16^th June 1920 to 26^th Sep 1989

Among the top music directors of the golden era of Hindi film music, there was one who was not only a very talented music director but an accomplished play back singer also. His contribution to the Hindi film music  may be less in terms of number of songs , but he is considered a colossus in the Bengali film music , especially Rabindra Sangeet. It is my lack of exposure to the Bengali music that I must restrict this blog to his immortal melodies in Hindi film music. I am referring to Hemanta Mukhopadhyay, also known as Hemanta Mukherjee or simply Hemant Kumar.

Born on 16^th June 1920, in Varanasi at his maternal grandfather’s house. He grew up in his paternal family at Kolkata and completed his schooling there. He started doing a diploma course in engineering at Bengal Technical Institute that was later known as Jadhavpur University . However due to some health issues and his passion towards music , he did not complete the course.

He was interested in literature apart from music and even published a short story in Bengali. From the late 30’s and through  40’s he started working in Bengali films and scored music for many films. It was in the year 1947 when , along with his contemporary  and another great music composer Salil Chowdhury, he got immense success with the non-film song Ganyer badhu that depicts the rural peasant’s life ravaged by famine and poverty. It was composed  after the Bengal famine. Sung by Hemant da , written and composed by Salil da, the song was unconventional in its structure that was the hallmark of Salil da. Later Salil da & Hemant da went on to work together for many popular Bengali songs.

In 1952, director Hemen Gupta gave the first opportunity for Hemant da to work for his  Hindi film – Anand Math. Two songs from this film are popular to this day -the soul stirring Vande Mataram rendered by Lata Mangeshkar and the Geeta Dutt-Hemant da bhajan Jai Jagdish Hare . In fact there have been many tunes for the National song Vande Mataram written by Bankim Chandra Chattopadhyay , but the one composed by Hemant da for this film remains the most popular. Few films after Anand Math went mostly unnoticed and Hemant da had thought  of returning to Kolkata for good. However  the famous producer S Mukherjee  insisted that Hemant da should try his best before that and gave him an opportunity to score the music for Nagin in 1954. The famous “ been” ( the instrument used by snake charmers) sound created by him with the help of Kalyanji Veerji Shah who played the Clavioline and Ravi , who played the harmonium became a rage and brought him the much-needed success as a music composer in Hindi films. Kalyanji , with his younger brother Anandji went to chart his own path as a leading composer-duo and Ravi Shankar Sharma also carved out a path for himself as a successful music director.

From then, till the early 70’s he scored exceptional music as a composer and rendered evergreen songs as a playback singer in his own compositions and for many of his contemporary music directors . His baritone had a distinct  vocal texture  as compared to other leading singers of that era like Rafi, Talat , Mukesh , Kishore , Manna Dey etc. His duets with the legendary Geeta Dutt and Lata Mangeshkar are a class apart.

In this blog, I have tried to touch upon some of his exceptional songs as a composer and as a singer. As I had mentioned in the beginning , I am writing about his Hindi film songs only ; his Bengali repertoire is so great and my exposure to them is almost non-existent . The first part of this blog consists of his songs as a composer and second one as a singer. The songs are listed in chronological order of the year of their release, with following details mentioned : Song/Film/Year/Lyricist / Singer(s)

Part 1: Hemant Kumar’s haunting melodies as a music director

1. Man dole mera tan dole- Nagin-1954-Rajendra Krishan-Lata

We start off with that iconic  song that brought the snake-charming ‘ been’ sound so popular and  brought immense fame to Hemant da.  Kalyanji Veerji Shah  with his clavioline  , along with Ravi playing the  harmonium in tandem created that mesmerizing ‘ been’ sound.

2. Jaadugar saiyyan chodo mori baiyyan-Nagin-1954-Rajendra Krishan-Lata

In Hemant da’s compositions, Lata had some of her best songs and the film Nagin was a precursor in many ways. The superb mandolin , flute and a catchy fast -paced rhythm come together to create a lilting melody.

3. Na yeh chand hoga-Shart-1954- S. H. Bihari-Geeta Dutt

While Lata  was melody personified , Geeta Dutt had a unique voice and she could sing a song of pathos, a bhajan, a cabaret number and a romantic song -all with equal  fervor. It was tragic that she had a very early death and passed away when she was just 42 years old. This song was sung by her and also by Hemant da as a separate solo. I have have provided link to Geeta Dutt version only here . Geeta must have been just 24 years when she rendered this , but note the depth in her singing.

4. Piya aiso jiya mein- Sahib Bibi Aur Ghulam-1962-Shakeel Badayuni-Geeta

Dutt

Sahib Bibi Aur Ghulam was a turning point in Hemant da’s career , with all the songs remaining  so popular to this day. Geeta had three songs in this film-Koi Door Se Aawaz De Chale Ao, Piya Aiso jiya mein and Na jaao saiyyan -all three can be counted among her career best songs. Hemant da used the traditional Dhol , famous in Bengali folk music ,  the sitar and flute so beautifully in this song.

5. Na jaao saiyyan-Sahib Bibi Aur Ghulam-1962-Shakeel Badayuni-Geeta Dutt

Once again the sitar takes center-stage and Geeta had given her best in this -what a superb emotion she conveys with an understated , intoxicated tone that conveys the pain in the character’s feelings.

6. Saaqiya aaj mujhe neend- Sahib Bibi Aur Ghulam-1962-Shakeel Badayuni-Asha Bhosle

If the earlier two songs were with subdued elegance, in this dance number  Hemant da goes all out with a grand orchestration . Asha must have rendered very few songs for Hemant da ; in this film there were only two singers Geeta and Asha. And what a scintillating performance Asha has given! The tabla and harmonium play a very important role in the orchestration along with violins and sarangi.

Shakeel Badayuni, usually associated with Naushad has written excellent songs in this film.

7. Kahin deep jale kahin dil-Bees Saal Baad-1962-Shakeel Badyuni-Lata

Now we come to the song that inspired the title of my blog. Whenever I think of Hemant da’s music , I always consider them as haunting melodies. Being an avid reader of Sir Arthur Conan Doyle , I find it amusing how his novel featuring the fictional detective  Sherlock  Holmes in “ The Hound of Baskervilles”  can have a situation for songs ! Having said that if there are no songs in our films , there is no raison d’etre for this blog!. The film is known for this haunting number. Lata’s “ oh oh hoooo” alaap sets the spooky theme of the song , coupled with the Hemant da’s excellent tune and orchestration.

8. Jhoom jhoom dhalti-Kohra-1964-Kaifi Azmi-Lata

If we look at Lata’s amazing repertoire, with each of the legendary music directors, she has left behind a legacy of so many  songs of different genres. With Hemant da, we can hear the intensely emotional and haunting melodies of Lata. Hemant da’s orchestration really gives you the goosebumps!

9. Pyasi hirni ban ban dhaye-Do Dil-1965-Kaifi Azmi-Lata

This is a very rarely-heard song , picturized among the mountains. Apt to the setting, Hemant da creates a magical tune that reverberates with Lata’s exquisite vocals that appear to echo from the mountains. A unique tune with equally unique interludes.

10. Dheere Dheere machal-Anupama-1966-Kaifi Azmi-Lata

Anupama film had some of the best compositions of Hemant da. If we must list out the top ten Hindi film songs that has piano prominent in the orchestration , this must be at the top . I have included 3 songs from this movie in my selection and that itself shows how much I like the songs of the film.

11. Kuch dil ne kaha- Anupama-1966-Kaifi Azmi-Lata

Sometimes I feel it is a futile task to describe or write about a song as one can never do any justice to masterpieces like this immortal Lata song. The string arrangement, flutes, and rhythm  only through the base guitars-what a magic Hemanta has created! And how can one describe the way Lata sings “ Aise bhi baatein” and “ kuch bhi nahin”…one must simply immerse oneself into the melody.  

12. Hawaon pe likh do-Do Duni Chaar-1968-Gulzar-Kishore Kumar

One of my favorite Kishore da’s songs , sung by him in his inimitable style, complimented so nicely by Hemant da’s lilting melody.

13. Wo shaam kuch- Khamoshi-1969-Gulzar-Kishore  Kumar

Again a superb song by Kishore da, in fact one can easily consider this among his top ten songs. Just like Anupama, the film Khamoshi , which Hemant da composed towards the fag end of his career , had some of his best songs.

14. Humne dekhi hai un aankhon- Khamoshi-1969-Gulzar-Lata

Whenever Lata and Hemant da collaborated, they just created evergreen melodies. Gulzar describes love in this song  as ‘ sirf ehsaas hai, rooh se mehsoos karo.’ I  am borrowing these lines to describe Hemant da’s compositions. They just  have to be experienced.

Part 2 :Hemant Kumar’s exceptional songs  as a singer

We now look at some of Hemant da’s exceptional songs in which he played the role as a playback singer , mostly in the compositions of other music directors and a few which he had composed himself. His baritone was  distinctive  and set him apart from many other contemporary singers. Of course , his voice was more suited for selective genres and one can arguably say that he was not a full-fledged main stream playback singer. But whatever he sang , was simply outstanding and remains haunting us long after we listened to them.

1. Yeh raat yeh chaandni- Jaal-1952-S.D. Burman-Sahir Ludhianvi

In my opinion this masterpiece from the team  of S .D Burman and Hemant da was far ahead of its times. What an orchestration by Burman da! Even today the song sounds so fresh and youthful. There are two versions -solo by Hemant da and his duet with Lata. I have provided the link to the Hemant da solo version only.

2. Yaad kiya dil ne- Patita-1953-Shankar Jaikishan-Hasrat Jaipuri-Duet with Lata

The early fifties were literally a goldmine for music lovers, with each legend creating a unique style in composition and orchestration. SJ’s Patita had some of their top songs. In the initial years, Dev Anand had Hemant da and Talat Mehmood doing the playback for him before he shifted to Rafi and Kishore.

3. Jaag Dard-E-Ishq Jaag-Anarkali-1953-C Ramachandra-Rajendra Krishan-Due with Lata

If songs # 1& 2 were from the legends  S D Burman and Shankar-Jaikishan, would another giant C Ramachandra be left behind! Anarkali was CR’s magnum opus and he  gave Hemant da this lilting romantic song , a solo -Zindagi Pyar Ki do chaar gadi and the title song Ae Baad-E-Saba Aahista Chal, Yahan Soii Hui Hai Anarkali sung in Heer style.

4. Aa neele gagan tale-Badshah-1954-Shankar Jaikishan-Hasrat Jaipuri- Duet with Lata

In their early years , Shankar-Jaikishan composed out-of-the-world compositions with bare minimum orchestration ( personally , I consider them the best among best) and this is one such song. The sweet vocals of Lata , contrasted with the rich baritone of Hemant da makes this a superb duet.

5. Rulakar chal diye- Badshah-1954-Shankar Jaikishan -Shailendra

From the same film , Badshah, one more memorable song of Hemant da. His tone perfectly matches the mood of the song . At the lower notes, just like Mukesh , Hemant da’s voice sounds so nice.

6. Teri duniya mein jeene se-House No. 44-1955-S.D. Burman-Sahir Ludhianvi

Before the infamous spat between them after the great success of Pyasa film, Sahir and S D Burman gave so many evergreen melodies. The baritone of Hemant da is in full flow in this song. With very simple orchestration , Burman da takes you into a different world.

