that RDB admitted before you that he had lied/boasted before. So how can you say he is not lying now. When SDB can lie on print, why not RDB. You have not answered why you believe RDB who was less than 13, when you did not believe Amit Kumar because of his young age. You say Amit Kumar is a showman. So was his father KK and so was SDB.

The interviews you refer to as profound proofs are at best hearsay, in which the persons answer to the leading questions. They need corroboration and then they become proofs. Even in court of law, evidence given with a hand on Geeta, need to be corroborated.

82 Hans October 18, 2019 at 1:05 am

Ashishji @71
Well said. Very balanced reply. Since your reply Lalwaniji has given another proof(?) by referring to an article which says that Rafi fell on the feet of SDB. So he is improving by and by his level of proofs. SDB and Lata rift happened in 1958, but Kishor Kumar his favourite singer was tormenting him no end by his tantrums and due to that after Pyasa he started using Rafi. In the next 7years from 1958 to 64 SDB never used KK except in films where KK was the hero.

83 mumbaikar8 October 18, 2019 at 5:30 am

Mr. Lalwani @ 26
I guess I was right when I said that it was Guru Dutt who got Rafi in SDB camp whether he himself did it or got it done by his wife doesn’t matter.
He may be hesitant to begin with, but the way he stuck to Rafi for another decade is proof in itself that he more than happy to have Rafi in his camp.

“”A new Rafi was born, at the right time when Dada was looking for another male singer.
During Chalti Ka Naam Gaadi, Dada composed original tunes, which when heard by KK who rejected them. He was also harsh in language with Dada. These were the tunes which were ultimately used and became super-hit. There is an apology from KK with me where he confesses about it.
My guess is that Dada refused to work further on CKNG. Ashok Kumar who was close to Dada must have taken up the matters to mollify him. They were both close to each other from Filmistan (1944) days. If you watch titles of CKNG, in the singer’s names KK’s name is missing, one reads three names of Asha Bhonsle, Manna Dey and Sudha Malhotra. After that KK was dropped by Dada except for very few songs and films where KK was the hero, until one day when Dev Anand brought Kishore to Dada during Guide days, and all was forgiven and forgotten. That’s for another day to be told””

I did not get what you meant here.
Was Dada looking for new singer because he was upset with KK but Pyaasa was in 1957 and CKNG in 1959 and Dada had started moving on to Rafi for Dev in 1957 in Nau do gyarah and KK was completely out Kala Pani in 1958.
Rest in next

84 mumbaikar8 October 18, 2019 at 5:36 am

Venkataramanji, @ 30
Thanks for the information on Bechu Dutta, like Bengali song but the Hindi duet is unimpressive.

85 mumbaikar8 October 18, 2019 at 5:51 am

Dr. Shetty @ 44
Had never thought about it.
Yes it would have been a great fete.
More than Rafi singing chalo ek baar phir se My kaadh rafi singing songs are two Dada’ song.
Phoolon ke rang se from Prem Pujari and Dil aaj shayar hai from Gambler.
He would have taken to another level as he has done with this one
Mera Mann Tera Pyasa | Mohammed Rafi | Gambler 1971 Songs | Dev Anand
https://youtu.be/UIz6Lglt3NE

86 mumbaikar8 October 18, 2019 at 6:20 am

Ashish @ 36 and @ 71 Mr. Lawani @ 40
Ashish’s guess right, not only Ashish many of us who care for Rafi feel hurt about the way you have written about Rafi. I guess SDB more thought about Rafi than you do.
You have stating articles as proof, though I do not consider them absolute.
I have one that describes what SDB thought about Rafi. You can find at the bottom of the page.

https://scroll.in/reel/805007/rafi-vs-talat-vs-mukesh-vs-kishore-the-big-rivalries-of-the-hindi-film-music-world

And one excerpt from Abrab Alvis’s book, about Rafi’s contribution in Pyaasa.
https://books.google.com/books?id=JVD7dajMt3YC&pg=PA73&lpg=PA73&dq=abrar+alvi+rafi+guru+sahir&source=bl&ots=RkTwOaxxTr&sig=ACfU3U3QbWvEHyG3EoWFCUw6cPSvlxMHTw&hl=en&sa=X&ved=2ahUKEwiysaO736HlAhVF_J4KHRQwASkQ6AEwB3oECAgQAQ#v=onepage&q=abrar%20alvi%20rafi%20guru%20sahir&f=false

87 Moti Lalwani October 18, 2019 at 8:18 am

Ashish @ 71,
Part II.
Continuing from where I left @78, when I shared Kishore’s ridiculing his mentor SDB, let’s have look at some of the proofs of Kishore being dropped by Dada:

Being a thorough gentleman that he was, Dada didn’t tell anyone. He just dropped KK. There were other reasons which had been bugging SDB, like KK not giving date, not reporting on time, not looking after his voice, but this time KK had crossed all limits.

Check out titles of ‘Chalti K Naam Gaadi’, and look for KK’s name among singers. Being the producer of the film, and its main singer, one finds that his name is missing. There are only three names: Asha Bhonsle, Manna Dey and Sudha Malhotra. How is it possible?

My guess is that after KK’s diatribe, Dada refused to compose any further for CKNG. The tunes were ready, but no further progress. It would have fallen upon upon Ashok Kumar to mollify Dada. Dada had landed in Bombay in 1944, at the invitation of Sashadhar Mukherjee, brother-in-law of Ashok Kumar who was hero of Dada’s first two films Shikari and Aath Din, both in 1946. Dada refused to work even then, and finally it was agreed to side-track KK completely.
Skeptical who don’t believe, please find a convincing reason, why KK’s name is missing in film’s titles. I hope someone proves me wrong, as I myself don’t like this guess work.

It is a another story, that slowly KK’s ‘B’ grade movies flopped, his popularity fell, he was ready to go back to Khandwa. In this aspect, I have been reading, but yet to do a complete research.

The question here is how did he make a come back. One has to go through Vijay Anand’s interview on how Kishore sang ‘Gaata rahe mera dil’ in Guide:

Vijay Anand, “Actually for quite some time, Kishore Bhai had not recorded any song with Dev Bhai and Burman Dada. It happened just like that. Firstly, Kishore was preoccupied with Madhubala’s health. He was not being able to devote time to rehearsals and recordings. And then with Rafi Sahab, our association was working perfectly. But Dev Bhai was missing Kishore for a long time and so he went to meet him. And then caught hold of him and sort of dragged him to Burman Dada’s home.

Burman Dada had a magnanimous and generous personality. The moment he saw Kishore he said in Bengali, ‘why didn’t you come all these days’ and hugged him. They loved each other a lot. Burman Dada then said let us start the rehearsal, we are going to record a song. And he started composing the song, ‘Khwaab ho tum ya koi haqeeqat kaun ho tum batalao’ sitting right there, with Dev Bhai in front of him and Pancham joining them.

This song was the first song Kishore recorded for Dev Bhai after a long hiatus under Burman Dada’s music direction. Kishore sang it so wonderfully, he won everyone’s heart. This is exactly what all of us, including Dev Bhai were missing. Burman Dada kissed his (Kishore’s) head. He was delighted.

Please read the complete interview: https://learningandcreativity.com/silhouette/vijay-anand-interview/
******
Kishore’s name is missing in the titles of Apna Haath Jagannath too. They are songs composed in KK’s films by SD where Manna Dey replaces him in a line or two. Except for 3 KK films, KK didn’t hardly got any songs in SD films. Rafi become his number one singer. All that’s for some other time.

88 AK October 18, 2019 at 3:41 pm

Mr Lalwani, Mumbaikar 8, Ashish, Dr Shetty, Hans,
I have been following your conversation following Mr Lalwanis’ comment @26, which some readers found disrespectful to Rafi, and Mr Lalwani’s attempt to furnish ‘proofs’ in his support which have aggravated matters. I am coming in to moderate the discussion and bring it back to the substantial matter under discussion. But I start with apologies to all: Mr Lalwani is several years senior to me in age and infinitely more knowledgeable than I am on SDB, and similarly the readers who have taken part in the debate are highly respected for their knowledge and passion for old film music. It is they who have made the SoY a respected forum for participation.

I don’t mean to be presumptuous, but let us dissect what Mr Lalwani said, in two parts. One part is the story in its essentials, and the other is ‘how’ he said it, to be more specific his choice of words. The bare story is unexceptionable: SD Burman was not sure who he would like to use as the lead playback singer for Guru Dutt in Pyasa. Guru Dutt with the great success with Rafi in Aar Paar and Mr & Mrs 55 was very keen to have him as his voice. Finally, Guru Dutt (and/or) Geeta Dutt were able to convince him and thus we had superlative Rafi songs for SD Burman. There is no problem so far, and many readers seem to concur with him on this, based on their information from other sources.

The problem arises with the use of phrases like ‘with folded hands’ and ‘I am willing to learn’. Rafi was already the undisputed number one singer thanks to pathbreaking scores of Naushad, OP Nayyar, and also several other music directors, such as Husnlal-Bhagatram, Hansraj Bahal and Ghulam Mohammad. In this context, the words used by Mr Lalwani may appear discordant as if a beginner was begging for a break. I am sure he didn’t mean this, he might have thought that there is nothing inappropriate in these idiomatic expressions, as it only shows Rafi’s extreme humility before someone who was 18 years older to him and, whose bluntness or temper was taken as endearing quirkiness of personality.

I am also sure Mr Lalwani has misunderstood the objection of the readers, otherwise he would not have gone on giving ‘proof’ after ‘proof’. Peeyush Sharma’s article uses a more colourful phrase, “fell down at his feet”. Really, was Mr Sharma present there? It is also not clear whether it is his own statement based on his research, or he was paraphrasing what Anil Biswas told him about what SD Burman had told Anil Da during a walk. Most probably, Mr Sharma got carried away in the flow and used a careless expression. Let us not entangle ourselves in that maze.

