Hindi songs of Emotional Impact - nostalgic, favorites etc

[V_S]

raj sir,
Congratulations on becoming school first! It was wonderful to read your school day memories and your first publication, listening to Mirza Ghalib's Nukta cheen hai gham e dil. All three versions are competing to be the best. Thanks!

swarup sir,
Congratulations to you too! Thanks for introducing these unknown gems and also for introducing Kamal Das Gupta and Firoza Begum. What a beauty of a song and what a singing! I am now on searching spree. Thank you!

Surkh Aanchal Ko Daba Kar Jo Nichoda Us Ne
Dil Pe Jalta Hua Ek Teer Sa Chhoda Us Ne
Aag Paani Men Lagaate Hue
Aag Paani Men Lagaate Hue, Haalaat Ki Raat
Zindagi Bhar Nahin Bhoolegi

Mere Naghmon Men Jo Basti Hai Vo Tasveer Thi Vo
Naujavaani Ke Haseen Khwaab Ki Tabeer Thi Vo
Aasmanon Se Utar Aai Ho
Aasmanon Se Utar Aai Thi Jo Raat Ki Raat
Zindagi Bhar Nahin Bhoolegi Vo Barsaat Ki Raat
Ek Anjaan Haseena Se Mulaakaat Ki Raat
Zindagi Bhar Nahin Bhoolegi



Roshan ji's fantastic once in a lifetime composition for absolutely marvelous poetry by Sahir Ludhianvi and rendered flawlessly by Rafi saab for perfect onscreen couples Bharat Bhushan and Madhubala. How the songs of love have been then, and how shattered now!

[gaddeswarup]

V_S,
Thanks. Kamal Dasgupta was the music director of Jawab (1942) and other films. There is a nice song "aye chand chup na jana" by Kanan Devi and many others in that film. There are several uploads of it which are somewhat scratchy; you may be able to find a good one. There are a few in the blog post
http://cinemacorridor.blogspot.com.a...-dasgupta.html
Regards,
Swarup

[rajraj]

From Kagaz ke Phool

Waqt ne Kiya Kya Haseen Situm........




V_S: Thanks. When I was in high school my ambition was to become a writer like T.Janakiraman. When I went to college for Intermediate in Science I met three others with similar ambitions. We all wrote to different magazines. When I went to Engineering I had not time to write except for the annual manuscript magazine edited by a friend. Strangely, some of my engineering classmates remember me for my writing than engineering! Soemtimes I wonder whether I took the right turn!

Swarup:

[rajraj]

Suraiya and Rafi in Naach(1949) :

Ai Ishque Hame Barbad Na Kar....



I posted a few songs in this raaga earlier!

Have a good weekend!

V_S: The word my linguist friend used was "chandabangam". If singing the way it is written(pronouncing correctly) results in 'chandabangam'(affects chandam) the words can be altered adding vowels where appropriate or splitting words into syllables!

[V_S]

Thanks Swarup sir for sharing the valuable blog. I will listen to Kamal Das Gupta's compostion and also need to have it in my collection. These are the things which will be memorable when looking back after few years.

Thanks raj sir for SDB classic from Kaagaz ke Phool. Whenever I listen to this song, somehow I mistake Geeta Dutt's voice as Lata's. Her voice is so close to Lata in this song. Also only few times in that era, we can clearly hear the bass lines. This song is one of them. Also thanks for explaining the chandabangam. Chandathirkku bangam vanthuvidum. That's the point I am also deriving it. I get it, somehow these vowels congeals well with the hindi words, so it does look so awkward, but was just wondering, if they could have composed without using that liberty. Atleast in our thamizh film songs (in classical we have, because that's is more of singing skills rather than lyrical skills), I didn't find this much, may be it will look awkward, as the language is very strict?. It's good anyway not to take that liberty.

Regarding Ai Ishq Hame Barbad Na Kar, is it Darbari (Kaanada)? It takes me to Chinnanchiriya vaNNapparavai eNNaththai solluthamma. Great Composition by Husnlal-Bagatram.

[gaddeswarup]

V_S,
Of those Kanan Devi songs, I find the Bengali versions are better preserved and I posted some links in my blog
http://gaddeswarup.blogspot.com.au/2...evi-songs.html
Rajraj,
I do not know much about ragas. I started recognizing a couple of ragas but then decided that I just liked the songs, some of the MDs seem innovative use ragas in different contexts from which they were meant and sometimes even mix up ragas.
There is an interesting article about 'Lapak Jhapak' which links to a discussion about it in the Hub
http://www.svabhinava.org/abhinava/S...apak-frame.php
It also says "We have here an apparently bizarre situation where everyone is ravished by Lapak Jhapak and attributes its musical appeal to the sublime power of the underlying râga, and yet there is little agreement and much confusion as to its identity!