7. Mujhko tum jo mile-Detective -1958-Mukul Roy-Shailendra-Duet with  Geeta Dutt

If Hemant da & Lata had given so many excellent duets, with Geeta Dutt also he has rendered many such gems. Composed by the relatively unknown Mukul Roy who is the brother of Geeta Dutt, this is a sweet duet that lingers in your mind even  hours after you listen to it.

8. Neend na mujhko aaye-Post Box No. 999-1958-Kalyanji Veerji Shah-P.L Santoshi-Duet with  Lata

Hemant da never had any qualms about singing in compositions created by his many assistants and juniors. This is one of the very early hits of Kalyanji-Anandji.

Set at high pitch, both the legends breeze through the song with ease. In the beginning Kalyanji composed music alone and was credited as Kalyanji Veerji Shah before his brother Anandji joined him.

9. Tumhein yaad hoga-Satta Bazaar-1959-Kalyanji Veerji Shah-Gulshan Bawara- Duet with  Lata

This is a great song during the early days of K-A duo , with a superb saxophone in the interludes, piano in the orchestration. As usual the heavy tones of Hemant da contrast so beautifully with the sweet notes from Lata.

10. Lehron pe leher-Chhabili-1960-Snehal Bhatkar -S Ratan

Although the song is inspired from Dean Martin’s “The Man Who Plays The Mandolino” -1947, Snehal Bhatkar improvised the interludes and antara and created a masterpiece. Hemant da’s voice perfectly fits in for songs like these.

11. Ganga aaye kahan se-Kabuliwala-1961-Salil Chowdhary-Gulzar

In her Shraddanjali album , Lata had commented that when we listen to Hemant da, it is like listening to a hermit sitting on the banks of river or in a temple and singing in a divine voice. She must have had this song in mind. As they say the greatest things in this world are always most simple. Except for an “ Ektara” and a simple percussion , Salil da has not used any musical instrument, but what a soul-stirring composition he has created!

In the last antara , after the line “ Naam koi Boli Koi Laakhon Roop Aur Chehre” , the alaap that Hemant da does is something out of the world. 

12. Yeh nain dare dare- Kohra-1964-Kaifi Azmi

Should I write about Hemant da the composer or the singer? What a scintillating composition with the strings and flute going in sync with the rich baritones of Hemant da. Truly an intoxicating song!

13. Chupa lo yun dil mein-Mamta-1966-Roshan-Majrooh Sultanpuri-Duet with  Lata

The masters of the golden era could create countless melodies like this with bare minimum orchestration. Roshan depends solely on the vocals of Hemant da and Lata with only a flute being the  prominent instrument used in orchestration.

14. Ya dil ki suno duniya- Anupama-1966-Kaifi Azmi

I observe that in many of Hemant da’s compositions, percussions instruments do not have any job. He depends mainly on excellent string arrangements and base guitars to do the magic. Once again that mesmerizing flute takes you into the heaven. The same dilemma remains-who is better ? Hemant da -the master composer or singer?

Kaifi Azmi’s evocative poetry should never be ignored and he has been a close associate of Hemant da in many of his evergreen songs.

15. Tum pukar lo-Khamoshi-1969-Gulzar

What other song than this to conclude this blog! For me this is one of the best  by Hemant da. The tune is so mesmerizing and so is his intense singing. There is absolutely no percussion instrument -only the exquisite strings , a  piano and a flute. Truly a masterpiece!

Acknowledgement & Disclaimer 

I sincerely thank the publishers of following  Internet sources for the information that I could gather for this article:

1. You Tube
2. Wikipedia

Acknowledgements and Disclaimer:
The songs mentioned are from the popular, public domain and have been mentioned and embedded here   only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights.

25^th June 1924 to 14^th July 1975

The veteran music director Naushad once commented to the composer of the song , Hai Isi Mein Pyaar Ki Aabroo that “ my entire work is dedicated to this one song of yours.” Noted classical and Thumri singer Begum Akhtar was so much moved by the song Qadar jaane na oh qadar jaane na that she picked up her phone  and talked to the composer for hours , appreciating that composition. Many classical musicians played their instruments under his baton. And last but not least , with just around 680 songs from 95 films , he is revered among the best five music directors of the golden era of Hindi film music by the connoisseurs of good music.

Yet, with all these accolades the composer that we are talking about  never got the  awards and recognition he rightfully deserved during his life time . That is one of the most cruel ironies of the music industry! 25^th June 2024 marks the birth centenary of this genius-composer fondly called the Melody king, Ghazal king -Madan Mohan. Madan Mohan will always be remembered for his superb ghazals, haunting melodies and innovative compositions . That is why despite the lesser quantity of his work, his perfection in creating everlasting compositions of the highest quality elevated him to be considered  among the five  top most music directors in Hindi film music.

His father Rai Bahadur Chunnilal Kohli was a film producer and one of the founder-members of the famous Filmistan studio. However he was not in favor of Madan Mohan entering the film industry and did not  support him in giving him a break. So it was a lone struggle for MM,  even going without food  for some days , trying to get an entry in the film world. Those days, most of the artists had acting or singing as their first preference and MM tried these but failed. Luckily he started focusing on music and ultimately Sachin Dev Burman understood his musical talent and gave him an assignment to be his assistant for the movie Do Bhai( 1947). He also assisted the yesteryear music director Shyam Sundar for the film Actress. Finally he got his break as an independent music director for the 1950 film Aankhen. Preet Lagake Maine Yeh Fal Paaya sung by Mukesh was his first recorded film song. When his father  listened  to Madan Mohan’s songs in the  film Aankhen, he realized his mistake and repented very much for not having encouraged him earlier. As fate would have it, his father passed away within two months of the release of his first film.

I had already provided a brief biography of MM in my blog under the tab: Hindi Film Songs Music-composer-lyricist teams-Madan Mohan with Raja Mehdi Ali Khan and so I am not repeating the same here. Also there is a very well-written biography in the link that I am providing below that is dedicated to MM.

https://www.madanmohan.in/html/the_legend/his_journey/his_journey.html

Except for very few , most of his films were not from the big banners. That is why  even though his music was superlative, the films were mediocre and this resulted in his lack of commercial success. Despite not having had much training in classical music he composed some of the best classical songs of Hindi film music!  It is tragic that such a genius had to work for lesser-known banners  and got his fame and recognition  more after his untimely departure at the age of 51 years. Towards the end of his career, it was in 1970 that he got his major recognition in form of National award for best music direction for the film Dastak. The recognition for Dastak  came very late and by that time he had got into the habit of drinking  and his health had deteriorated , ultimately leading to his untimely death on 14^th July 1975.

Madan Mohan was a perfectionist always believed in giving utmost importance to the lyrics and  had fabulous team work with many lyricists like Rajendra Krishan, Raja Mehdi Ali Khan , Kaifi Azmi , Majrooh Sultanpuri, Sahir Ludhianvi, Hasrat Jaipuri , Indeevar, Prem Dhawan , Naqsh Lyallpuri etc. He belonged to that school of composers who preferred to compose the music  after the lyrics were written. Poetry made a very important part in his compositions.

Apart from being a genius composer, one interesting talent that he had was that he was very much fond of cooking and whenever he composed some great tunes, he would celebrate by inviting the artists  involved and treat them to a great feast at his home.

Although most of the songs created by MM deserve to be in this blog, as a tribute to him on his birth centenary , this is just a small glimpse of 25 of his best songs that I have selected here. I have tried to cover all the major singers but obviously Lata and Rafi feature the most as these two were his favorite singers. The songs are listed in chronological order of the year of their release, with following details mentioned : Song/Film/Year/Lyricist / Singer(s)

1.Preet Lagake Mein Yeh-Aankhen-1950-Raja Mehdi Ali Khan-Mukesh

The very first song that MM composed shows his individuality and has a beautiful Spanish guitar , piano accompanying throughout the song. Mukesh had  very few songs with MM but as it always happens with Mukesh, he renders superb songs even in a handful of chances that he used to get.

2.Meri Yaad Mein Tum Na-Madhosh-1951-Raja Mehdi Ali Khan-Talat

If MM was king in composing ghazals for films, Talat was the emperor in singing them. Is it a co-incidence that just like MM, Talat also had just around 650 songs in his repertoire? Listen to these two greats in this immortal song. MM’s most favorite instrument was the Sitar and you can hear that in the prelude and interludes.

3. Qadar Jaane Na Oh Kadar Jaane Na-Bhai Bhai-1956-Rajendra Krishan-Lata

The noted classical singer Begum Akhtar was so impressed after listening to this song that she picked up her phone and chatted with MM for a long time on a long-distance call and MM even obliged by singing out the song himself. Not only Begum Akhtar , many renowned classical musicians had great respect for Madan Mohan . Truly he was a class apart!

4. Ae Dil Mujhe Bata De- Bhai Bhai-1956-Rajendra Krishan -Geeta Dutt

If Lata rendered the sober Qadar Jaane Na, in the same film, Geeta Dutt gave one of her career-best songs for MM with Ae Dil Mujhe Bata De. A completely different style of MM , with a catchy tune , rhythm, and orchestration.

5. Kaun Aaaya Mere Man Ke Dwaare-Dekh Kabira Roya-1957-Rajendra Krishan-Manna Dey

For a pure classical Rageshri based composition, MM naturally selected Manna Da and even though the film is forgotten , the music of Dekh Kabira Roya will never fade away from our memories.

6. Bhooli Hui Yaadon-Sanjog-1961-Rajendra Krishan-Mukesh

After Preet Lagake Maine, if there is one Mukesh & MM song that comes to our mind , it must be  this. A simple orchestration but the inherent melody and pathos in the tune , coupled with Mukesh’s voice make this an evergreen number.

7. Hai Isi Mein Pyaar Ki Aabroo-Anpadh-1962- Raja Mehdi Ali Khan-Lata

The association of MM & Lata is legendary. Whatever they have left behind is something exceptional and one can always find that  inexplicable extra sweetness and depth in Lata’s voice in MM’s songs. Those sitar interludes are trademark MM. Not to forget the great lyricist Raja Mehdi Ali Khan. I had written in detail in my blog about the great chemistry between MM &  Raja Mehdi Ali Khan.  Also at the very beginning , I have mentioned the tribute paid by the legendary music director Naushad after listening to this song.

8. Aap Ki Nazron Ne Samjha- Anpadh-1962-Raja Mehdi Ali Khan-Lata

There are something in this world that can never be explained. For me this song is like that-I can keep listening to this in a loop for ‘n’ number of times without getting tired. I do not know how to describe this song -it is something that gets into your soul and tugs at  your heart. The tune that goes like a wave , the majestic violin strings, the subtle drum beat, the special touches of Lata whenever she sings “ mujhe”…it is a combination of all these and much more. I just leave it at that. No way I can even attempt to describe this song. Just experience it…

9. Main Nigahen Tere Chehre Se-Aap Ki Parchhaiyan-1964- Raja Mehdi Ali Khan-Rafi

If among the female singers MM’s favorite was Lata , then among male singers it was Rafi. He gave some of the best songs for Rafi. That ‘ tauba tauba…tauba tauba’ stretch that Rafi does is something only he is capable of!