Hans’s comments are caustic to Mr Lalwani. There is a couplet, I think, by Nida Fazli:
न हम बेवफा थे न वो बेवफा थे
बस हुआ यूँ कि हम जुदा हो गये

Since we all respect Rafi and respect each other, let us avoid unpleasantness.

89 Moti Lalwani October 18, 2019 at 4:13 pm

Dear All, I have been away from the blog as we are trying to organize a show tomorrow Saturday evening. This being the SD Burman month, naturally it’s on him.

I hold Rafi in the highest. He has God gifted voice. In my research I have personally discovered him to be an exceptionally thorough gentleman.

Rafi was 18 years younger to Dada. Our culture is all about respecting seniors. Every composer has his own style and rehearses the singer accordingly. I have no intention to hurt anyone’s feeling. Unintentionally if have, I am sorry for that. Let’s move on now.

90 N Venkataraman October 19, 2019 at 1:47 pm

Hansji,
You wrote @ 67,
“Otherwise how is it possible that a person of your experience and age does not question SDB’s statement about the pronunciation of Hemant. Hemant had recorded two version songs of film Babul under Naushad, who did not even spare Lata and Rafi in this regard. I do not claim that Hemant’s pronunciation was perfect, but Naushad must have recorded it only after he got a certain degree of perfection. Hemant also recorded two version songs of film Aan. These are well known facts. So SDB claim is baseless.”

And then @ 81 you said,
‘When SDB can lie on print, why not RDB.’

Yes, it is true that SDB wrote this in the 6th episode of his serialized autobiography “Sargamer Nikhaad”, which appeared in the Bengali Magazine on 21st June 1970. Hemant Kumar did not refute SDB’s claim in his autobiography “Anandadhara” published in August-September 1975, where he also acknowledges that SDB gave him his first hit song. Bela Mukhopadhyay too mentions this incident in her book “Amaar Swami Hemanta” (January- February 1999) but does not refute SDB’s claim. I do not understand why SDB would make a false statement on such a petty matter, to slight Hemant Kumar? I do not subscribe to this view. Are you not slighting SDB on the basis of your assumption.

Yes, Hemant rendered two version songs each from Babul and Aan. And you wrote ‘I do not claim that Hemant’s pronunciation was perfect, but Naushad must have recorded it only after he got a certain degree of perfection.” Well, in that case, SDB too must have asked him to work on this aspect to attain further perfection.

I humbly state that to call SDB a liar in this context is too harsh and insulting to SDB, and as a SDB fan (not a fanatic) I feel hurt. But do not take MY hurt to your heart.

91 Subodh Agrawal October 19, 2019 at 8:03 pm

Moti Lalwani ji, I have seen this post after your post on Geeta Dutt, having been rather busy last couple of weeks. SDB is my favourite composer, while Hemant and Geeta top the charts for me among male and female singers – ahead of the versatile Rafi and Lata. Both Hemant and Geeta had their limitations, but their voices and singing styles gave them an appeal that went straight to the listener’s heart.

92 ksbhatia October 20, 2019 at 10:55 pm

Er.Moti Lalwani ji , AK ji;

I am back after a break of three weeks and have found the treasure of nice songs and very intelligent post , observations and inputs by various members. Going thru various interviews made me see SDB standing at higher pedestal than before.

Beauty may no longer be what it was before ……but revisiting generates extraordinary thrill to soul. Venkatraman ji @27 gave an exceptional example of thrill….. thru exceptional camerawork and a nicely conceived setup of song… ‘Aa gupchhup gupchhup pyar karein’.

I think it is important for everyone …..from art director to cameraman , song writer and screenplay writer …. to be a part of song situation…… when at conceiving stage. For Guru Dutt it was prime necessity. What he would see was perfectly captured by his cameraman . In Pyaasa , three or four songs were recorded with camera lens aligned at shoulder level of Guru Dutt and that conveyed what was projected thru the eyes of Guru Dutt…… the perfection to our expectations.!! Jaane kya tune kahi…..and….jineh naaz hai hind pe….are two such examples. The visual effects really enhanced the beauty of songs ….and its content.

Jane Kya Tune Kahi – , Pyaasa

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

Jinhen Naaz Hai Hind Par – , Mohammed Rafi, Pyaasa

https://www.youtube.com/watch?v=3ta4BmumQKc

93 Moti Lalwani October 21, 2019 at 7:31 am

ksbhatia @92,

It’s so true what you write. Everyone, from art director to cameraman , song writer and screenplay writer has to be in sync with one vision. Pyaasa was one of the exceptional cases where it happened in a number of songs, and I would give credit to all those who worked.

This is what Abrar Alvi has described in his ‘Ten Years with Guru Dutt – Abrar Alvi’s Journey:
“Behind all this light-hearted ribbing and playfulness lay the awareness that they were all creating something great, something that would outlive them all. Each of them was dead serious when it came to work, each pulling his weight towards the realization of the classics they created.”

Thanks for you comments.

94 Moti Lalwani October 21, 2019 at 7:39 am

Subodh Agrawal at 91

Thanks for your comments.

I agree with you, both Geeta and Hemant Kumar were exceptional singers. Unfortunately, Geeta’s bad marriage took its toll, otherwise she would have been good for many years to come.

95 ksbhatia October 21, 2019 at 2:49 pm

Er.Moti Lalwani ji @93;

…….“Behind all this light-hearted ribbing and playfulness lay the awareness that they were all creating something great, something that would outlive them all. Each of them was dead serious when it came to work, each pulling his weight towards the realization of the classics they created.”……

Yes, this was true for RK and Navketan Camps as well. For Navketan….Goldie Anand had just third eye as well. His Song picturisation were perfect that made songs flow with narration …at right moment and at right track. He must be in heart to heart vision with SDB ! His ….Tere Ghar Ke Samne ….is an example for others to watch and follow his steps.

Geeta Dutt…her voice suited every situation…be it bhajan , cabaret or romantic song. In a day I can hear her NFS song many times a day when I enjoy nature ….. in best form .

Geeta Dutt : Haule haule hawa dole : Non-film song

https://www.youtube.com/watch?v=ndoxnS7lLDc

96 Moti Lalwani October 21, 2019 at 6:29 pm

ksbhatia @ 95.

“Goldie Anand had just third eye as well. His Song picturisation were perfect that made songs flow with narration …at right moment and at right track. He must be in heart to heart vision with SDB ! His ….Tere Ghar Ke Samne ….is an example for others to watch and follow his steps.”

About heart to heart vision of the two, I will mention couple of instances:
Vijay Anand has said in an interview that Burman Dada was the only ‘Audio-visual’ music director who could understand the situation and compose a tune suitable to the situation.

For Kala Bazar (1960), Vijay Anand had asked Dada to compose for a situation where Dev, in love with Waheeda, is seen walking and running, as if floating in the air. Dada composed the tune of ‘Khoya khoya chand’ in 10 minutes, when there were no lyrics written as yet. The lyrics were written afterwards to match the tune. Composing tune without lyrics is more difficult, than on pre-written words.

SD Burman was a pioneer in composing tune first and getting lyrics written to suit the tune. He did it from very early in his career, while in Calcutta itself. Subsequently, the practice was followed by the rest of the music directors.
*****
“Vijay Anand has gone on record in an interview that SD Burman was very perceptive about the power & impact of the medium of films & took a keen interest in understanding the situation of a song & its context in the landscape of the entire movie.
In the same interview he has mentioned about a particular incident where it was SD Burman who had suggested that the song ‘Rimjhim ke taraane le-ke aayi barsaat’ in Kala Bazaar (1960) be picturised on the hero & heroine with the song playing only in the background. Vijay Anand immediately liked the idea & thus was the lovely Rafi-Geeta duet created. (Archisman Mozumdar, SDB-RDB fan)
*****
Waheeda on Burman Dada in an interview with us;
“Uske baad, later, ek baar Kala Bazar (1960) ke set pe aaye the. To us mein ‘Rim jhim ke tarane leke aayi barsaat’, haanji, to woh set pe aaye, woh record ho chuka tha gaana, par picturise nahin hua tha.

To, tab tak kaafi milna jhulna ho gaya tha, kyonki Dev ke saath bhi woh (Burman Dada) the, Guru Dutt ji ke saath bhi woh the. To phir kaafi office mein ya sets pe aa jaya karte the. To bade sweetly – main nahin bhooli aaj tak woh, kehne lage , – he used to come with crisp white dhoti aur kurta aur paan ke behad shaukin, paan ka dabba haath mein rehta tha – to kehne lage, “Waheeda, yeh jo gaana picturise karenge, mujhe pata hai tum Bharat Natyam classical dancer ho, dance mat karna, magar ek ladki jo behad khush hai, aur dil karta hai ki main ud jaaoon, main woh karon to,” aur unhonein jhat se apna kurta pakda, dhoti pakdi, aur uspe aise-aise-aise karna”. (Waheeda ji shows dance moments of Dada)
Hum sab hansne lage,

Khud karke gaate hain, “Rim-jhim ke tarane leke aayi barsaat”
(Waheeda ji sways copying Dada).

Bahut hum hanse.
“Kyon, achcha nahin hai?” Dada pooche.
‘Nahin-nahin, bahut’, maine kaha, ‘sweet hai!’
Bahut sweet, He was like a child!
(All this while Waheeda ji is giggling away.)
******
In 1957, Geeta Dutt (nee Roy) chose her ‘Ten Best’ songs. Four out of her ten best songs were under her favourite composer Burman Dada. They were:
1947 – Do Bhai – Raja Mehdi Ali Khan – Mere sunder sapna beet gaya’
1951 – Baazi – Sahir – ‘Tadbir se bigdi hui taqdeer banale’
1957 – Pyaasa – Sahir ‘Aaj sajan mohe ang laga do’
1957 – Pyaasa – Sahir ‘Jaane kya tune kahi’

From the rest of the six songs, one each was composed by Bulo C. Rani, Hemant Kumar, O.P. Nayyar, Roshan, Madan Mohan and Mukul Roy.