Online listings of film music tend to classify this song as Darbarî Kanada or Miyan kî Malhâr, though instances of its being labeled as Megh Malhâr, Adânâ, etc., or even “Jai Malhâr” (invented solely for the occasion ..."

[Sunil_M88]

Some of you might find these mixes profane, but it’s definitely a treat for the new generation. Personally, the way the sensibilities have been bridged is a true representation of the best of both worlds.

http://soundcloud.com/republic-of-br...nowhere-movie/

1^st mix – Kabhi Kabhi
2^nd mix – Chalte Chalte
3^rd mix – Phoolon Ka Taron Ka

Refer to http://www.mayyam.com/talk/showthrea...l=1#post875516

[V_S]

V_S,
Of those Kanan Devi songs, I find the Bengali versions are better preserved and I posted some links in my blog
http://gaddeswarup.blogspot.com.au/2...evi-songs.html

Thanks swarup sir for highlighting this forgotten singer; Kanan Devi. After your post on Kamal Dasgupta and Kanan Devi, I am completely bowled by her singing and the innocence she brings to her voice. I was listening to Aye chaand chup na jana continuously last night. Brilliant ever! Even Lata ji has paid tribute to her by singing this song, but not even close to that innocence. Not to forget that 'Toofan Mail'. It seems it was so popular those days. Every song in Jawab (1942) is something we don't get to hear at all nowadays. I think they would have said the same thing in 60s too. As I think there is a huge difference in hindi films songs from 40s to 60s. I tend to favor 40s and early 50s mainly because of these forgotten/rare singers like K L Saigal, Suraiya, Kanan Devi, Amirbhai Karnataki, K C Dey, Kursheed, Zohrabhai, Noor Jehan, Uma Devi, Shyam, Timir Baran, Pankaj Mullick, Firoza, Surendra, Shamshad Beghum (and so on...) and for the composing syles being so rooted.

I collected Jawab songs and tried to remove some noise to atleast be audible. Please let me know if the songs are from the film. I also heard some wonderful voices in PC Barua, Anima Sengupta and the composer himself.

http://www.mediafire.com/?avbp210kapk2w38

[gaddeswarup]

V-S,
Thanks. I will check it out. Actually I know very little about music, neither ragas nor film music. People like Rajraj seem to know much. I got interested in mathematics around 1957 and did not pay much attention to any thing else. But some of the songs I heard in forties and fifties mostly Telugu, some Tamil (I went to college in Madras),and some Hindi songs which I picked from my mother, friendsand Radio Ceylon stayed with me and now with YouTube, it is possible to listen to many more. Strangely, I find myself drawn to the same singers you mentioned. There are some articles on the evolution of Hindi film music in Upperstall, I posted the links in my blog
http://gaddeswarup.blogspot.com.au/2...steryears.html
Sometimes I go to old threads in the Hub which has a lot of information about old film music in various languages. Recently I found about Periyanayaki from one of these old threads.

[rajraj]

I was searching for a particular song and I came across this song by Madhubala Jhaveri. Her voice reminded me of M.S.Rajeswari in Tamil movies.

From Dost(1954) -Music: Hunsraj Bhel

Dekho chanda se khelen sitaren..............



Swarup: The song 'lapak japak' seems to be humorous song or a song in a comic scene. If it is so I would not be concerned about change in the ragas. Darbari Kanada and Adana are close ragas from the same parent scale.
Moving from one to the other is easy. Megh Malhar is from a different parent scale. It takes changing notes completely. I suspect the music director did it intentionally. Megh Malhar is sung to bring rain. Watching the movie will give some clues! I have not watched the movie. Some of the songs I posted follow the ragas faithfully.

V_S: I had lunch with my linguist friend today. He said some of the words used in Hindi songs are not used in conversations or writing - piya,sajan,saajan, sajni, sanam,baalam etc. Looks like they have a separate dictionary for songs in movies! In Hindustani music importance is given to raga exposition. In Carnatic music both raga and composition have equal importance because carnatic compositions are devotional. Nobody would think of singing the Tamil equivalent of 'kya karoon sajani aaye na baalam' in a Carnatic concert ! There are a few romantic compositions in carnatic classical !