10. Rang Aur Noor Ki Baraat-Ghazal-1964-Sahir Ludhianvi-Rafi

The film Ghazal had three fabulous songs: Nagma-O-Sher Ki Saugaat Kise Pesh Karoon by Lata, Ishq Ki Garmi-E-Jazbaat Kise Pesh Karoon by Rafi and Rang Aur Noor Ki Baraat Kise Pesh Karoon…all these had the same ‘ radif’ ( is the  Urdu word that refers to that which  comes at the end of each line of the first couplet and the second line of all the following couplets in ghazal). Madan Mohan proves his mettle with ghazals by  different treatment in composing  these three songs. Out of the three Rang Aur Noor Ki is the most popular one and sung brilliantly by Rafi. The use of violins is simply outstanding and elevates the song to stratospheric levels.

11. Saawan Ke Mahine Mein-Sharabi-1964-Rajendra Krishan-Rafi

Very rarely heard anywhere, this is one of the numerous examples of how MM had experimented in his compositions. Starting off at a leisurely pace , the song picks up speed and Rafi ,as usual excels in imitating a ‘ sharabi’ singing , despite being an absolute teetotaler in his life!

12. Zara Si Aahat Hoti Hai-Haqeeqat-1964-Kaifi Azmi-Lata

One more Lata -MM-Kaifi masterpiece. An out-of-the world composition , equally evocative poetry and finally, rendered divinely by the great Lata. The strings used by MM are always so distinct that one can easily identify his compositions just by listening to the string arrangement closely.

13. Mein Yeh Sochkar Uske dar se -Haqeeqat-1964-Kaifi Azmi-Rafi

One of my all-time favorite songs of Rafi & MM combination. The songs , unlike most of the film songs , does not have well-defined antara or interludes—it is just a linear composition and a very short one also. But the effect it creates is something one must listen and experience. Pyarelal of the famous musical composer duo Laxmikant -Pyarelal played the superb violin for this song. 

14. Lag Jaa Gale Ke Phir Yeh-Woh Kaun Thi-1964- Raja Mehdi Ali Khan-Lata

There are few songs that will live for eternity. Even those who may not be knowing the language are familiar with this song that has become a sort of an anthem to describe romance. Compositions like this prove that MM was far ahead of his times and even to this day , this song remains one of the most viewed/heard in the Internet. Normally I like to listen to the songs only but this is also a visual treat with superb on screen emoting done  by Sadhana.

15. Shok Nazar Ki Bijiliyan -Who Kaun Thi -1964- Raja Mehdi Ali Khan -Asha

One can term this as a textbook for superb orchestration-what a unique way of presenting the violins, saxophone, guitar , flute and percussion. MM proves that he was not only a master of soulful, sober, and melodious ghazals but can create a tune that can remain as modern and fresh even after decades. And who else to render such a song than Asha for whom this is just a cakewalk.

16. Ek Haseen Shaam Ko-Dulhan Ek Raat Ki-1966-Raja Mehdi Ali Khan-Rafi

Romantic songs with a soft feather-like touch were MM’s forte. As always he uses minimal orchestration but creates a magical impression on us . The special touch by Rafi by slightly elaborating the word  “ shaaaam” adds so much charm.

17. Na Tum Bewafaa Ho-Ek Kali Muskayee-1968-Rajendra Krishan-Lata

If some of the romance-soaked songs of MM had an undercurrent of pathos, this one , though being a sad song has a fast tempo with  grand orchestration and leaves us spellbound!

18. Teri Aankhon Ke Siva-Chirag-1969-Majrooh Sultanpuri-Rafi & Lata

Whenever someone talks about Rafi & his best romantic songs, this song would always be in that list. Note how beautifully MM had composed the song with the strings in constant “ conversation” with Rafi throughout the song! That is the reason these songs will ever remain fresh in our minds. Those special touches of Rafi -a brief pause between ‘ rakha’ and ‘ kya hai’…and the slight drag he does at ‘ inme mere aanewale’…sheer pleasure to listen.

19. Mairee Mein Kase Kahoon Peer-Dastak-1970-Majrooh Sultanpuri-Lata

I have selected all the four songs from the film Dastak that brought Madan Mohan his first and only award. It is impossible to leave out any of them. Each one is a hand-crafted sculpture and not just a musical composition. Mairee Mein Kase has two versions -the more commonly heard version was by Lata and less-heard one sung by Madan Mohan himself.

20. Hum Hain Mata-E-Koocha-O-Bazaar – Dastak-1970-Majrooh Sultanpuri -Lata

Lata’s perfect Urdu diction , Majrooh’s hard-hitting poetry and MM ‘s exquisite composition -what more do we need?! His favorite instrument Sitar literally talks to us ( I think it was played by Ustad Vilayat Khan).

21. Bhaiyyan Na Dharo- Dastak-1970-Majrooh Sultanpuri -Lata

Based on the  classical raag Charukesi , this is one more gem from Dastak. The way in which MM & Lata together  elaborate the antara elevates this film song to  a classical masterpiece.

22. Tumse Kahoon Ek Baat- Dastak-1970-Majrooh Sultanpuri -Rafi

If there has ever been some film songs that were composed in a ‘ whispering’ style , then MM must take the credit for that. This solo song by Rafi and a Rafi-Lata duet from the film Heer Ranjha ( Meri Duniya Mein Tum Aayee) are classic examples. What a sensual and subdued composition-rendered in a brilliant manner by Rafi!

The use of rare instrument jalatarang , the extra-long pauses in the interludes are special touches of Madan Mohan.

23. Simthi si sharmayee si-Parwana-1971-Kaifi Azmi-Kishore

Kishore must have sung just a handful of songs for MM . Apart from Simthi Si Sharmayee si , Zaroorat Hai Zaroorat Hai, Mera Naam Abdul Rehman are few songs that comes to our mind. But whatever Kishore sang for MM turned out to be  hits. A different style of MM can be seen in this song-a peppy westernized melody. Guitar & flute take predominance in the orchestration.

24. Rasm-E-Ulfat Ko Nibhayen-Dil Ki Raahen-1973-Naqsh Lyallpuri-Lata

For a brief period MM had stopped using his favorite instrument -Sitar. Fortunately here we can hear the sitar  in its full glory. The film itself is now almost forgotten but this one song stands out , sung in her usual intense way by Lata.

25. Kaise Kategi Zindagi Tere Bagair-Unreleased Film-Raja Mehdi Ali Khan-Rafi

I come to the last song in this selection. This song was originally composed by Madan Mohan in the year 1964/65 for a film titled Jahan Tum Wahan Hum , but was shelved. MM’s family after many years released many such songs under an album titled Tere Bagair. There is an extra-ordinarily long prelude -mainly a  solo violin. It is said that  Rafi also liked this song very much and has given his best. The lyrics of the song aptly sums up our feelings . We really feel the absence of these two legends Madan Mohan and Rafi who were born just six months apart in the year 1924 and left us too early when they were in their fifties.

Acknowledgement & Disclaimer 

I sincerely thank the publishers of following  Internet sources for the information that I could gather for this article:

1. You Tube
2. Wikipedia
3. http://www.madanmohan.in

Acknowledgements and Disclaimer:
The songs mentioned are from the popular, public domain and have been mentioned here   only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights.

4^th June 1946-25^th September 2020

If there was one singer who ruled the Tamil & Telugu film music from late 60’s for almost four decades it was definitely Sripathi Panditaradhyula Balasubrahmanyam, simply known as S.P Balasubrahmanyam or just lovingly SPB. I know most of my acquaintances must be wondering why I have not covered him in my blogs so far. The sheer number of songs that he has left behind is humongous and for me , a person not too familiar with his songs , it was an uphill task and I kept procrastinating. I felt that before his 78^th birth anniversary, I should at least make a sincere  attempt  to write about him in my blogsite.

If one looks at his great achievements, it is truly mind-boggling!

• Recorded around 40,000 songs in a career of 50  years
• Honoured with Padma Vibhushan, Padma Bhushan & Padma Shri awards by the Government of India
• Six National awards for best male playback singing
• 25 Andhra Pradesh state awards, 3 Tamil Nadu state awards and 3 Karnataka state awards
• 8 Filmfare awards
• Many other awards that may fill an entire page

Singer, actor, voice actor, Music composer, TV presenter, Film producer -he wore so many hats! When I started looking at the list of songs  only from  Tamil films ( he had sung in 16 languages), I was looking at a huge list that even I could remember from my memory. Now one very honest confession-I have listened to very few of his  songs and that too it is mostly restricted up to the early 90’s. I felt the best way to do a proper justice to his vast repertoire is to break the blog in three parts. His association with the legendary music maestro Ilayaraja is something that is timeless and so I shall go against my usual ‘chronological ’ logic and take up that first ( all would be happy to read this part only!!) . Next would be the relatively lesser number of songs he sang for one more legend  M.S. Vishwanathan  but who had honed his singing in the early years. Last part would be his songs with other music composers. The last category has some true gems that might have slowly faded away from public memory.

Now , usually I give a short biography of the artist in my blogs , but I am sure SPB’s life & his musical journey is well documented and is also  well known,  that I can skip that and focus on his songs. As such this blog  is going to be a long one; usually my blogs have a selection of 25-30 songs but I have to make an exception for SPB!

It was  cruel fate that came in form of the Covid-19 pandemic to snatch him away when his voice was still young even at the age of 74 .

Part 1: SPB with Ilaiyaraja

SPB and Ilayaraja-what a great combination that brought in a total revolution in the Tamil film music! Together they painted on a huge canvas that remains one of the golden combinations for millions of fans of both the legends.  SPB “ arrived” in the Tamil film music scene in the year 1969 with two songs that brought him immense fame: Aayiram Nilave Vaa  and Iyarkai Yenum Ilaya Kanni. Subsequently he got few chances now but  the then numero uno T M Soundrarajan was going strong and also from mid-70’s K J Yesudas was also slowly making his mark in Tamil films. However,  once Ilayaraja and SPB started hitting off with their first collaboration “ Naan Pesa Vanthen from the film Palooti Valartha Kili in 1976 , there was no looking back for SPB. With elaborate orchestration and  a heady cocktail of Carnatic classical music, Western symphony and Tamil folk, IR set off a completely new trend in Tamil film music  that catapulted him to great heights. With SPB and S Janaki becoming integral part of IR’s music , it was a grand feast for the listeners. SPB’s unique style of rendering all the various moods and intricate touches like that “micro second “ laugh in between, modulating the voice in multiple ways enriched IR’s tunes. The 20 songs that I have listed here are cream of the cream , in my opinion. It is quite obvious that each  fan of SPB-IR will have a totally different list . Any major miss in the listing may please be pardoned due to my own limited knowledge on the subject.

( Year of film-Song-Film-Lyricist -co-singer)

1. 1976-Naan Pesa Vanthen Sollathan -Palootti Valartha Kili-Kannadasan-Duet with S Janaki

Supposed to be the first collaboration of SPB with IR , this is a pleasing duet that gives you an inkling about what a grand musical journey  these two would go on to take us through.

2. 1977-Vizhiyile Malarndadu-Bhuvana Oru Kelvi Kuri-Panchu Arunachalam

One of my all-time favourites from this pair-an unconventional rhythm pattern. That “ Un ninaive pothumadi” line by SPB is simply superb.