Note: Kaagaz Ke Phool (1959) was not released till then, otherwise, ‘Waqt ne kiya, kya haseen sitam’ would have been a strong contender.

97 dprangan October 23, 2019 at 1:13 am

Lalwaniji
S.D. Burman’s music stands on a pinnacle of its own, distinct from his contemporaries like K2 of Himalayas. It cannot be fitted into any predictable pattern. Its sheer variety is mind boggling. Your bailiwick on him and his music is indeed commendable and I can only think of the relationship between Boswell, biographer and his object of adulation Johnson. Thanks to your writings, I have come to know many traits of this eminent music director. He has handled Hemant Kumar in a brilliant way. Here is a song from House No. 44

https://youtu.be/XHuSP_uvL4o?t=85
I will follow your future revealations about SDB very eagerly.

98 Moti Lalwani October 23, 2019 at 6:42 am

dprangan @ 97

Thank you for your kind words of encouragement and appreciation. You have a way with words, which I admire immensely.

Yes, it’s true that SD’s work doesn’t fit any predictable pattern. But as a person, he himself doesn’t fit any pattern. Leaving cushy life and comforts of the palace, he went and stayed in a one bedroom apartment, making some money from his singing. When he sang in private jalsas, there used to be pin-drop silence, and soon everyone’s eyes will be moist, with pathos in hs voice.

In Bombay after he landed, he shared a small apartment with Harindranath Chattopadhyay, later shifting to a room in a C Grade hotel, which is still there. From there, sitting on a hard bench in their backyard, he composed melodies in 1950s, from Sazaa to Pyaasa.

He encouraged his assistants, recommending them to the directors, whose he used to decline, praised his contemporaries, even recommending them to the production houses, that they will do a good job. Busy entire day in his music, he had no time for gossip, praise, protest or increase in royalties. His nature was childlike, innocent to the core. If he was unhappy with someone, he simply dropped him/her without telling anyone. All this and more is what I have discovered, and there’s more. Some of it I have captured in my videos on YouTube, there is a lot more.

Thanks again.

99 r vasudevan October 23, 2019 at 12:41 pm

Ref 98 – on pattern – induced me to recall an incident.
I had a friend by name Shankar – a great fan of SDB – whom I met in a concert and we became friends. He invited me for a cup of chai to his house and I responded. During our chat he gave a lecture on SD Burman showed his collections CDs, song books, articles, newspaper cuttings etc all on SDB and asked me who was my favorite MD and I replied SJ. He told me SJ’s music easily recognized like OPN as the pattern is well known and concluded that SDB is the best of all MDs. I said I do agree that a great composer is SDB but it is impossible to signal out one particular MD as the best especially of the Golden era.

He was not willing to accept and kept on harping that No. 1 is SDB and handed over to me a list of 7 songs written by him and asked me togo home hear those number and call me back and gave his contact no. etc
I have already heard them all and replied that indeed they were great compositions and in turn I listed my ten best tuned songs of SJ and asked his views. He did not reply and even refused to take my call.

A few months later a call came from the son of my friend who is a great fan of SJ (he was present during the lecture) and told me that he would like to meet me. We met but his father avoided me.

Strange but true.

100 Dr Pradeep Kumar Shetty October 23, 2019 at 1:11 pm

Moti ji,
Thanks for the information that SDB shared an apartment with Harindranath Chattopadhyay.
I am surprised why they didn’t come together professionally!
HC ( aka Harin Chatterjee), besides being a poet, dramatist, singer and composer had a strong connection to Hindi films ( a few Bengali,too, mainly with Satyajit Ray; and, one Czech in language as well!) as an Actor, lyricist and singer.
Actor_ _ From SAHIB BIWI AUR GHULAM, 1962 To MALAAMAL, 1988.
Lyricist_ _ The most popular, of course, is My heart is beating ( JULIE)… Rajesh Roshan.
But, many people fail to recall that he wrote the two delightful Ashok Kumar songs from AASHIRWAD, 1968…Vasant Desai.
Rail gaadi &
Nav chali
Naani ki nav chali
Neena ki naani ki nav chali…
We tend to assume that Gulzar must be the lyricist.
He also wrote for Bappi Lahiri and Jeetu Tapan.

Singer_ _ AASHIRWAD ,BAWARCHI.
I think he is the lyricist of the song Jhingapur Thakur Thakur , AASHIRWAD, which has him singing with Ashok Kumar.

The only times SDB and HC came together were in TERE GHAR KE SAMNE and TEEN DEVIYAN ( as composer and actor)..I am not sure if HC was seen as a part of any of the songs.
As an aside, Sarojini Naidu, HC’s illustrious sister, Nightingale of India, was married to actress Leela Naidu’s father’s brother.

101 Dr Pradeep Kumar Shetty October 23, 2019 at 1:15 pm

R Vasudevan ji,
Very interesting anecdote. These are called die hard fan,I think… never willing to change their opinions, loyalty and not agreeing with alternate views.

102 Shalan Lal October 23, 2019 at 3:08 pm

Dr. Pradeep Kumar Shetty @100

Thanks for bringing memories of Harendra Nath Chattopadhyay and his illustrious sister Sarojini Devi Chattopadyay.

In fact all the members of Chattopadhyay family were very illustrious. They all were forbidden to talk or read in Bengali by their illustrious father.

Sarojini regretted that she could not talk or read Bengali so she did not read Tagore’s literature in original Bengali. But she was the one who was asked to make the funeral speech on Tagore’s death.

I was very fond of her poetry from my young age. She was sent to England by her illustrious father who was a bit of eccentric in his efforts to make gold in his laboratory. Sarjini wrote a poem about her mad but loving husband.

She was sent to England to dissuade her from her falling in love with her Doctor Naidu when she was a teenager.

In England her poetry became a rage and by W.B.Yeates and many poets she was groomed to become the first Indian Nobel Prize winner but then Yeates was introduced to the poetry of Tagore and he and other English poets recommended Tagore for the Nobel Prize.

Sarojini produced five volumes and her sixth was not published. It was believed that until her dying day she was writing poems.

But Harendra Nath wrote more poems than Sarojini did in English.

I very much like his acting in the film “Tere Ghara Ke Saamane”.

Sarojini’s handwriting was very obscure only two people could read it one Hrendra Nath and secondd her husband Dr Naidu. Dr Naidu was a widower and was double the age of Sarojini when he married her.

He prepared all her poems typing on the Typewriter. He was appointed in the first Raj Sabha member of the Nehru Government.

Shalan Lal

103 Dr Pradeep Kumar Shetty October 23, 2019 at 5:53 pm

Shalan Lal ji,
So, I have a kindred spirit interested in the life and works of Sarojini Naidu.
In the primary school, when I read that Sarojini Naidu was called The Nightingale of India ( by Gandhiji ? Gurudev Tagore?) ,I thought she must have been a singer! My father, later, corrected me and told me she was a poet(ess). In High School, 8th standard, her THE BANGLE SELLERS was a part of our curriculum. In my Pre University and Medical College years I read many of her works, including THE GOLDEN THRESHOLD, for my pleasure.
Dr Aghorenath Chattopadhyay, her father,was the first Indian to getD Sc ( Doctor of Science) … from Edinburgh.
He was the Principal of Hyderabad (later, Nizam’s) College.
Arthur Synonyms ( English poet, playwright, essayist, magazine editor) was to Sarojini Naidu what Yeats was to Gurudev. He was instrumental in publishing her first work,
THE GOLDEN THRESHOLD. He also wrote the Introduction to the book.
In his introduction, he quotes some of Sarojini Naidu’s letters written to him about herself,her family,her literary and social works.
Sarojini…on her father…
My father was a great dreamer, a man whose life has been a magnificent failure!
I presume, in the whole of India there are few men whose learning is greater than his and I don’t think there are many men more beloved.


He has wasted all his money on two great objects:
To help others and on his Alchemy.
The makers of Gold and the makers of Verse, they are the twin creators that sway the World’s secret desire for mystery.
What, in my father, is the genius of curiosity _ the very essence of all scientific genius, in me is the desire for beauty.
Do you remember Pater’s phrase about Leonardo da Vinci, “Curiosity and the desire of beauty ” ?

If hers was one of the earliest inter caste , inter language marriage in India ( thankfully,a happy one), Harindranath Chattopadhyay and Kamaladevi Chattopadhyay’ ,nee Dhareshwar, divorce ( amicable) was the first legal separation granted by the courts in India.
As all of us know, she was the driving force behind the Renaissance of Indian handicrafts, handlooms and theatre. She was from my part of India_ Mangalore ( now Mangaluru) . Interestingly, married at 14 and widowed at 16, she continued her studies at Queen’s College, Madras ( Chennai) where Sarojini Naidu’s younger sister Suhasini Chattopadhyay, who introduced her to her brother Harindranath. They got married when she was 20 against great societal opposition.
Kamaladevi, had her stint with Cinema, too. She acted in the first Kannada silent film MRICHAKATIKA ( VASANTHASENA), 1931 and also in K L Saigal’s TANSEN, 1943 and a few more.
Sarojini and Harindranath’s mother Barada Sundari Devi was a Bengali poet and singer. One of their brothers , Virendranath was a prominent revolutionary in the Indian freedom struggle. A sister, Mrinalini, was a Nationalist activist.
What an illustrious family!!!

104 Dr Pradeep Kumar Shetty October 23, 2019 at 5:54 pm

Arthur Symons, not Synonyms!!!

105 Dr Pradeep Kumar Shetty October 23, 2019 at 5:57 pm

Suhasini Chattopadhyay,( her fellow student), introduced….

106 Moti Lalwani October 23, 2019 at 6:00 pm

R Vasudevan @ 98

Shankar Jaikishan and all other music directors of the Golden Era were phenomenal in their own right. We should respect all MDs and their fans, though it’s strange that some persons don’t think that way. We in our SDB group encourage respect for all MDs, and their fans.