3.1979-Ilamai yenum Poongatru-Pagalil Oru Iravu-Kannadasan

One of the early super-hit songs from SPB-IR, this one remains an evergreen number. For better audio quality, I  have provided a link that has only audio.

4. 1979-Chinna Pura Ondru-Anbe Sangeetha-Vaali-Humming by S.P Shailaja

SPB breathes life into Vaali’s emotional lines and IR’s haunting tune.

5. 1980-Ithu oru ponmaalai-Nizhalgal-Vairamuthu

An  iconic song of SPB-IR that brought immense fame to both along with the lyricist Vairamuthu. IR’s orchestration and SPB’s masterful rendition will ensure this song will have a permanent place in history of Tamil film music.

6. 1981-Oru Kunguma Chengamalam-Aaradhanai-With S Janaki-Vairamuthu

How can one forget that “ Un koonthal poovanum” line by SPB , that excellent humming along by S Janaki and IR’s sudden shifts in interludes!

7. 1982-Ilaya Nila Pozhigirathe-Payanangal Mudivathillai- Vairamuthu

I committed a  faux-pas in my blog on Ilayaraja by leaving out this classic song of SPB-IR pair. Now I have ensured it is included here!. If there is one song created sheer magic  with guitar and SPB , it should be this one. The quintessential SPB style is in full flow, with that trademark laugh of his at “ azhuthidumo athu mazhaiyo”. Sheer bliss!

8. 1982-Poovil vandu koodum – Kadhal Oviyam – Vairamuthu

A pure classical masterpiece designed by the maestro IR for another maestro SPB!

9. 1983-Thakita Thathimi-Salangai Oli-Vairamuthu

A scintillating dance number with all the typical touches of SPB’s superb grasp of what playback signing is all about .

10. 1983-Geetham Sangeetham-Kokkarako- Vairamuthu-With S.P Shailaja

SPB brings out an intricate alaap in the charanam and beautifully merges that with the lines ‘geetham sangeetham’.

11. 1984-Kaadalin Deepam-Thambikku Yentha Ooru-Panchu Arunachalam

A song that seems to have been tailor-made for Supertstar Rajnikanth -his style is equally matched by SPB in his singing.

12. 1985-Idayam Oru Kovil-Ithayakoil-Ilaiyaraja-Humming by S Janaki

I am sure this must be among the topmost melodious songs of SPB -his voice  sounds like a mix of honey, sugar, nectar etc…Ilayaraj debuted as a lyricist with this song  and it is said to be for his wife, with her name Jeeva appearing at many places.

13. 1985-Kootathile Koil Pura- Ithayakoil—Muthulingam

Just listen to the end of each charanam -SPB sings at the speed of a bullet train..amazing singing right from start to end!

14. 1985-Sangeetha Megam-Udaya Geetham-Muthulingam

Intha degam marainthalum Isaiyai Malarven…kelai poomaname..on 25^th Sep 2020 , these lines were in everyone’s mind after the unfortunate demise of this great singer. He must be entertaining the Gods now with his ever-youthful voice ..

15. 1985-Thene thenpandi meene-Udaya Geetham-Vaali

The film Udaya Geetham was one of the best albums from the golden pair of SPB & IR. This soft , mellifluous lullaby is simply out of the world…

16. 1986-Chinnamani Kuyile-Amman Koil Kizhakkale-Gangai Amaran

A fantastic duet between SPB and the harmonium, with IR’s trademark flute chipping in at the right intervals, a contagious rhythm …what more do we need?

17. 1986-Yenna satham intha neram-Punnagai Mannan-Vairamuthu

A song that is best ‘heard’ than viewed—the superb efforts of IR & SPB are slightly spoiled by some ridiculous picturization . I have given the link that has only audio!

18. 1986-Pani Vizhum Iravu -Mouna Raagam-Vaali-Duet with S Janaki

Mouna Raagam was not only a great musical bonanza with excellent songs, it also had a superb background score. It was difficult for me to select from Nilave Vaa , Mandram Vantha thendralukku and Pani vizhum Iravu…although in this blog  I have tried to focus mostly on solo songs  of SPB , I thought this one duet of the evergreen pair SPB & S Janaki should be definitely included. Of course, their duets alone should be the topic of many blogs!

19. 1989-Manguile poonguile-Karakaatakkaran-Gangai Amaran

SPB completely moulds his voice to suit a folk artist and what we get is an absolute stunner. The way he renders that “ Yammmma” is just delightful!!

20. 1989-Keladi kanmani-Puthu Puthu Arthangal-Vaali

Twenty songs from a vast ocean may not fulfil even the statistical sampling size rule. All SPB fans would not be satisfied with this miniscule listing …but I have to carry forward many of his songs with IR for future blogs for brevity sake. This is just a tip of the iceberg. The last one in my selection is an example of how SPB and IR worked together to give hundreds of such haunting melodies. The chorus used in this song is excellent.

Part 2-SPB With M.S. Vishwanathan

If the association of SPB with IR gave a grand feast of songs that were rich in orchestration , we have in contrast, the other legend of Tamil film music, the Mellisai Mannar bringing out the best of SPB’s vocal strength. The ‘70’s were the years in which  Tamil film music was going through lot of changes-the old were giving way to the new, people’s tastes were changing and there was still lot of impact of Hindi film music ( till the arrival of IR). From 1969 till 1976 , SPB’s singing was moulded by MSV and few other music composers whom we shall be looking in the third part of my blog. There was a raw, very young voice of SPB that was like an uncut diamond and went through an evolutionary phase. In the songs at the very beginning , he had to match his singing to the leading heroes of those times, MGR & Sivaji Ganesan and hence we can hear a different SPB from what we hear in his peak association with IR . MSV’s style was more towards creating excellent tunes and  relying less on  orchestration . In these 12 songs , you can get a perspective of SPB’s vocal dynamics that were so beautifully brought out by MSV

1. 1971-Aayiram Ninaivu Aayiram Kanavu-Avalukkendru Oru Manam-Kannadasan

The very beginning humming of SPB sets the tone of the song..full of joy and energy. Shades of TMS  in style? Definitely not the nasal tones.

2. 1971-Pottu Vaitha Mugamo-Sumathi En Sundari-Kannadasan-Humming by B Vasantha

One of the early super hits of MSV & SPB…will remain an evergreen number. B Vasantha was a singer who was mostly used for exquisite humming in songs those days. This time SPB sings for the Nadigar Thilagam , almost sounding like him. MSV in his inimitable style comes out with a scintillating tune and orchestration.

3. 1971-Maathamo Avani-Utharavindri Ulle Vaa-Kannadasan-Duet with P Susheela

MSV creates a magical charanam that takes off with lot of energy as compared to the soft Pallavi. SPB’s youthful voice and P Susheela’s melodious voice complement each other so well.

4. 1973-Aval Oru Navrasa Nadagam-Ulagam Sutrum Valiban-Kannadasan

The film Ulagam Sutrum Valiban was MGR’s magnum opus that ran for many weeks and was a hit even in so many reruns. The film’s music was also evergreen This one was the only one song by SPB in that film. Just observe how he matches his singing  to suit Makkal Thilagam MGR’s trademark , full throated style of enacting a song on screen.

5. 1977-Angum Ingum Paathai-Avargal-Kannadasan

K Balachandar-MSV-Kannadasan—these three , whenever they joined together , gave some of the everlasting melodies. Many songs were composed , written, and picturised in manner that gave the gist of the entire film in a 3-minute song. This is one such gem. Also, one of my personal favourites . By the year 1976-77 , SPB had developed his own style. Observe how each and every word is delineated by SPB in his singing to convey the perfect import of that word! Amazing…

6. 1977-Vaan Nila Nila Alla-Pattina Pravesam-Kannadasan

What can one write about this song? Kannadasan took up the challenge given by MSV with a tune that he initially found difficult to write the lyrics , but once MSV hummed it with la..la..la then the pen of Kannadasan never stopped! And to complement these two legends  , SPB made this a song that even centuries cannot erase from this world by his impeccable singing. The orchestration is typical MSV, with that superb solo violin played by his trusted lieutenant Joseph Krishna.

7. 1978-Kamban Yemaanthan-Nizhal Nijamagirathu-Kannadasan

One more gem from the golden quartet of K Balachandar, MSV, Kaviarasar and SPB.

8. 1978-Ilakkanam Marutho Ilakkiyam Aanatho-Nizhal Nijamagirathu-Kannadasan-Duet with Vani Jayaram

Like I had mentioned earlier, the same golden quartet continues to enthral , with Vani Jayaram adding her own touch. The film Nizhal Nijamagirathu had just two songs only and somehow both made their way into my selection!

9. 1979-Namma Ooru Singari-Ninaithale Inikkum-Kannadasan

By the late 70’s when IR had almost taken over the Tamil film music into his fold, MSV came out with a stunning score in this film. My selection mostly has a strong tilt towards the melodious songs of SPB, but for a change , listen to this rocking number. The modulation in his voice is simply out the world.

10. 1979-Therottam Ananda-Nool Veli-Kannadasan

A masterpiece from MSV , Kannadasan and SPB that is  now mostly forgotten. An intricate rhythm pattern and as usual the Kaviarasar in full flow with all words ending with ‘ attam’ and ottam’..which only he is capable of writing. Above all the way SPB showcases his masterly skill -just listen to the way he adds a special touch to “ chinna chinna” , “vanna vanna” , “ yenna yenna” what a beauty!

11. 1981-Raagangal Pathinaaru-Thillu Mullu-Kannadasan

A classical masterpiece by SPB , with that typical MSV ‘s unique style in presenting an intricate tune. The tabla & sitar  simply weave a magic along with SPB!

12. 1982-Unakkenna Mele Nindrai-Simla Special-Vaali

The last song in my MSV-SPB section-a dance number rendered with full gusto by SPB.

Part 3- SPB With Other music composers

 I have now listed out some outstanding songs of SPB that he had sung under the music direction of other composers. Now a disclaimer  at the beginning: I have not included many music directors who were active after the 90’s and so many fans would be disappointed to see famous names like Deva, Vidyasagar, Harris Jayaraj etc missing. My own limited or almost zero  knowledge on songs made after early or mid-  90’s is the main reason for not including them.

One can get a totally different feel of SPB’s singing for these composers; some of these are full of energy, some soulful, some with strong classical base and some full of pathos. I hope readers would find these songs almost in the same league as those he had sung with the two great legends IR & MSV. Now one more disclaimer -many would get offended with me for including A.R. Rehman in ‘ others’ – it is nothing to do with the composer and more about my own lack of exposure to ARR’s songs.

1. 1971-Thoduvathenna thendralo malargalo-Sabatham–G K Venkatesh

G K Venkatesh had scored music for very few films in Tamil and was more prolific in the Kannada films . Both MSV & IR were in awe of his composing and technical skills in recording. This SPB number is almost an identity for GKV’s Tamil film music.

2. 1975-Samsaram Enbathu Veenai-Mayangukiral Oru Madhu- Vijay Bhaskar

Just like GKV, Vijay Bhaskar was also more famous in Kannada films. He was assistant to many legendary composers in Hindi film music also. This is one of SPB’s rare but superb song. That phrase  “ Manam.. Gunam” is the highlight!

3. 1975-Unnai Naan Paarthathu-Pattikatu Raja–Shankar Ganesh-Vaali

A peppy , energetic song by SPB, with that famous humming..pa pa pa pa!