I generally quote from my research. If I quote from outside, I mention my source. Talking about S-J, reminds me of two anecdotes connected with SDB. You may find both interesting:

I think it was probably Filmfare Award for Abhimaan (1973) which Burman Dada had won. Shankar rang up Dada and complimented him. Dada replied, “Shankor, thank you. Maine paisa nahin diya.”
(Reference: Our interview with Shiv Kumar Sharma. I don’t remember, which Part number it is.)
******
Shankar on S. D. Burman:
“Yoon to apni taarif sun-na sabhi ko achcha lagta hai, par us waqt khushi ka thikanaa nahin rehta, jab koi shakhs aapki taareef kar raha ho, jinke aap khud prashansak (admirer) hain. Aur wok shakhs hai S.D. Burman.

Ek baar Russia se lautkar Burman Dada mujhse kehne lage ki tumne barson si aisi Barsaat shuru kar kar dee hai ki ab tak log usmein bheeg rahe hain.

Aaiye, Burman Dada ke sangeet se sajee film Guide ka ek geet sune. Yeh hai meri aur se unko shraddhanjali.”

Song played, ‘Aaj phir jeene ki tammana hai’ (Guide – 1965)
(Source: Jaimala Gold.)

107 r vasudevan October 23, 2019 at 6:16 pm

One of the features of the Golden era apart from many great music directors who were also men of sterling qualities like Friendship, Loyalty, respecting and appreciating other Music directors work/compositions
by composers.

108 Moti Lalwani October 23, 2019 at 7:19 pm

r vasudevan @ 107

I agree.
Please see two videos uploaded on YouTube:

Gracious S D Burman Always Encouraged his Contemporaries (Part I)
https://www.youtube.com/watch?v=MnQWQJU5bfI

Gracious S.D. Burman Always Encouraged his Contemporaries(Part II) https://www.youtube.com/watch?v=MAdZcUNPY9g

I have material for Part III, which time permitting, I will be uploading on YouTube.

Thanks for comments.

109 Hans October 23, 2019 at 11:35 pm

AK
Good jugalbandi between you and Lalwaniji. 🙂

Since my name has been particularly mentioned whose comments are troubling Lalwaniji, I need to explain. This article was published on 8th and I replied on 16th, which shows I was holding back. Even when I posted in 67, I kept only to the contents of the article. I did not mention a word about Rafi incident which you have based for moderation. Lalwaniji smartly used the words beliefs for my facts I gave in the penultimate para. I know he does not have any answers and the facts I gave have rocked the foundations of his article. Even then I gave other facts mostly related to his claims on picturisation in my next post. I did not mention a word of ‘Rafi and folded hands’ because I agree with you what you said in 74 on that point. Ashish is as per his admission is a silent reader and would not have entered into further argument. Mumbaikar8 had said what she was to say in 83 and 86. So who was not likely to take the argument further. So why the need for moderation.

My guess is that you wanted to save Lalwaniji from uncomfortable questions, I have posed. Others who wrote guest articles, have also faced questions. Recently Shalanji also faced such questions in her article on Lata Mangeshkar and bravely tried to reply to all. She is also very senior in age like Lalwaniji. I understand you because Lalwaniji is not only senior but also an honoured guest writer and the first timer too. So I reciprocate by saying that if Lalwaniji feels hurt by any of my comments, I would say that I did not intend any disrespect. As to the queries raised by me, I would not press them, because I know he does not have answers.

But, one thing has surprised me that you have tried to explain even Piyush Sharma’s article, by calling it a careless expression. I would say that everything in that article is deliberate. I know many such persons, who do these things deliberately and then do chest thumping in their group. Have a look at the excerpts below:

“Thus Rafi was asked to come to SD Burman’s house for rehearsals. He watched Geeta Dutt and Hemant Kumar being rehearsed for their parts. Geeta’s Aaj sajan moge ang laga lo janam safal ho jaye, was finalised and recorded, so was Hemant’s Jaane woh kaise log the jinke pyar ko pyar mila.

Even though Rafi had recorded 8 songs with SD Burman in the last ten years, but this was a different atmosphere now. Three hours was allotted for practice each day. The first song rehearsed was the duet with Geeta Dutt, Hum aap ki ankhon mein is dil ko basa den toh. It was to Rafi’s credit that he really worked the hardest in learning from SD Burman the finer nuances of a song’s delivery. (SD Burman, one must not forget, was a hugely popular singer in his native Bengali language songs and each year was creating more and more chartbusters.)

The recording of the duet was accomplished. Two days later, when the recorded version came to SD Burman on a spool, he made Rafi sit and listen to it intently, asking him to pay attention to Geeta’s singing and point out where she had made mistakes. After listening to it for two or three times, Rafi fell at SD Burman’s feet and said, he knew exactly where he had faltered and promised it would never happen again. SD Burman drew him into an embrace and blessed him. The real training was now complete and SD Burman was ready to start with Yeh mehlon yeh takhton yeh taazon ki duniya.”

In the first para above, Rafi was asked to watch even rehearsals of Geeta and Hemant songs. Piyush Sharma’s suggestion is perhaps that he was asked to see how they sing. So Rafi was a child who was asked to learn from Hemant and Geeta. Rafi recorded around 500 songs from 1955 to 57 and in 1957 itself he recorded more than 180 songs. Considering the double recordings and the connected rehearsals, it took a lot of time for even his own recordings. This is confirmed in the third para where Rafi is, after recording the duet with Geeta, made to apologise and fall on feet of SDB after realising his shortcomings vis-a-vis Geeta’s singing. What a shameful description of the event, which you just want us to ignore.

Not only this, the link provided by Mumbaikar8 of Abrar Alvi’s book makes it clear that the first song recorded for Pyasa was ‘jinhen naaz hai hind par’ and the second was ‘sar jo tera chakraye’ and the 3rd was ‘jane wo kaise log the’. Abrar Alvi also says Rafi himself composed and recorded ‘tang aa chuke hain’. I had mentioned this story, which is confirmed by Abrar Alvi. As per Piyush Sharma the first song was ‘aaj sajan mohe ang laga lo’, the second was ‘jane wo kaise log the’ and the third was the duet with Geeta ‘hum aapki ankhon men’ and then ‘ye mehlon ye takhton’.

110 Hans October 24, 2019 at 12:21 am

Venkataramanji @ 90
Though I have explanations, yet I at the outset regret hurting your feelings as a fan of SDB with my remarks. But, when I write such things the first one who is hurt is myself. I do not like to say such things about SDB or anybody whom I respect. I am also a fan of SDB without any doubt.

At the outset, I say that I never said that I felt hurt by the phrase used against Rafi, so your addressing me this in retaliation to that was hardly needed. I think, I should have used the word lie/boast which Lalwaniji used. Boasting is also the same as lying but is considered excusable by many. These celebrities lie with so much ease that if you start hurting yourself about their lies being exposed you will be troubling yourself unnecessarily. In the excerpt of SDB posted by Lalwaniji, there were many things which I could have taken up, but just ignored because then it would have been branded as ‘baal ki khaal nikalna’. Otherwise consider SDB says ‘I worked hard with Sahir and under my direct supervision he wrote this song.’ Was SDB such an expert of poetry that he would supervise the work of a poet like Sahir and Sahir would tolerate that. SDB’s reputation was that he did not understand poetry much and perhaps because of that he always insisted on tune first, because then poet would write according to tune and SDB would not have to do ‘sarfutawwal’ to understand poetry.

The lines written by him – ‘Through this particular song only, Hemant Kumar got established in the Hindi Film industry. People were also very happy to hear a new voice for the Hindi movies.’ – are also at best a boast without any truth. Because no single song can establish any body and Hemant’s voice was well known to people because he had sung earlier also songs in addition to the version songs I mentioned. He was also a composer who would sing his own songs and the great singer he was bound to be successful.

Tell me, when bollywood singers like Rafi, Lata and others sang songs of other languages like Tamil etc. was it expected of them to perfect their pronunciations of that language first before recording the songs. Naushad wanted perfection from Lata and Rafi because he intended to use them extensively. But, Hemant was forgotten for 2 years by SDB after recording the Jaal songs. How can both the situations be compared. Also, Naushad himself had mastery over Hindi/Urdu, which was not the case with SDB, who despite being a great singer avoided recording songs in Hindi because for that he needed help of others for perfection of his pronunciation. It is a well known fact that SDB despite his 30 years in Hindi cinema could never speak even ‘kaam chalau’ hindi, while this was not the case with Hemant.

You say that just because SDB’s statement was not refuted by Hemant or his wife in their books proves the fact is right. What a strange logic. There can be a number of reasons for not doing so or not even knowing the comment exists. And I never said writing this slighted Hemant. You say this was petty matter. Then why did he mention such a petty thing. You have also used my disclaimer as some sort of proof. I would use that disclaimer even for Lata or Asha of the initial days also. I would not go into the philosophy of the difference between a ‘lie’ and a ‘liar’.

I hope you would take my regret and explanations in the right spirit and excuse my transgressions, because I have a huge respect for you and would like to be in your good books.

111 Hans October 24, 2019 at 12:34 am

Mumbaikar8 @ 83 &86
Thanks for the nice links, particularly the Abrar Alvi book link. You also said SDB thought very highly of Rafi. You perhaps pointed to his reply to Manna Dey calling Rafi as ‘badshahon ka badshah’. I think this was his way of setting up one against the other. Otherwise, as per HQ Chaudhary’s book SDB mentioned just 4 singers in his autobiography and they were Kishore Kumar, Manna Dey, Lata and Asha. He did not mention Rafi, Mukesh, Hemant Geeta or Talat or Shamshad.