4. 1976-Nanda Nee Yen Nila-Asai 60 naal–V Dakshinamoorthy-Ra Pazhanisami

In my blog on 50 years of the Tamil film music, I had included this song. V Dakshnimaurthy was always treated with respect by all in the industry.. his main focus was in Malayalam films , but he gave this superlative Dharmavati raagam based song to SPB to ensure that this song and SPB’s name remain etched permanently in listener’s memory. An extra-ordinarily long Pallavi rendered superbly by SPB.

5. 1978-Mazhai Tharumo Yen Megam-Manitharil Ithanai Nirangala -Shyam-Kannadasan-Humming by S.P Shailaja

Samuel Joseph, known by the name Shyam in films, was more into Malayalam films and this lilting melody caresses you as you listen.

6. 1978-Mathanotsavam-Sathurangam –V Kumar-Vaali-Duet with Vani Jayaram

V Kumar was a low profile but highly talented music director who could get only a limited  success , what with other legends dominating the music scene. This is a forgotten song and definitely deserves to be in SPB’s best song list.

7. 1979-Poonthenil Kalanthu Ponvandu -Yenippadigal—K V Mahadevan-Kannadasan

After giving his major break for SPB with the song Aayiram Nilave vaa, it was after many years that K.V. Mahadevan  gave SPB a memorable song in this 1979 film. Typical under-stated orchestration of KVM but he gave lot of scope for SPB to demonstrate his vocal skills.

8. 1979-Naan ennum pozhudu -Azhiyada Kolangal–Salil Chowdhury-Gangai Amaran

Salil Chowdhury was a legend in Bengali, Hindi and Malayalam film music. In his few Tamil films , he made a great mark and this one , which was originally sung by Lata Mangeshkar in Bengali and Hindi got a fresh feel with SPB’s impeccable rendition.

9. 1980-Shankara Natha Shareerapara-Shankrabharanam-K.V Mahadevan-Veeturi Sundararamamoorthy ( Telugu)

Usually,  I have not mixed other language songs in my blogs, but this one can definitely be a welcome exception. This film’s music cut across all language barriers and remains one of SPB’s best in terms of some one not having learnt classical music formally , but giving out his best for a film that was all about classical music.

10. 1982-Moongilile Paatisaikkum-Ragam Thedum Pallavi-Music & Lyrics by T Rajendar

T Rajendar’s music and lyrics were unconventional- he created his own style and many of his songs were very catchy and caught the attention of people in the 80’s.

The ending of each charanam is so nicely rendered by SPB.

11. 1992-Kaadhal Rojave–ARR-Roja-Vairamuthu-Humming by Sujatha

A R Rehman stormed the Tamil music scene with the bilingual  hit Roja. SPB , with subtle stress in the words and phrases, provides a soulful song.

12. 1993-En Veetu Thotathil–ARR-Gentleman-Vairamuthu-Duet with Sujatha

The very early tunes of ARR were so different and he created his own style just like how IR created when he entered in with Annakili. Of course, this song got the added punch with some excellent singing by our SPB-the romance just oozes out through his voice.

13. 1994- En Kaadale En Kaadale —Duet- ARR-Vairamuthu

If one has to select one song of SPB & ARR as the best, this one would definitely take the cake. That “ Killuvathai Killivittu” makes one’s eyes moist.

14. 1994-Mettu Podu Mettu Podu—Duet-ARR-Vairamuthu-With the starting lines by P Susheela

A fantastic duet between SPB & the saxophone played by Kadiri Gopalnath. Songs of these types are just a child’s play for SPB!

I hope I was able to do a tiny bit of my tribute to this legendary and most prolific singer. One of the most striking features of his voice was that it never seemed to age! Hope I shall try to showcase more songs in my future blogs.

Acknowledgement & Disclaimer 

I sincerely thank the publishers of following blogsites & Internet sources for the information that I could gather for this article:

1. You Tube
2. Wikipedia
3. Ms Subashree Thanickachalam’s QFR series in Ragamalika You Tube channel
4. A close friend of mine for providing list of SPB’s songs

The songs mentioned are from the popular, public domain and have been embedded here   only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights.

Exactly two years ago I started this  blogsite,  www.musicunrestricted.in . I could complete around 30 different blogs on various legendary artists in both Hindi & Tamil film music. Writing about the great contribution to Hindi and Tamil music by these legends  has given me immense satisfaction and I feel it is the blessing from the Almighty and encouragement from my friends and family that keeps me motivated  to  write.

In the last two years, it has indeed been an enriching experience for me to listen to the excellent songs by various artists. I have now realised what a challenging task it is going to be for me as I have a huge list of artists to be covered in my blogs, both in Hindi and Tamil films music. However, on the birth and death anniversaries of Rafi sahab, I always make it a point to write about  few of his songs and pay my humble tribute  and so this 24^th December 2023,  the 99^th birth anniversary of Mohammad Rafi Sahab  the blog is about him.   

We are just   a year away from celebrating his birth centenary. The immense variety in Rafi’s singing will keep all his fans mesmerized for many years to come. And so, for  bloggers like me there can never be a dearth of topics on which I can write about as Rafi sahab has left behind a huge legacy for us.

So far I have focussed more on Rafi’s solos in my blogs and for a change I thought why not look at his excellent duets with so many singers . Before I go further , let us look at some interesting statistics:

Out of the approximate 5400 odd songs that Rafi had sung, his solo songs  are around 2900 , and the rest 2500 are with other singers. Now if we look at those 2500 songs , roughly 2000 are duets with female playback singers duets , 300 are duets with other male playback singers and around 200 are songs with multiple singers .

Doing a further analysis of his 2000 duets with female playback singers  , we have some interesting  observations:

Maximum duets are with Asha Bhonsle( 43%) , followed by Lata Mangeshkar (22%) , Suman Kalyanpur( 8%), Geeta Dutt (7%)   and Shamshad Begum (6%) , together consisting of 86% of his duets. Rest , around  14%  have been with various female playback singers numbering around a whopping 70 different singers!! Of course, some of  these 70 may not be truly singers as there are some songs in which the heroine just hums  few lines . Even if we discount those which can be just a handful , the numbers show how Rafi sahab was  so humble and accommodating to sing with many junior  and upcoming singers. 

One more reason for understanding these numbers for me is to segregate the article into two parts: the first one is about  his fabulous duets with the five major playback singers , i.e Lata , Asha, Suman, Geeta and Shamshad. In the next blog  I will continue  on some of his best duets with the other female playback singers; of course, it will be  impossible to cover all the other  female playback singers , but at least I shall highlight some of the best from that list.

As much as Rafi’s solo songs are great hits, his duets are also equally fascinating. The popular perception is that he had sung most of his  best duets with Lata , which is true to some extent in terms of the highest quality & popularity  of the songs. But as we will discover in this blog, his duets with other singers are equally good and provide a different tonal feel. Each listing has the , song, film ,year , music director and lyricist in that order.   I am starting with the seniormost Shamshad, followed by Lata Mangeshkar, Geeta Dutt, Asha Bhonsle, and Suman Kalyanpur. Within each section, I have listed the songs in the chronological order of the film’s release.

Departing from my usual format of writing about each song, I am only giving a brief about Rafi’s association with each singer and doing away with describing each song . This is to ensure I cover maximum songs. Also, I am not giving any biography of the female singers as I shall be writing about them in detail individually , in future blogs. Of course, Lata Mangeshkar has already been covered int two of my blogs.

Shamshad Begum

( 14^th April 1919-23^rd April 2013)

Shamshad was quite senior to both Lata and Rafi and it was said that when newcomers Lata, Rafi were getting around Rs 250-300 per song, Shamshad was commanding a princely  Rs 5000 per song. Her voice had a very unique timbre and was compared to the sound of a  temple bell. She had a truly resonating voice and when she sang, all other singers sounded feeble.

Rafi-Shamshad duets have an earthy, Punjabi flavour and when you listen to the song “ La de more baalma aasmani chudiyan” you can understand what a great peppy feel they could bring to the song.

1. Solah Baras K Bhai Umariya-Aag-1948-Ram Ganguly-Behzad Lakhnavi

2. La De Mohe Balma Aasmaani Chudiyan-Rail Ka Dibba-1953-Ghulam Mohammad-Shakeel Badayuni

3. Leke Pehla Pehla Pyaar Bharke Aankhon-C.I.D-1956-O.P.Nayyar-Majrooh Sultanpuri

4. O Gaadiwale Gaadi Dheere Hank Re-Mother India-1957 -Naushad-Shakeel Badyuni

5. Bheega Bheega Pyaar Ka Sama-Sawan-1959- Hansraj Behl-Prem Dhawan.

Lata Mangeshkar ( 28^th Sep 1929-6^th Feb 2022)

If there was one pair that has given the most memorable duets it has to be Rafi-Lata. Although in terms of numbers , her sister , Asha Bhonsle had sung almost double the number of duets with Rafi, the innate melody and the manner in which Lata & Rafi matched each other , make their duets immortal. It has always been my personal belief that God took the best vocal cords while creating  Lata & Rafi and that is why when they sang together it is sheer bliss to listen. It was really unfortunate that between 1963-67 , both of them did not sing together due to that infamous spat they had over the royalty issue. It is said that in the film Jewel Thief that came in 1967, both ultimately patched up ( Lata was losing out more opportunities than Rafi as Asha & Suman were singing with him!) and the song Dil Pukare Aa Re Aa Re kicked off  their second innings.

I have listed some of the best 14 duets of this golden pair that would give the readers a feel of the immense variety in their singing.

1. Aaja Ke Intezaar Mein-Halaku-1956- Shankar Jaikishan-Shaliendra

2. Chali Chali Re Patang-Bhabhi-1957-Chitragupt-Rajendra Krishan

3. eevan mein piya tera saath-Goonj Uthi Shehnai-1959-Vasant Desai-Bharat Vyas

4. Dheere Dheere Chal Chand Gagan Mein-Love Marriage-1959-Shankar Jaikishan-Hasrat Jaipuri

5. Main Chali Main Chali -Professor-1962- Shankar Jaikishan-Shaliendra

6. Baar Baar Tohe Kya Samjhaye Payal -Aarti-1962-Roshan-Majrooh Sultanpuri

7. Mujhe kitna pyaar hai tumse-Dil Tera Deewana-1962- Shankar Jaikishan-Shaliendra

8. Paaon Choo Lene Do-Taj Mahal-1963-Roshan-Sahir Ludhianvi

9. Yaad Mein Teri Jaag Jaag Ke Hum-Mere Mehboob-1963-Naushad-Shakeel Badayuni

10. Kabhi raat din hum -Aamne Saamne-1967-Kalyanji Anandji-Anand Bakshi

11. Bekhudi Mein Sanam-Haseena Maan Jayegi-1968-Kalyanji Anandji-Akhtar Romani

12. Ni Sultana Re Pyar Ka Mausam Aaya-Pyar Ka Mausam- 1969-R.D Burman-Majrooh Sultanpuri

13. Meri Duniya Mein Tum Aayee-Heer Ranjha-1970-Madan Mohan-Kaifi Azmi

14. Mujhe Teri Mohabbat Ka Sahara Mil Gaya Hota-Aap Aaye Bahar Aayee-1971-Laxmikant Pyarelal-Anand Bakshi

Geeta Dutt ( 23^rd Nov 1930-20^th July 1972)

Most of the Guru Dutt films had his wife Geeta Dutt as the lead female playback singer and of course Rafi was the most preferred singer for Guru Dutt. Geeta Dutt’s voice had a very unique quality that could suit the entire gamut of emotions-playful, soulful, pathos, sensuous . She was truly versatile and many of her duets with Rafi are super hits even today. She had a very sad personal life and passed away at a very young age of 42. Her marriage with Guru Dutt failed and that made her severely depressed leading to alcohol, and  ultimately ruining her life.