112 Hans October 24, 2019 at 12:47 am

Mr Lalwani has made use of the fact that Kishore Kumar’s name did not figure among the singers list of Chalti Ka Naam Gadi, as to suggest that it was due to some pressure of SDB. I may mention here that in the 50s in a lot of films singers names were not given. Even in Jhumroo, the music of which was composed by Kishore himself, the list of singers did not contain his name. In Karorepati also that is the case. Perhaps his name was left out because of the fact that he was a singer-actor and his name had already appeared in the beginning of the cast.

He had earlier mentioned that SDB suggested the song ‘rimjhim ke rarane leke aayi barsaat’ be picturised in the background, to which I had made a logical reply. But, now after his posting transcripts of his interview with Waheeda Rehman, – if what she says is true – it is clear that SDB did not even know that the song is being picturised in the background, with flashbacks of their past meeting being shown. There was no Waheeda dance for which SDB was giving suggestions.

113 AK October 24, 2019 at 11:32 am

Hans @109,
After my comments at @74 and @88, your charge of I and Mr Lalwani being in jugalbandi was not called for. It sounds like partners in crime 🙂 .

If we all accept that Mr Lalwani did not mean to put down Rafi, and the problem was only in ‘how’ he narrated the story, we can move ahead. Peeyush Sharma’s article, especially the objectionable part can be thrown to the dustbin. This is notwithstanding the fact that he may be quite knowledgeable and has written many in-depth articles, based on first-hand interviews with artistes.

With this exchange of smileys, I hope I am not required to go through the trial, and I can be discharged.

114 N Venkataraman October 24, 2019 at 2:13 pm

Pradeepji 100,,
There is one more film where SDB and Harindranath Chattopadhyay worked together (again as composer and actor).Teen Devyan (1965). I do not know about Tere Ghar Ke Samne, but he makes an appearance towards the end of the song Ae Se to na dekho, in the film Teen Deviyaan. He can also be seen in the final scene where the first lines of the song Likha hai teri aankhon me is repeated.

115 N Venkataraman October 24, 2019 at 2:36 pm

Shalanji @ 102,

“He prepared all her poems typing on the Typewriter. He was appointed in the first Raj Sabha member of the Nehru Government.”

You meant Harindranath Chattopadhyay and Rajya Sabha (the Upper House) . But Harindranath Chattopadhyay was elected to the 1st Lok Sabha (Lower House) as an independent candidate supported by the communist Party from the Vijaywada constituency.

116 Shalan Lal October 24, 2019 at 3:49 pm

Dr Shetty @103 & N.Venkatraman @115

First Dr. Shetty:

In my comment “Sarojini wrote a poem about her mad but loving husband.”. There is slip of using words. It should be read as “Sarojini wrote a poem about her mad but loving husband.” It should be “Sarojini wrote a poem about her mad but loving father.” And not husband. Her father left her his house called “Golden Threshold” hence her first volume of poems are called “Golden Threshold.”

I think her sub-title as “Nightingale of India” was about her sweet poems spoken in her musical voice a gift from her mother. Gandhi was not much interested in poetry. But he was interested in Bhajans and spiritual songs sung by Subbalaxmi especially when he was on the fasting bouts.

Dr Shetty your comments and memories are authentic. Mine are now a days becoming unreliable as I am suffering from the “Progressive loss of Memories” disease. This could happen to any one.

N. Venkatraman: No sir I meant Dr. Naidu he was appointed in the Upper House of the Indian Parliament. One of his sons also later on was appointed as the member of Rajyasabha. Indira Gandhi’s husband also was a member of the Rajyasabha.

Mahatma Gandhi always took Sarojini to the Round Table conference in England. She was the one who could talk English without Indian accent and also was very well known in England and America due to her Poetry Readings at various Universities. She earned a lot of fees from these readings. She regularly wrote reviews of the literary and art books sent to her by McMillan and other publishers.

After India became Independent she was expecting that Nehru would appoint her as the Foreign Minister. But Nehru kept that portfolio in his own hands. She was deeply hurt by Nehru’s act. She was made Rajpal of UP. And she died as a broken heart in that post.

There are a lot of information about Nehru’s mistakes and bad judgments about the people he appointed in his ministry and his own judgments on many things that should have a democratic look and not personal selections..

One daughter of Sarojini organised the vast library of Nehru papers. But she too felt that she was used by Nehru and did get right reward for her work.

History is very strange often frightening when a lot of unsavoury information comes in one’s way when one is not looking for it.

Shalan Lal

117 N Venkataraman October 25, 2019 at 5:17 pm

Hansji @110,
First a few words on Sahir-SDB:
You wrote,
“Otherwise consider SDB says ‘I worked hard with Sahir and under my direct supervision he wrote this song.’ Was SDB such an expert of poetry that he would supervise the work of a poet like Sahir and Sahir would tolerate that. SDB’s reputation was that he did not understand poetry much and perhaps because of that he always insisted on tune first, because then poet would write according to tune and SDB would not have to do ‘sarfutawwal’ to understand poetry.”

Whatever little bit of Bengali I know, I feel the problem lies in the translation. My reading is as follows
“I made Sahir sit with me and worked hard in conveying my tune and idea to him and accordingly got the lyrics written by Sahir.”
I think that is quite reasonable.
I would not like to enter into a debate on S D Burman’s understanding of poetry. But I have my limitations. Please tell me the meaning of ‘sarfutawwal’.

“At the outset, I say that I never said that I felt hurt by the phrase used against Rafi, so your addressing me this in retaliation to that was hardly needed.”

Hansji, you have misunderstood me. Against what I was retaliating? What made you conclude that I was retaliating? It never occurred to me. If you perceive retaliation in my expression of views on the subject, then I would have to stay out of such discussions in future. But that is not the point. I would not like to split my hair over it and would heed to your advice with due respects.

“Though I have explanations, yet I at the outset regret hurting your feelings as a fan of SDB with my remarks. But, when I write such things the first one who is hurt is myself. I do not like to say such things about SDB or anybody whom I respect. I am also a fan of SDB without any doubt.”
“I hope you would take my regret and explanations in the right spirit and excuse my transgressions, because I have a huge respect for you and would like to be in your good books.”

I appreciate your standpoint mentioned above. Why you need to write such things which cause hurt to yourself and others. There can be different and differing perspectives. Why you need to be scathing. It gives a wrong signal; a negative impression which, I believe is not your intention. The most important thing for me is our relationship and respect for each other and our opinions.

118 N Venkataraman October 25, 2019 at 5:40 pm

Shalanji,
You wrote
@ 102
“He was appointed in the first Raj Sabha member of the Nehru Government.”
@ 116
“N. Venkatraman: No sir I meant Dr. Naidu he was appointed in the Upper House of the Indian Parliament. One of his sons also later on was appointed as the member of Rajyasabha. Indira Gandhi’s husband also was a member of the Rajyasabha.”

Sorry I misunderstood you . Ok you meant DR. Naidu, Sarojini Naidu’s husband. Dr.Paidipati Govindarajulu Naidu.

Imperial Legislative Council was replaced by the Constituent Assembly most probably in 1946. And Dr. Naidu was not a member of the Constituent Assembly.

In November 1949, the constitution of India was passed. On 26 January 1950 the constitution took effect and the Constituent Assembly became the Provisional Parliament of India. The Rajya Sabha started functioning from 1952 and Dr. Naidu passed away in 1949.

In the Rajya Sabha site I could get only four Naidus who were members of the Upper House.
P. S. Rajgopal Naidu, M.L. Mary Naidu, N.P. Chengalraya Naidu and M. Venkaiah Naidu

Feroze Gandhi was a member of the provincial parliament (1950–1952). Then in 1952 and again in 1957 Feroze Gandhi was elected to the Lok Sabha (lower house) from Rae Bareli constituency in Uttar Pradesh.

I appreciate you difficulty. I am much very much younger than you and my memory doesn’t serve me well at times. It happens.
Madam, please correct me if am wrong.

119 ksbhatia October 26, 2019 at 1:20 am

Ms. Shalan Lal, N.Venkatraman ji ;

My memory is also failing me. I need to visit …Chamber of Archives !

During Nehru’s times my father was Deputy Secretary in the Ministry of Education and had worked under Education Ministers like , Shreemali , M C Chagla etc. At one time he held an additional post of OSD in National Archives of India…..where all the important files and records are kept for future references and luckily some of such records are now available on some internet sites too. Some important education files like….Central University Acts of mid 60s are accessible where one can trace even the minutes of the various meetings held from time to time when the Act was in drafting stage .

I think there exist one such Archives for Films too…..which if found could be a great reference tool also….just for sharping the failing memories .

120 Moti Lalwani October 26, 2019 at 9:56 am

N Venkataraman @ 117

Some Clarifications on your reply:”I worked hard with Sahir and under my direct supervision he wrote this song.”

My clarification: SD was a pioneer in composing tune first right from his Bangla days, on which the lyric writer had to write. Sahir, Kaifi and some others were not used to it. Hence, both the composer and the writer would sit together, writer would write, Dada would sing and ask writer to change where it didn’t fit the meter, and that’s how it was.

Kaifi. In fact has gone on record about SD Burman during his first film Buzdil (1951) days, that it was equivalent to, “Kabar khudi hui hai, murda dhoondke usmein fit karna hai.”

Here is the link to the Kaifi’s interiew on YouTube: 
https://www.youtube.com/watch?v=wo5Dxye1W-A&app=desktop  

About SD understanding Hindi/Urdu poetry, please watch my video on YouTube:
S D Burman and his Lyric Writers
https://youtu.be/76bx7-iED1I

Thanks.

121 Hans October 28, 2019 at 3:41 pm

AK @ 113
There is no charge and no trial. My smiley is genuine and was just related to your posts being so close in time. You know I do not need the camouflage of smilies because I believe in saying it directly.

I agree with you that Peeyush Sharma is intelligent and may be a real researcher. The scientist who made the atom bomb was also intelligent. But, intelligence is not the monopoly or prerogative of only a few. But, some people think others dumb and think they are only intelligent. These SDB and RDB fans ( I know they are all on one platform ) use at least half of their day in finding out ways of belittling Rafi and other great MDs. Rafi is their target because their favourite KK can be called great only if they rub-off the huge line of Rafi. Rafi was the person who was used by both father and son for enhancing their careers and then thrown like ‘doodh men makhi’.

I never thought that Rafi cannot go with folded hands to SDB, because what I visualise is that Guru Dutt and Geeta Dutt might have said ‘SDB is showing some nakhra, so kindly use some polite words to satisfy his ego’ and since Rafi had a genuine respect for for them as well as SDB and he with his music sense knew the importance of singing Pyasa songs, he might have obliged them. I think Geeta Dutt was instrumental in getting Pyasa for SDB, because she was seeing that OPN was, by that period going Asha way or should I say express-way, so she wanted to hurt OPN. SDB had initially given her a good platform, though after 1952 he gave her the slip. But that wound was a little bit older and healed, particularly because she was ready to forgive an old man from her native area.

Regarding Lalwaniji, the problem for me was never his words, but the fact that he called him a loud and full-throated singer and also said a new Rafi was born under SDB, as if he earlier was not a singer. I dont know which new perspective SDB gave to Rafi. He had sung all kinds of songs which he sang for SDB for others earlier. So I dont think Lalwaniji is going to change his view and he has every right to have his opinion. But, if he belittles Rafi, Bimal Roy, Guru Dutt or other MDs to bolster the image of SDB then there will be protests.

122 SSW October 28, 2019 at 8:07 pm

Hans @121 it was not Mr.Lalwani who called Rafi a full throated singer. At least that particular term was used by me in post number 31 and I used it because prior to Rafi (again entirely my opinion) few people sang with such voice projection and I have enjoyed his singing.

123 Hans October 29, 2019 at 8:51 pm

Venkataramanji @ 117

Let me first give here the link to the translation of that part of ‘sargamer nikhad’ which is relevant for the posted articles, which I intend to use.
https://greenwatchbd.com/the-nikhad-of-the-sargam-sachin-deb-burman/

Given below are the three translations, first is used in Mr Lalwani’s article, the second is given by you and the 3rd is in the link.
1.“I worked hard with Sahir and under my direct supervision he wrote this song.”
2.“I made Sahir sit with me and worked hard in conveying my tune and idea to him and accordingly got the lyrics written by Sahir.”
3.”The tune was composed after lot of effort with Sahir writing the lyrics in my presence.”

You admit you do not have enough knowledge of Bengali. The translators for other sources were certainly Bengalis, which you are not. The first translation has 14 words and the 3rd has 16 words, but, your translation with 25 words is surprisingly longer than the others, which does not happen normally. Still, I take your version. You say what is conveyed by your translation is reasonable. I think method of writing exams in school and college days where students are made to sit under a supervisor is left behind after we get degrees and in no job either govt or pvt people are made to work in front of superiors, let alone lyric writing. Lyric writing is also a creative job like music making, for which a person needs freedom. SDB is reputed to have said that Shailendra was the best of his Hindi lyricists, who would do a job sitting with him with a liquor bottle. How insulting? What would have happened if Director of the film had asked SDB to compose the whole music in his presence. Was SDB some sort of a king so far as music making was concerned and Sahir was his subject. Would Sahir accept the situation of writing lyrics before a person of the literary calibre of SDB.

‘Sarfutawwal’ is in my view a simple word, which means ‘kisi cheej ko samajhne ke liye jyada preshan hona. You can also use the word ‘matha fodi’.

Retaliation. I wrote what I felt. You did not object to anything, what Lalwaniji has written or lent even support to me when I asked questions based on some facts. But, you picked up the six words from my long reply which was written in some context. Further, you have in your comment 28 encouraged Lalwaniji to produce more and more anecdotes, which would show SDB’s superiority over the Directors and everybody else. You particularly asked him to say something about SDB tiff with Sahir.

You wrote – “Why you need to write such things which cause hurt to yourself and others. There can be different and differing perspectives. Why you need to be scathing. It gives a wrong signal; a negative impression which,”

I agree with you that there can be different and differing perspectives. So what I have said should also be taken in that spirit. Why that should create negative signals. If Lalwaniji writing a bunch of negative things about so many big guns for projecting SDB as god, is a different and differing perspective, then why my writing anything based on what I think a clear proof creates negative signals. I felt sorry for hurting you as a friend. That does not mean that I am taking back or rethinking what I had written about SDB, which I have done after thinking it out thoroughly.

124 Hans October 29, 2019 at 11:41 pm

SSW
I may tell you here that I have a huge respect for you and consider you the best in describing a song with the perspective of notes, instruments etc used and its ups and downs. We may have different opinions in some matters and in one or two instances we have argued our points. But I keep these things separate and know you have a deep knowledge of music and you discuss it with the perspective of an expert which I am not. When you talk about pitch or full throated singing it is different than what a layman thinks of these terms. So I never enter into arguments on these, because it is not my field. Due to this special place of you in my mind, I always read your comments with keen interest because it enhances my knowledge. I had read your comments at 31, when I posted my comments in reply to Lalwaniji.

If you can have a look at Lalwaniji’s comment at 43, which was in reply to your comment at 31, you will find that he used both the words full-throated voice and loudness which I have mentioned in my replies. You used the phrase full-throated singing, but Lalwaniji used full-throated voice in negative sense. You would agree that full-throated singing and full-throated voice when used like what Lalwaniji did are two different things. Rafi’s full-throated singing which you also called voice projection was a unique thing which made him different than other singers and thus a positive quality of which I am also a fan like you. But, Lalwaniji has used that as a negative phrase and also brought in the Bengali composers as a group rejecting Rafi due to that in the same comment. I was objecting to that.

125 SSW October 30, 2019 at 1:29 am

Thank you Hans. As for Rafi muting his tones this was evident even in songs before Pyaasa. Just as an example look at this lovely duet..

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

126 Shalan Lal October 30, 2019 at 4:11 pm

N Venkatraman @118 & ksbhatia @119

Thanks for your extremely researched comments. With that kind of digging in the archives it will be extremely stupid of me to go on augmenting.

In writing my comments I wanted to point out that in the history of early politics of the Indian Independence movement I had a feeling that Sarojini was used by both Gandhi and Nehru and honouring her relatives with lower kinds of honours the guilt of the top people was seen vividly.

The “Chattopadhyas of Hyderabad” were extremely important family as other classically known Bengali families were during the 19th Century.

Sarojini’s undermining is still prevalent according to me even today by the extreme exaltation to Tagore in poetry writing.

Sarojini did not write in any other language but English. Tagore wrote his poetry only in Bengali.

A few years back some people tried to create a debate about the English Translation of Tagore of “Geetanjali” as not good as the English poems of Sarojini. She had command on the English both written and spoken. She was a child prodigy. She wrote her first opus when she was under 12 years old. She finished her Cambridge matriculation before she was sixteen and she was a Gold medallist of the University of Madras in English.

Her English poems were far too superior than the contemporary English writers. But she never wrote or used Indian mysticism. In fact there was not a single poem by her about the Indian spiritual experience or something like that.

Indian spiritualism is always expected from an Indian abroad and nothing less is expected from the Indians.

This I found out when I was doing a short course on American crime literature in sixties. Almost all wanted to me write a crime story using my spiritual heritage. When I said I had no such experience in my life, they did not believe in me. They expected a spiritual talk from me and not scientific logical argumentation.

Sarojini had to fight both fronts Indians and in the West elites.

A time will come when people will want to restore her honour in both literature and in the socio-political order.

This is my faith.

Hence my mistakes in the political history about her and about her relatives can be ignored as mistaken outlook.

Shalan Lal

127 mumbaikar8 October 30, 2019 at 4:30 pm

Hans @ 111
“Otherwise, as per HQ Chaudhary’s book SDB mentioned just 4 singers in his autobiography and they were Kishore Kumar, Manna Dey, Lata and Asha.”
SDB may have had his reasons not to mention Rafi but in I cannot agree with that he did not much of Rafi, it may true pre Pyaasa but in Pyaas I think that Rafi stunned him.
We all agree SDB was a great M D don’t you think he was savvy enough to understand that only Rafi could deliver his concept. Listen to the nuances of Rafi’s singing in this song, it not even the best Tere ghar ke saamne song.
Sun le tu dil ki sada Tere ghar ke saamne
In second antara “ teer : cheer” third antara “ mera: tera and fourth Lagan: gagam:
https://youtu.be/XTjLqfgPTOk
But I do agree with you that he discarded him like Makhkhi from doodh for that I have a theory, I leave that for some other time.

Venkataramanji @114
Harindranath Chattopadhyay does make an appearance in sad part this song.
https://youtu.be/OFo8Ya0jmDE

128 Moti Lalwani October 31, 2019 at 8:56 pm

Majrooh Sultanpuri on ‘Jalte hain jiske liye’:

Way back in the year 2000, there was a program held in memory of S.D. Burman, organised by Bimal Roy Memorial Committee in St. Andrews Auditorium, Bandra West, Mumbai. Majrooh Sultanpuri, the Chief Guest of the evening, spoke in glowing terms on his association with Burman Dada. I attended it with three others from my family and friends. In the audience was Sunil Dutt, who also spoke about SD Burman, and how he used to be jealous of Dev Anand who always got music by S.D. Burman, until Sujata.

Years later, someone uploaded a video of that program on YouTube, with only the part where Majrooh had spoken on SD Burman. I downloaded it and also wrote down its text. Unfortunately, the YouTube video was removed after some time, most probably due to Copyright issues. I am reproducing here an excerpt of text where Majrooh speaks about Bimal Roy and SD Burman’s interaction on how to pcturise ‘Jalte hain jiske liye’ song from Sujata. The numbers are timing in minutes of the video.