1. Sun Sun Sun Sun Zaalima -Aar Paar-1954-O.P.Nayyar-Majrooh Sultanpuri

2. Udhar Tum Haseen Ho-Mr & Mrs 55-1955-O.P.Nayyar-Majrooh Sultanpuri

3. Ankhon Hi ankhon mein Ishara-C.I.D-1956-O.P Nayyar-Jaan Nissar Akhtar

4. Hum Aapki Ankhon Mein Is Dil-Pyaasa-1957-S.D.Burman-Sahir Ludhianvi

5. Tum Jo Mile Mere Humsafar-12 ‘O’ Clock-1958-O.P. Nayyar-Majrooh Sultanpuri

6. Rim Jhim Ke Tarane Leke-Kala Bazaar-1960-S.D.Burman-Shailendra

Asha Bhonsle ( Born 8^th Sep 1933)

The living legend , Asha Bhonsle needs no introduction. One of the most versatile and prolific singers, she  has sung the maximum number of duets with Rafi. Her early career was shaped to a great extent by O.P Nayyar, S.D Burman and Ravi , and to a lesser extent by many other music directors. However, the popular name that a majority know is that of  R.D Burman. Many duets of Rafi and Asha are astounding, showcasing their amazing skills in rendering intricate tunes with so much of ease.

1. Hum Safar Saath Apna Chhod Chale-Aakhri Dao-1958-Madan Mohan-Majrooh Sultanpuri

2. Deewana Mastana Hua Dil-Bambai Ka Babu-1960- S.D Burman- Majrooh Sultanpuri

3. Abhi Na Jao Chodkar-Hum Dono-1961-Jaidev-Sahir Ludhianvi

4. Mein Pyar Ka Rahi Hoon-Ek Musafir Ek Haseena-1962-O.P.Nayyar-Raja Mehdi Ali Khan

5. Khanke To Khanke Kyun Khanke Jab Raat Ko Chamke-Vallah Kya Baat Hai-1962-Roshan-Prem Dhawan

6. Ye Khamoshiyan Ye Tanhaiyan-Yeh Raaste Hain Pyarke-1963-Ravi-Rajendra Krishan

7. Deewana Hua Badal, -Kashmir Ki Kali -1964-O.P.Nayyar-S.H Bihari

8. Ek Chameli ke mandve tale-Cha Cha Cha-1964-Iqbal Quereshi-Makhdoom Mohiuddin

9. Roka Hai Kai Baar Maine Dil Ki Umang Ko-Mere Sanam-1965-O.P Nayyar-Majrooh Sultanpuri

10. Phir Miloge Kabhi Is Baat Ka Wada Kar Lo-Yeh Raat Phir Na Aayegi-1965- O.P.Nayyar-S.H Bihari

11. Saawan aaye ya na aaye, -Dil Diya Dard Liya-1966-Naushad-Shakeel Badayuni

12. In Baharon Mein Akele Yu Na Phiro-Mamta -1966-Roshan-Majrooh Sultanpuri

13. Panchi Re O Panchi Ud Ja Re O Panchhi-Hare Kanch Ki Chudiyan-1967-Shankar Jaikishan-Shailendra

14. Raat Ke Humsafar,-An Evening in Paris -1967-Shankar Jaikishan-Shailendra

15. Hum Intezaar Karenge Tera Qayamat Tak-Bahu Begum-1967-Roshan-Sahir Ludhainvi

Suman Kalyanpur (Born: 28^th January 1937)

Sometimes , for an artist , one single quality becomes both a boon and a bane. Suman Kalyanpur’s voice resembles that of Lata so closely that many a times a song actually sung by Suman is wrongly attributed to Lata. For many years even I had thought of the song “ Mera Pyar Bhi Tu Hai” -a duet sung by Mukesh and Suman in the film Saathi as a Mukesh-Lata duet!

Suman has a very strong training in classical music and she has a wide repertoire of songs in Marathi. The period 1963-67, when Lata did not sing with Rafi became her most prolific time in Hindi films and one can observe that by looking at the years in the songs that I have listed below. I would prefer not to write about any controversies on how her career was supressed as I always prefer to talk about the artist ‘s music only. Rafi, as usual , had a very good association with Suman and had sung many romantic and classically acclaimed duets with her.

1. Dil Ek Mandir Hai-Dil Ek Mandir-1963- Shankar Jaikishan-Hasrat Jaipuri

2. Ajhoon Na Aaye-Saanjh Aur Sawera-1964-Shankar Jaikishan-Hasrat Jaipuri

3. Tujhe Pyaar Karte Hain-April Fool-1964- Shankar Jaikishan- Hasrat Jaipuri

4. Itna  Hai Tumse Pyaar Mujhe -Suraj-1966- Shankar Jaikishan-Hasrat Jaipuri

5. Dil-E-Betaab Ko Seene Se-Palki-1967-Naushad-Shakeel Badayuni

6. Tujhe Dekha Tujhe Chaaha-Choti Si Mulakat-1967-Shankar Jaikishan- Hasrat Jaipuri

7. Aaj Kal Tere Mere Pyaar-Bramhachari-1968- Shankar Jaikishan-Hasrat Jaipuri

Acknowledgements and Disclaimer:

I sincerely thank the publishers of following blogsites & Internet sources  for the information that I could gather for this article:

1. You Tube
2. Wikipedia
3. www.geetmanjusha.com

The songs mentioned are from the popular, public domain and have been mentioned  & embedded here   only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights.

1^st May 1919-24^th Oct  2013

The most popular male playback singers in  Hindi films from late 1940’s till 80’s were : Mohammad Rafi, Mukesh , Kishore Kumar , Manna  Dey  , Talat Mehmood, and Mahendra Kapoor. Among them , Rafi & Kishore definitely have a great fan following, while Talat Mehmood and Mukesh, created  their own niche and have a dedicated set of listeners. However, it is indeed surprising to note that although  Manna  Dey sang more songs than Mukesh and Talat Mehmood, relatively he is less-talked about. Prabodh Chandra Dey, popularly known as Manna Dey , though much  respected & admired  for his strong classical base and some memorable romantic  & philosophical songs , did not have a large fan-following . Even I am guilty of writing about him only after my blogs on Rafi, Kishore, Talat & Mukesh! . This lapse of mine is purely unintentional but somewhat reflects the general perception. One possible reason for this could be  due to the fact that most of his songs were  picturized as background/title songs or on a character/obscure actor. Of course,  Raj Kapoor was the notable exception for whom MD( I will refer to him henceforth in this article as MD)  sang many great songs ,albeit after Mukesh, who was his main voice. So , with due apologies to one of the most talented and classically well-trained legendary singer  Manna Da ,  as he is affectionately called, I shall try to do some justice for the inadvertent lapse on my part!

I have also taken up quite a large number of songs as each and every one of them is a classic. Like Mukesh & Talat, for MD  also, quality overpowered quantity. Very few of his songs can be considered as mediocre. That really puts lot of pressure for a blog writer in selecting his best!

Prabodh Chandra Dey was born on 1^st May 1, 1919, which makes him older in  age to Rafi , Mukesh and Talat by 4-5 years and  Kishore by 10 years. His mother Mahamaya & father Purna Chandra Dey influenced him a lot in music during his early years. Later, he was trained  by his paternal uncle Krishna Chandra Dey from whom he learnt classical music formally. Apart from his uncle he had  training under Ustad Aman Ali Khan, who was a classical composer and vocalist under the Bhendi Bazaar Gharana. These learnings  made him the singer with the best classically trained voice in Hindi film music.

MD  started assisting his uncle K.C Dey and later S.D. Burman , who incidentally learned music from his uncle along with him in early years. After a stint in assisting other music directors and even working as independent music composer , he got his first singing break through the song “Gayi tu gayi Seeta sati” in the film Ram Rajya, 1943, under the music direction of Shankar Rao Vyas. Although he sang few other songs for other music directors , it was in 1950, with the song Upar Gagan Vishal for the film Mashal, under the music direction of S.D Burman , that MD got his major break.

In the years that followed , two songs-Dharti Kahe Pukarke – Mausam beeta jaaye and Hariyala Sawan Dhol Bajata Aaya from the 1953 film Do Bhiga Zameen brought him more fame. The great music maestros Shankar-Jaikishan ( S-J) , especially Shankar was instrumental in giving MD  some of his career best songs and also brought a new facet of his singing to the fore -romantic duets. His songs from the Raj Kapoor films like Shree 420, Chori Chori( Pyaar Hua Ekraar Hua Hai, Aaja Sanam Madhur Chandini mein Hum, Yeh raat bheegi , etc ) are still fresh in everyone’s mind.

MD  himself has talked about in great lengths about the contribution of Shankar in boosting  his career and so my blog is arranged in two parts. The first part is on  some of his best songs (13) with S-J and the second part , 20 of his songs with 17  other music directors .

With approximately 3000+ songs in Hindi films in  career spanning a glorious 50 years , MD has left for us a legacy of some of the best classical , philosophical, romantic, and soulful melodies and it is indeed a difficult task to list out 33 from them. Song, name of film and its year of release, lyricist and co-singers is the sequence followed.

PART 1-Manna Dey  with Shankar-Jaikishan

Shankar-Jaikishan

The music duos , Shankar Singh Raghuvanshi and Jaikishan Dayabhai Panchal ruled the Hindi film music world for two decades , with so many unforgettable melodies. Although they had worked primarily with Rafi & Mukesh, without any doubt, they played a major  role in giving a major boost to MD career. MD  himself has talked a great deal about this and it really pains me to  see in some books and blog sites, that  this fact is ignored. That is the reason I have taken up the listing into two separate parts. It was Shankar who insisted that only  MD  should  render the song Sur Na Saje Kya Gaaon Mein from Baiju Bawara although the producer, director wanted Rafi to sing. Similarly , when the producer of the film Chori Chori wanted only Mukesh to sing all the songs  as he was the natural choice  for Raj Kapoor, it was once again Shankar who insisted that the producer should listen to MD ’s songs and then decide. The songs of Chori Chori turned out to be the best evergreen duets and proved the faith that Shankar had in MD  to render even romantic songs. I am sure after listening to them , one can appreciate  the immense variety in MD ’s singing and what a great role  S-J played in his  career.

1. Lapak Jhapak-Boot Polish -1954-Hasrat Jaipuri

One of the earliest associations of MD  with S-J. His classical strength has been utilised so nicely by S-J. Only a great character actor like David can pull off a superb on-screen enactment , sitting inside a jail and entertaining his fellow jail-mates. A timeless classic that is now very rarely heard.