3.30 Is ke pehle geet woh hua, ‘Jalte hain jiske liye, teri aankhon ke diye’. Iska ek bahut achcha lateefa hai iska. Ki yeh telephone par tha yeh geet. Aur, Bimal babu, kyon ki realism mein believe karte the, lihaaza, itni cinematic liberty nahin lena chaahte the ki telephone par gaana ho. To, Burman sahib ne usko bahut (samjhaya). Burman sahib kaafi yaani darpok kisam ke aadmi, agar woh rakh leejiye, to dab jaate the. Lekin, us din maine unki bravery dekhi, unki bahaaduri dekhi, ki, tahil rahe the to aise-aise tehlne lage. Aise tahil rahe hain, aur Bimal Roy sahib baithe hue hain, aise-aise tahil rahe hain.

(SDB) “Bimal babu.”
Unhonein kaha, ‘Haan’.

(SDB) “Agar tum hamara music nahin lega, gaana nahin lega, to hum tumhara music nahin dega.”

4.22 Yeh jumla, us-se (Bimal Roy se), bada ajeeb humko bhi laga, hum sabko bhi laga, aur sahib, unhonein unke (SDB) bholpan par, wakai unki bholpan par kaail hote hue, unhonein kaha,
(Bimal Roy), ‘Achcha-achcha, main doonga’. Aur uske baad woh geet aaya.
*****
Note: I don’t have any intention to get in to any argument here. It’s up to members to trust or not. However, I am willing to answer any additional question from this.

129 ksbhatia October 31, 2019 at 9:19 pm

Er.Moti Lalwani ji;

Thanks for the information. I think there was one more such episode during …..paying guest …..days when SDB was upset with Majrooh writing song in question answer ways. ….and ultimately agreeing.

And there was a Telephone Sound Test adopted by SDB to test check the quality of singer at that moment of time when finishing the tune . i have read this sometime during Filmfare days; waiting from yourself to confirm.

130 Moti Lalwani October 31, 2019 at 9:44 pm

@ ksbhatia ji,

In Majrooh’s words – l have his voice recording – Dada wanted a solo to be written on his tune while Majrooh pleaded with him to allow writing a duet in interactive way to which Dada agreed. There was no threat of stopping work like Sujata.
About telephone sound test I can’t recollect.
However I have Bandini episode where again Dada threatened to stop composing if Kalyani does not go out to sing. The proof is Gulzar’s interview which I have. Thanks for comments.

131 Hans November 2, 2019 at 7:09 pm

SSW
Thanks. I have always said Rafi could do anything. This is evident from how he renders his bhakti songs, which are normally rendered in one strain by most singers.

If you look at his journey from Sant Janabai (1949 – Sudhir Phadke), Baiju Bawra (1952 – Naushad), Chakradhari (1954 – Avinash Vyas), Tulsidas (1954) & Shiv Bhakta (1955) and Basant Bahar (1956 – Shankar Jaikishan), you would find that he has rendered his bhakti songs with a lot of variety. I am giving here his rendition of Ramcharit Manas chopais in Tulsidas.
https://www.youtube.com/watch?v=xBf0JvJF60c

132 Hans November 2, 2019 at 8:46 pm

Mumbaikar8
When you say Rafi stunned SDB in Pyasa, do you believe SDB did not know the capabilities of Rafi before that film. If that had been so then SDB would not have been so great a composer. So he knew very well that Rafi can not only deliver his concept, but with Rafi he could think of achieving those concepts which he could only dream with others. But, his Dhratrashtian love for Kishore made him settle below his dreams. It was only because of KK tantrums he was forced to use for such a long time and may be the producers/directors/financiers forced him to continue with him so long. You may be knowing that SDB did not give KK a single song from 1958 to 64, except where KK was the hero. In Teen Devian he discarded Rafi after 2 songs. Then in Jewel Thief he gave one duet to Rafi. At this time Rafi was simply ruling and distributors were asking the question whether Rafi was singing in the film or not. When Aradhana was announced distributors, who were cheated in Teen Devian and Jewel Thief, asked for solid proof that Rafi would sing. So the two Rafi duets were recorded and shown to them, though they were to come late in the film. Rafi was told he is done for the film and he went abroad. Aradhana became a hit is another matter.

The song ‘sun le tu dil ki sada’ is beautifully sung. ‘Meri awaaj ka teer jayega dil ko bhi cheer’ is literally true for Rafi’s voice. Rafi was at his romantic best with SDB in Tere Ghar Ke Samne. I am waiting for your promised theory.

133 Rajaraman Chennai November 2, 2019 at 10:14 pm

Friends
Am too an ardent fan of SDB. He is my numero uno MD. His tunes were extraordinary and he could scale up with less instruments. His tunes sound fresh even today.

However I have been a great fan of LP,SJ,KA,Roshan, Madan Mohan, not to mention the less celebrated Khayyam,Jaydev et al. I had a friend who could guess the MD on hearing the mukda.

So let us celebrate the film music gifted to us by all these giants.

Having gone through the October blog, l appeal to all that let us move on. Let us switch over to speak about their creations. May be we can commence our journey with a discussion on the use of popular and rare ragaas by them in their melodies. For instance please listen to the employment of pahadi by SDB or charukesi by KA or Naushad’s mystic ragaas. We will need some experts on classical music. I am sure there will be many in the group to enlighten us.

134 Hans November 2, 2019 at 10:15 pm

Lalwaniji
At 33 you said Bimal Roy was a puritan and now you give us a transcript in which Majrooh says Bimal Roy was a realist. Can you tell us whether both of these words mean the same thing or no. Also what was the cinematic liberty in singing a song on phone, because phone is for speaking and the same organs are used for speaking and singing. Why Bimal Roy had objection as a realist. Was he being asked to convey water through phone.

Also kindly decode the following, what it means.
(SDB) “Agar tum hamara music nahin lega, gaana nahin lega, to hum tumhara music nahin dega.”

And can you give us the transcript of the Gulzar interview.

135 AK November 2, 2019 at 10:42 pm

Rajaram,
Welcome to SoY and thanks a lot for your comments. You have said it very well. About songs based on classical music, SoY has a series of articles written by Subodh Agrawal.

https://www.songsofyore.com/category/songs-based-on-classical-ragas/

136 R Vasudevan November 3, 2019 at 12:39 pm

Re 133.
Mr Rajaram, Chennai Welcome to SOY.
If you are living in Chennai as I do, we can meet to talk about songs. If agreed I will let you know my next move.

137 N Venkataraman November 3, 2019 at 1:21 pm

Shalanji @126

I understand your point. I agree your focus was on Sarojini Naidu and the Chatterjee Family. Details about Dr. Naidu and his next generation were incidental. Thanks

138 N Venkataraman November 3, 2019 at 1:46 pm

Mumbaikar8 @ 127,
Thanks for posting both the versions of the song “Sun le tu dil ki sada”. I find Harindranath Chattopadhyay making an appearance in the first part too for a few seconds.

139 Rajaraman Chennai November 3, 2019 at 2:04 pm

R. Vasudevan @136

Mr Vasudevan, Yes I live in Anna Nagar, Chennai.
It will be my pleasure meeting you in Chennai. Please let me know.

140 Rajaraman Chennai November 3, 2019 at 2:25 pm

AK @135

Thanks AKji. Looking forward to enriching my spartan knowledge of HFS. Knowing & sharpening my knowledge about ragas of Tamil & Hindi film songs is a favourite pastime for me. Regards.

141 Rajaraman Chennai November 3, 2019 at 2:33 pm

Subhodji
Referring to AK@135, can you tell me on what raga is “ yeh dil deewana hai” from Ishq par Zor Nahi is based on.

142 R Vasudevan November 3, 2019 at 6:12 pm

Re 136
my e-mail ID is
raghavan_vasudevan@rediffmail.com.
you may send a mail to me.

143 Subodh Agrawal November 3, 2019 at 8:08 pm

Rajaraman @141. I am not sure, but it could be Khamaj – a raga that always stumps me. I haven’t been able to develop a feel for it.

144 Rajaraman Chennai November 3, 2019 at 9:51 pm

Subhodh Agrawal@143
Subodhji
I have been curious about the song. Some MDs like SDB have the genius of camouflaging a raga in order to heighten the melodic element. Another tidbit about this song may be of interest to all of you. I think the film was released in 1970., Kamalhassan must have liked the song immensely. In 1994, for one of his films Devar Magan, he hummed the song in a sitting with the great composer Ilayaraaja and asked him to compose a duet on the same lines. Maestro Ilayaraaja never agrees to such pleas. He agreed may be because SDB was his favorite composer and Kamal was a good friend. Rajaa used a different mukuda but the antara was similar. The song was a huge hit.
Song link is https://youtu.be/0d1fr5hyBsY.

145 Moti Lalwani November 4, 2019 at 8:13 pm

Rajaraman Chennai @ 144

‘Yeh dil diwana hai, dil to diwana hai’ – Lata and Rafi
Tamil song ‘Inji Iduppazhaga’ is from 1992 film Thevar Magan (Son of the Thevar) produced and written by Kamal Haasan who is in the title role. Here he narrates how Ilayaraja came to compose the Tamil song based on the tune of ‘Yeh dil diwana’. The song was later remixed by Smitha in her album called “Kalakkal”

“The way the song ‘Inji Iduppazhaga’ came about is itself an exercise in knowing how an artist’s mind works,” he said. Ilayaraja kept asking Kamal what he wanted… exactly. Kamal said he couldn’t say… exactly. “I said, ‘You have to be the paediatrician. The child does not know how to say what’s happening. You have to find out’.”
Kamal explained that it had to be a monotonous tune, a simple melody that kept looping back, like something that would air on Pappa Malar, the All India Radio show conducted by “Vanoli Anna” where children sang, often breathlessly. Ilayaraja said, “That’s a good idea, but how do you make a populist song out of it? It will be a funny song, but how do you make a populist song?” And Kamal began to sing ‘Yeh Dil Deewana Hai’, the S.D. Burman number from ‘Ishq Par Zor Nahin.’ And, in front of me, Kamal Haasan launched into the Hindi song. This, I’m beginning to realise, was the best part of these interviews, his impromptu launches into song – and he sounds exactly like how he does in the recordings, exactly. After he finished, he said, “If it had been any other music director, Raja might not have listened. But he has a special respect for SD.” Ilayaraja began to tap out a talam on the harmonium, and within 10 minutes, he had a variation on the S.D. Burman tune. The composing was done. Kamal Haasan told me, “It’s not like he was taking from the tune. He was taking from my need.”