2. Ab Kahan Jaayen hum-Ujala-1959-Shailendra

The film Ujala is unique for the fact that it had Shammi Kapoor in a sober role , long before his Elvis Presley style rock & roll star image . In the film Ujala , instead of Rafi , who later became the de-facto  voice of Shammi Kapoor,  Mukesh and MD  did the honours. This song is remarkable for the fact that S-J utilized the  chorus as the main orchestration , along with MD ’s soulful rendition of Shailendra’s superb lyrics.

3. Yeh raat bheegi bheegi-Chori Chori-1956-Shailendra-With Lata Mangeshkar

The film Chori Chori can be considered as a landmark for MD  for the two greatest duets he had sung with Lata-Aaja Sanam Madhur Chandini and Yeh Raat Bheegi Bheegi. Apart from this there were Jahan Mein Jati Hoon and also a great humming by MD  in Pancchi banoon Udti phiroon. This was the film in which the producer ( AVM films from south) had initially insisted that only Mukesh should sing, but it was Shankar who pitched in strongly for MD  and ultimately turned out to be  great musical hit. The duets in this film proved that MD  can render  romantic songs with equal finesse as the classical , bhajans, philosophical ones that he was stereotyped into.

4. Tu Pyar ka sagar hai-Seema-1955-Shailendra

One can appreciate why I had devoted a separate section for MD ’s songs with the great S-J as some of the career best songs of the former came from this golden duo. Poignant lyrics by the great Shailendra brought to life by MD ’s superb singing.

5. Jhanak Jhanak Tori Baaje Payaliya-Mere Huzoor-Hasrat Jaipuri

Whenever the best classical based songs of MD  are talked about, this one will always be there at the top five. A masterly Darbari Kanada raag based composition , that etched MD ’s name in golden letters in the annals of Hindi film music.

6. Ketaki Gulab Juhi Champak-Basant Bahar-1956-Shailendra-With Pt. Bhimsen Joshi

I had to include all the three songs from this milestone film for both MD  and S-J. Many would have heard the story behind this song narrated by the legend himself. How he had even thought of running away to Pune to escape from singing this song that was picturized as a competition song with the legendary classical singer Pandit Bhimsen Joshi. Ultimately his wife insisted that he should  give all his best and not to lose heart. What an evergreen masterpiece this turned out to be!

7.. Sur Na Saje Kya Gaaon Mein-Basant Bahar-1956-Shailendra

Similar to how Shankar fought for MD  in Chori Chori,  he had strongly pitched for him against the wishes of the producer-director who wanted Rafi to sing this song as it was picturized on Bharat Bhushan. Shankar had insisted that he had composed Sur Na Saje only  with MD  in mind . It is well known  that  S-J had composed some of the best songs for Mukesh and Rafi but those days, the composers knew who was the best choice for a particular  song and  were truly great to stick to their beliefs. That is why we got such immortal songs from them with different singers.

8.. Bhay Bhanjana Vanna-Basant Bahar-1956-Shailendra

A song that appears to be simple , but one has to listen intently to appreciate how difficult it is to sing and really wonder at MD ’s ability to make it so easy. Whenever I listen to this song, my eyes automatically become moist. The power of the tune and MD ’s rendition truly moves you. The last part of the song is never heard in the audio versions-please do listen to that in the link provided below.

9.. Dil Ka Haal-Shree 420-1955-Shailendra

It is to the credit of S-J to bring to limelight, MD ’s ability to sing lighter, folksy songs . What a simple tune and orchestration , with MD  going all out and making it a great song, suitably aided by Shailendra’s poetry that conveys  life’s philosophy in a language that even a layman can understand.

10. Chalat Musafir-Teesri Kasam-1966-Shailendra

The combination of MD  & S-J  come out with another iconic  folk song , that is so infectiously catchy that you feel like taking a dholak and sing along.

11. Dil Ki Girah Khol do-Raat Aur Din-1967-Shailendra-With Lata Mangeshkar

Long before R D Burman made MD  sing some western style songs  like Aao twist kare, it was S-J who gave this beautiful waltz , that can even be counted among the top most romantic songs of Hindi films.

12. Re Man Sur Mein Gaa-Lal Pathar-1971-Neeraj-With Asha Bhonsle

A hidden gem from the film Lal Pathar that had two other memorable songs -Geet gaata hoon mein by Kishore and Unke Khayal aaye tho by Rafi. I fail to understand why such songs are almost forgotten now and very rarely heard . Asha and MD  show their superb strength in the classical genre.

13. Kaal Ka Pahiya Ghoome Bhaiyya-Chanda Aur Bijili-1969-Gopaldas Neeraj

I conclude the section on MD  ‘s immortal association with the great maestros Shankar-Jaikishan with this scintillating bhajan . Neeraj and S-J had a great association , especially with Shankar. The lyrics , simple but superb tune and a classic rendition by MD  make this one of the greatest bhajans. Neeraj conveys profound philosophy in this song…this is almost an eight-minute song that appears in the film at various scenes. Songs like these are “ Made for MD ”!

PART 2-Manna Dey  with Other composers

Even at the risk of making this blog too lengthy , I have chosen  as many as 13 songs from the golden team of S-J and MD  and again 20 songs by other music directors. Even this is not an exhaustive list as many gems might be missed out! The immense variety & quality in MD ’s  repertoire  definitely deserves an elaborate listing.

Although I waxed eloquently about the golden combination of MD  & S-J, his songs with many other legendary music directors are no way inferior. It has always been my goal to showcase all the great  artists  without any bias. I hope readers will be able to appreciate the multi-faceted singing of MD  with  17 different music composers. Except for S.D.Burman, Kanu Roy and Salil Chowdhury, I have selected only one song per composer. The listing is arranged based on alphabetical order of the music director’s name with each song having the film, year , lyricist, and any co-singer mentioned in that order.

C.Ramachandra

Mere Jeevan Mein Kiran banke-Talaq-1958-Kavi Pradeep

Chitalkar Ramachandra himself was a good singer and rendered many songs and whenever he chose other singer he preferred Talat Mehmood to a great extent and Rafi to a lesser extent. As such MD ’s association with CR  was very limited. This lilting duet is a signature CR style , with that tabla tempo changing so nicely in the first antara . Few other songs from this pair are Insaan ka insaan se ho bhaichara from the film Paigam and Tu chupi Hai Kahan from Navrang.

Dattaram Gaikwad

Masti Bhara Yeh Sama-Parvarish-1958- Hasrat Jaipuri-With Lata Mangeshkar

Dattaram Gaikwad, who assisted  Shankar-Jaikishan for their percussion arrangement , individually composed some superb songs. Film Parvarish was one of his masterpieces -who can forget Mukesh’s soulful Aansoo bhari hai yeh Jeevan ki rahen?! . Like how S-J utilized MD ’s vocals for some of the best romantic duets, Dattaram proves he is no less than his mentors with this song. That accordion interlude is simply out of the world!

Jaidev

Chale Jaa Rahen Hai Mohobbat Ke Mare-Kinare Kinare-1964- -Nyay Sharma

Jaidev was one music director who never latched on to any particular singer and had composed wonderful songs with many male & female playback singers. The film Kinare Kinare, for e.g., had three great songs -Chale Jaa Rahen Hain  by MD , Mukesh’s Jab gam-e-ishq satata hai to hans leta hoon,  Rafi’s mesmerizing Teri Tasveer Bhi Tujh jaisi and Talat’s Dekh Li Teri Khudayee. Truly great achievement of Jaidev to give superb songs to all the four legends in one single film.

Kalyanji-Anandji

Kasme vade pyaar wafa-Upkaar-1967- Indeevar

An iconic song that gave a completely new image to the great actor Pran who, till then was known for his negative roles only. With bare minimum orchestration, Kalyanji-Anandji gave MD  one of his best songs ever. As the cliché goes, imitation is the best form of flattery-the well-known music maestro from South , Ilayaraja , who is an institution by himself , and has very rarely taken other tunes , was very much inspired by this song. He took this entire song  into a Tamil film  with the legendary K.J Yesudas rendering  Kanavu Kaanum Vaazhkai Yaavum.

Kanu Roy

Phir Kahin Koi Phool Khila-Anubhav-1971- -Kapil Kumar

Hindi film world sadly ignored many  genius artists. Whenever I listen to the songs of Kanu Roy, I feel that how the industry failed to give more opportunities to him. His songs in the film Anubhav, Avishkar and Grihapravesh and even his very first film Uski Kahani -all are hidden gems. Few years back good old Vividh Bharati used to play these, but looks like now-a-days, even they have forgotten him!

I have included both the masterpieces he composed for MD  as they are simply out of this world ! Brings out MD ’s voice is such a beautiful way.

Hasne ki chaah ne itna-Aavishkar-1974-Kapil Kumar

An offbeat film for the first super-star of Hindi films, Rajesh Khanna, this is a masterpiece from Kanu Roy & MD . Written by a relatively unknown lyricist Kapil Kumar, the words are truly profound. A lifetime best rendition by the legend.

Laxmikant -Pyarelal

Tum gagan ke chandrama-Sati Savitri-1964- -Bharat Vyas-With Lata Mangeshkar

Many-a-times it so happens that  a gem of a song is composed for a relatively obscure film. Laxmikant & Pyarelal come out with a classic duet , written in  chaste Hindi by the venerable Kavi Bharat Vyas.

Madan Mohan

Kaun aaya mere man ke dware-Dekh Kabira Roya-1957- Rajendra Krishan

Madan Mohan, being the Ghazal king, worked mostly with Talat & Rafi for his exquisite ghazals but when he wanted to compose a classical song in Raag Rageshri, it is obvious that he chose MD . It is really to the credit of MD  that even with few songs that he could get from a composer, he made it a memorable one for himself and for the composer.

Naushad

Jundariya   Katati Jaaye Re-Mother India -1957-Shakeel Badayuni

For the maestro Naushad, it was mostly Rafi among male playback singers and Lata among the female singers. Although these are, no doubt ,immortal golden songs, one does feel that Naushad could have utilized MD  in more number of classical songs. Both were so adept in the classical genre that one fails to understand why he composed only a handful of solo songs for MD . But still , the maestro did compose few memorable songs for MD  like this one from the epic film Mother India.

O.P.Nayyar

Tu Hai Mera Prem Devata-Kalpana-1960–Qamar Jalalabadi-With Mohd Rafi

One more example of a composer not having worked much with MD . For OPN’s style it was always Rafi and later, when he fell out with Rafi for a brief period , he composed some great songs  with Mahindra Kapoor, Mukesh & Kishore. For this rare male-male duet set in raag Lalit , his natural choice was MD  apart from Rafi. A superb duet in which MD , obviously excels, but Rafi , even if comparatively less trained in classic music as compared to the former, renders it in his own soulful manner.

Rahul Dev Burman

Aayo Kahan Se Ganshyam-Buddha Mil Gaya-1971- -Majrooh Sultanpuri

Whenever Pancham composes a song strongly rooted in classical raag, it is always  a delightful one to hear. Personally , I mostly prefer such compositions of R D Burman rather than the ones he is usually famous for . Pancham also gave MD  some western style and outrageously comical songs like Aao Twist Karen and Ek Chatur Naar Karke Singaar.