Listen to the song ‘Inji Iduppazhaga’:
(Source: http://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/the-ilayaraja-connection/article6380620.ece

The song was later remixed by Smitha in her album called “Kalakkal”. Here is the link:
https://www.youtube.com/watch?v=WCsY3h44tBo

146 ksbhatia November 5, 2019 at 12:52 am

Er. Moti Lalwani ji;

Navketan Production team with SDB ….had hard won achievements giving hits one after another. With team work of Chetan, Dev and Vijay the entertainment was assured .

At some moment of glory something strange happened and we saw Goldie leaving the scene or rather leaving the Navketan camp giving way to Dev for holding the fort. Dev started with a promise but flatter in subsequent film following with different permutation and combinations with young hero, heroins and MDs .

In this exponential fall period of no return…..Goldie was in his own self and he too made some good movies under different productions ….which too were hits in early periods . When not in demand he acted in two or three movies ….mostly suspense/ crime thrillers but banged at the box office . …..A pure case of fall by default.

It is sad ; it is impossible to live without failing at something where you have loss the grip. Chor Chor ….was such movie in which Vijay Goldie was hero , Dialogue writer and …. stated in the titles as Navketan Enterprise . The movie had no song writer , no Music Director and was at a great risk of being a big failure …and it was. An unkind of a Navketan Productions.

Yes ; a few lines of famous signature song from …house no 44 …..pheli hui hai sapno ki bahein….was used…sung by Vijay Anand on harmonium in one scene and the complete portion was used in background for creating suspense [ la gumnaam hai koyi].

This was the road they traveled to nowhere.

Phaili Hui Hain Sapni Ki Bahain – Vijay Anand -Chor Chor

https://www.youtube.com/watch?v=AQIQ6xIHFYA

Meanwhile SDB sticked to his magic wagon and gave hits after hits under different production houses….never yielding even at his closure end .

147 Moti Lalwani November 5, 2019 at 7:14 am

ksbhatia ji @ 146,

Vijay Anand fell out with Dev Anand. I have Vijay Anand’s six page interview, ‘REVISITING VIJAY ANAND, THE DIRECTOR, PHILOSOPHER AND GUIDE’, which appeared in Filmfare issue of May 1999. In it he narrates how the three brothers fell apart, Chetan being the first to leave Dev.

Incidentally, ‘Navketan Enterprises’ belonged to Vijay Anand, which produced ‘Tere Mere Sapne’, ‘Chhuppa Rustam’ (both with SD music), and other movies, mainly flops.

Talking about Goldie loosing his magic touch, I believe we all have our periods of inspiration, when as if some external creative force guides you. During that period, whatever you do goes right. And when that creativity leaves you, whatever one does goes wrong.

There are many reasons of S.D Burman remaining on top from beginning in Calcutta as a singer to end in Bombay, both as a singer and composer, will fill up a chapter of a book, and even then it won’t be complete. In 1973, his Abhimaan won award against Yaadon Ki Baarat (RD), Bobby and Daag (L-P) and Zanjeer (K-A), which were all super hits.

He would have won many more awards, but for machinations of some.

Regards.

148 R Vasudevan November 5, 2019 at 8:59 am

my posting at 142 with ref to 139.
I revealed my e-mail ID hoping that you (Rajaraman) would send me a mail but so far I did not receive any mail. I was expecting an introductionary mail. Your response pl. If not interested even than spell out. I live not far away from you.

149 Rajaraman Chennai November 5, 2019 at 2:03 pm

R. Vasudevan@148

Will revert shortly. Regards. N

150 N Venkataraman November 6, 2019 at 10:26 pm

Hansji @ 117,
Thank you for your candid views.
Initially I thought of replying to your comment, taking every point into consideration. That was on 29th October and today is 6th November. The one week gap changed my thoughts. And I felt it will not be prudent on my part to take this discussion any further.

151 ksbhatia November 6, 2019 at 11:13 pm

Er. Moti Lalwani ji @147;

Yourself……”………Talking about Goldie loosing his magic touch, I believe we all have our periods of inspiration, when as if some external creative force guides you. During that period, whatever you do goes right. And when that creativity leaves you, whatever one does goes wrong……”

Very well said . Yes, all Three of Navketan Champs sank like …Titanic, Bismark and Armada Ships ….but their music from the Golden era is still sailing . At the height of their career they climbed high hills and travelled rough roads and sailed thru high waves too ….but destiny was written . I think they were beaten by their own over enthusiasm when entering the colour films era.. To me their B & W films did better in many departments…….and music was at forefront …..that never followed the diminishing curve .

SDB was good at composing dance music and some of it were very effectively used in matching the story and screenplay . The Sapera dance number from Guide still lingers…. and whenever I am on listening mode for background score I turned to more of such songs from Jadoo , Mela etc also. The Jewel Thief musical score is another one which has a long dance number.

SERPENT DANCE BY WAHEEDA JI-GUIDE (1965)

https://www.youtube.com/watch?v=0kBvonZZiDc&t=179s

This dance number was retained in the English version of Guide also.

152 Moti Lalwani November 7, 2019 at 5:31 pm

ksbhatia ji @ 151

There are instances where SD resorted to taking dance steps to compose dance music. I have Waheeda’s voice clip when she has said that in Guide, after working hard on a dance music, he asks her how she will dance? Before she replies, he takes a few steps suggesting to her to dance that way. She doesn’t narrate which song it was. I have that audio clip with me.
There is Shakti Samanta’s published interview of 1980s with me, wherein Shakti has narrated that Dada had asked him the distance between the tractor wheels. One day when Shakti reached Dada’s ‘The Jet bungalow’, he found that Dada had drawn chalk marks on floor, and was found dancing to the rhythm of the song he ultimately he created. Rhythm player Lalji Gangavane’s son Sushil told us that his father had told him that Burman Dada used to dance while composing dance music.

Thanks.

153 ksbhatia November 8, 2019 at 6:50 pm

Ms. Shalan Lal, Venkatraman ji, Moti Lalwani ji;

There has been many Boat songs….romantic and symbolic also…..but never like this one which starts as a comic one and then turned to beautiful romantic song with beautiful romantic lyrics.

Some time I wonder ….people with high cheek bones are high on performing arts too. Whenever I see of Sophia Lorens movies and Photos i am reminded of another high cheek beauty …Sheila Rehmani ……. one with unmatched beauty. Her smile, her big expressive eyes and her smooth club songs with appropriate body language ….never going vulgar , still finds place as amongst best in my favourable wish list. There never was and there never be like her .

Hear this song that has the SDB’s Midas touch of turning tables….starting in a comic way and then turning into romantic one. SDB not only created music but made past as well…for us to cherish it till infinity.

AANKH JHUKA KER BAITHNE WAALE ,WO DEKHEIN TO UNKI INAAYAT -KISHORE -ASHA -SAHIR -SD BURMAN…FUNTOOSH

https://www.youtube.com/watch?v=RIki4BLpSms

I feel SDB’s high cheek bones brought many wonders too. To some extent Sahir too had such appearance .

Closely listening to this song reminds me of mukhda just before ….Jaane kya tune kahi ….of Pyassa ……another milestone of SDB.

Jane Kya Tune Kahi….

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

This mukhda was again used in Phir Subha Hogi. This time by Khaayam .

154 Moti Lalwani November 9, 2019 at 10:38 am

ksbhatia ji @ 153

Yes, Sheila Ramani was beautiful, even in B&W film. The dimples added to her beauty, carrying herself well, even in presence of debonair Dev.

I will add some information for those who may not know:
Asha has gone on record that ‘Jeene de, aur jiyo’ was her first ever cabaret song. And Lata has said that her first cabaret song was in ‘Taxi Driver’ (1954). Incidentally,

Lata had three of them, out of which ‘Ae meri zindagi’ is my most favourite. SDB’s unique ability was to create a tune apt to the situation, this being one of his best. The music alone beautifully creates the tension in the air, rising to a crescendo, and then there is deathly silence.

Besides KK and Asha, there is a third voice of the actor spurned by Sheila, who Sings:
“Aankh chhupa kar baithne waale, aankh uthha kar dekh zaraa
Hum bhi hain tere chaahne waale, teer chalaa kar dekh zaraa.”

I checked up with Mohan Churiwala, a long-time friend of Dev Anand. It’s KK all the way. About the 3rd person (kabab mein hadi), Mohan says that his name is Hammad, father of Farzana. Farzana is a friend of actress Rekha.

Mohan has no idea whose voice is behind Hammad’s lip-syncing. But, I am told by a friend the 3rd voice is of Bhagwan Sinha who Sings:

Aankh chhupa kar baithne waale, aankh uthha kar dekh zaraa
Hum bhi hain tere chaahne waale, teer chalaa kar dekh zaraa

Dev Anand lip syncs for himself:
Bandar jaisi soorat teri, murge jaisi taangen hain
Arre bandar jaisi soorat teri, murge jaisi taangen hain
Arre woh kyaa dekhen tuhi khud ko, aayinaa laakar dekh zaraa

(It is a lovely song well picturised in a boat devoid of much orchestration.)

155 R Vasudevan November 11, 2019 at 6:36 pm

Ref at 149
Request Mr Rajaraman not to send a mail to me.
I waited for a week. Further having revealed my e-mail ID I am
receiving unwanted mails also.

I may leave songsofyore shortly

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