Ravi Shankar Sharma

Ae Mere Zohra Jabeen-Waqt-1965- -Sahir Ludhianvi

Like many other music composers, for Ravi also , MD  had sung few songs only. For Ravi , it was mostly Rafi followed by Mahindra Kapoor. But as we had observed earlier in the blog, whatever MD  sang, became a milestone song . This is a perennial favourite  whenever a wedding song or a romantic one  at a mature age theme is talked about.

Ravindra Jain

Door Hai Kinara- Saugar-1973- Music & Lyrics

To the best of my knowledge this is the best song from the rare combination of MD  & the great music director-cum- lyricist Ravindra Jain. A typical “ Maajhi”-boatsman song , one more example of a great song that is now very rarely heard. To be very frank, till the time of writing this blog, I never knew this was composed by Ravindra Jain! A hidden gem.

Roshan Lal Nagarath

Laga Chunri Menin Daag-Dil Hi Toh Hai-1963- Sahir Ludhianvi

Whenever one talks about MD ’s songs this is always at the top. What else can one expect from Roshan -he composed the career best songs for all the legendary singers -Rafi, Talat & Mukesh and for MD , this can be considered as the Mt Everest. Even today, if there is a singing competition, aspiring singers would always like to attempt this to prove their mettle. With the great poet Sahir coming with superlative metaphors and MD ’s ‘out-of-the world’ taans towards the end of the song, this song can never be explained. One has to keep listening again and again and immerse oneself into it fully. Of course, there is one more great qawwali that Roshan had composed for MD  that he sang along with Rafi, Asha , S.D Batish and Sudha Malhotra-Na to caarvaan ki talash-Yeh Ishq hai -I had written a very elaborate note on this song  in my blog on Roshan-Sahir team combination.

Sachin Dev Burman

Poocho Na Kaise- Meri Surat Teri Ankhen-1963- -Shailendra

The most famous and intense composition of S.D. Burman  for MD  is Poocho Na Kaise. Set in Raag Ahir Bhairav, this soulful and stirring rendition by MD  definitely deserved an award which unfortunately he did not get ( there are many such glaring omissions in these awards!). One of the best from this team who were ‘guru-bhai,’ both having learnt  music from MD ’s uncle K.C Dey.

Tere Naina Talash Kare Jise-Talash -1969-Majrooh Sultanpuri

An equally scintillating classical composition as Poocho Na Kaise, but this one is relatively less-talked about. The use of tabla and mridangam by SDB and MD ’s effortless singing makes this an evergreen one.

Salil Chowdhury

Ae mere pyare watan/ Kabuliwala-1961- -Prem Dhawan

Ranked among the topmost patriotic songs, this remains one of the most soulful &  famous  renditions by MD . The way he conveys  the pathos from the heart of a man yearning for his homeland shows that he could convey all types of emotions.

Zindagi Kaisi Hai Paheli-Anand -1971-Yogesh

It took almost 10 years after Ae mere pyare watan for Salil Chowdhury to offer MD  one more landmark composition. Film Anand is well known for excellent songs of Salil  and this one, written so beautifully by Yogesh, picturised in the yester-year pristine Juhu beach of Mumbai is permanently etched in everyone’s memory.

Usha Khanna

Apne Liye Jiye To kya jiye- Bal-1966-Javed Anwar

Usha Khanna is the lone , commercially successful female music director in the golden era of Hindi film music. Before her there were Jaddan Bai and Saraswati Devi, who belonged to the vintage era, i.e., pre-1940’s. In her songs one can observe influence of various other music directors’ style, which she herself had talked about. One can easily mistake this to be a Shankar-Jaikishan style composition. Written by her father ( Manohar Khanna) under the pseudonym Javed Anwar , this is a memorable song of MD  that is almost forgotten now-a-days. Nice philosophical lines , rendered with full energy by MD.

Vasant Desai

Nirbhal se lai balwan ki-Toofan Aur Diya-1956- -Bharat Vyas

It is only once in a lifetime we come across such epic compositions. Written by the great Kavi Bharat Vyas that describes the struggle of the weak or supressed against the mighty & powerful, each and every word is not written, but sculpted. With MD ’s powerful vocals and one more genius , Vasant Desai composing a power-packed tune , these songs should be played more often. Sadly, these are almost faded into oblivion. For me , whenever I hear this song, it motivates me immensely. This is one of those songs that is almost more than 6 minutes long and plays in the background in the film at different stages. By sheer co-incidence of being the last song in alphabetical order, this is the right song to end the blog. No one else could have delivered the powerful lyrics of  this song like MD .

Acknowledgements and Disclaimer:

I sincerely thank the publishers of following blogsites & Internet sources  for the information that I could gather for this article:

1. You Tube
2. Wikipedia
3. www.geetmanjusha.com

The songs mentioned are from the popular, public domain and have been mentioned and embedded here   only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights. I would also like to thank various blogs-articles published in the Internet from which I had obtained many information while writing this.

Born: 10^th January 1940

The only way I can write about someone like Kattassery Joseph Yesudas      ( KJY) is by making it into a series. Otherwise,  how can one do justice to an artist who has sung around 50,000 songs, in a career spanning six decades, and won innumerable awards. Padma Sri in 1975, Padma Bhushan in 2002 , Padma Vibhushan in 2017, eight National Award for best male playback singing , various  State Film Awards for Best Singer, Filmfare awards  and a lifetime achievement award- the list goes on.

Above all these awards he has an  immense fan following across the country. Popularly called as KJ Yesudas, Jesudass, affectionately Dasettan and also referred to as a Gaana Gandharvan ( Celestial singer) , he has been most prolific in the South Indian film music and has also sung some excellent songs in Hindi films , apart from few other Indian  languages.

KJY has the unique blend of a mellifluous voice , with a rich tone and with a strong training in classical music , what we listeners get to hear is pure honey-laced music. The impact he made with his singing can be understood by just this anecdote. The noted music director & lyricist in Hindi films , Ravindra Jain was blind and he had composed many hit songs for KJY. Once he had said that if at all his vision is restored, the first person he would like to see would be KJY!.

Born on 10^th January , 1940 to Augustine Joseph & Elizabeth Jospeh, in Kochi, Kerala, his father’s friend, Musician Kunjan Velu Bhagavathar was the first guru for  him. Yesudas completed the Ganabooshanam course at R. L. V. Music Academy, Thrippunithura. Later, due to financial constraints , he  could partially complete his training under the tutelage of the Carnatic music maestro K. R. Kumaraswamy Iyer and Semmangudi Srinivasa Iyer  at Swathi Thirunal College of Music, Thiruvananthapuram. For a brief period, he also studied music under Vechoor Harihara Subramania Iyer, and then  he took advanced training from Chembai Vaidyanatha Bhagavatar.

Having made his debut , with the song: Jaathi Bhedam Matha Dwesham that was written by the venerable Shree Narayana Guru & music composed by the veteran music director M B Sreenivasan, he had his first major break with the Malayalam film Bharya, for which music was composed by G Devarajan. He would then go on to have a glorious career in the Malayalam film music and would inspire many singers in Kerala  to follow his footsteps.  My blogs are  restricted to  Hindi & Tamil film songs and hence I am not going into his Malayalam songs where he became the numero uno.

In Tamil he had his first song under the baton of veteran Veena Vidwan S Balachandar for the off-beat film Bommai ( 1964) that was also directed by him. However, that film got released later and his first released song was Aasai Vantha Pinne that he sang as a duet with B Vasantha for the film Konjum Kumari ( 1963)  for which music was composed by Veda. Both these did not give any fame to him   and he had to wait for the film Kadalikka Neramillai that brought him some attention.

As I had mentioned at the very beginning , it will be impossible to write about his songs in one or two blogs. It has to definitely  run into many parts. In this blog I am trying to showcase only  the early two decades ( 1963 to 1983)  of KJY’s Tamils songs alone, with a promise to continue the series in future.  His rich collection of songs in Hindi would be the topic of a separate blog by me in future.

I have made a humble attempt to write about 27 songs from the early two decades ( roughly 1963-82) , splitting them into 7 from the first decade  and 20 songs in the next decade . The usual disclaimer always holds good-these may not be everyone’s favourite. I have tried to list out songs that showcases the different moods in KJY’s singing and also tried to pick them from a diverse set of music directors. Of course, my personal favourites could have over-ruled the popular ones !

Sequencing is chronological,  based on year of film’s release , with film , year, song, music composer, lyricist and co-singers listed in that order.

The first decade….1964-73

His initial songs in the films  Bommai , Konjum Kumari almost went unnoticed. Then came the super-hit film  Kadalikka Neramillai in the year 1964 in which  two songs  of KJY were well received : Nenjathai alli konjam tha and Yenna Paarvai Unthan Paarvai. During the early years of struggle, KJY sang some excellent songs , but still,  did not get noticed in a big way. His moment of glory started with the iconic song “ Deivam Thantha Veedu “ in the year 1974. However, to my great surprise , as I sat down to write this blog , I came across many forgotten gems which he sang in the initial few years. I am sure many of his fans would love to hear them. Some of the rare gems from  that period are:

1. Kathalikka Neramillai-1964-Yenna Paarvai Unthan Parvai-Vishwanathan-Ramamoorthy-Kannadasan-Duet with P Susheela

The two duets in this film remain the most popular among the listeners from his early films. The visuals evoke nostalgic  memories for those born and brought up in  Chennai of ‘60’s, with a serene Marina beach looking so clean & beautiful!

2. Marakka Mudiyuma-1966-Vasantha Kalam Varumo–T.K. Ramamoorthy-Suratha- P Susheela-humming by KJY

One can wonder why I included  this song in a blog about KJY because he has only a background humming throughout the song. But for two reasons I included this-this was the first film that T. K. Ramamoorthy composed independently after his separation from M S Vishwanathan and also due to the fact that songs that have a male singer humming along the lead female singer are relatively rare. And above all the third reason is that it a forgotten gem and is truly worth mentioning. The humming of KJY enhances Susheela’s excellent rendition. One can say this was one of the best ever composition of T.K Ramamoorthy as an independent composer ( he composed just around 15 films after his split from MSV ) and sadly this song was deleted from the film after having been included  originally, after 5 days of running. When I heard this for the first time while researching for this blog, I was simply mesmerized by the tune and the talam pattern-really  sad that it did not get the due it richly deserved.

3. Thulabaram-1969-Kaatrinile Perum Kaatrinile- G Devarajan-Kannadasan

Originally made in Malayalam under the same title, this film had two great songs-this one by KJY and a duet by TMS & P Susheela-Poonjittu Kannangal . G Devarajan was well known for melodious tunes. KJY brings out the pathos in the song  so well , especially with  the alaap in the interludes.

4. Kalyana Oorvalam-1970-Koonthalile Nei thadavi-R Parthasarathi-Vaali-Duet with S Janaki

A very obscure music director-R Parthasarathi and an equally rare situation for a song where an uncle ( Chittappa) who brings up his brother’s daughter dreams of giving her away in marriage. Nagesh plays the Chittappa role and is a sublime melody with KJY’s voice having a raw emotional appeal. I always have a special liking to the melodious voice of S Janaki in her very early days.

5. Jeeva Nadi-1970-Aruvi Magal Alai Osai-V Dakshinamoorthy-Vaali- Duet with Soolamangalam Rajalakshmi

While researching for the early songs of KJY , I kept discovering more and more unheard gems. Another rare combination of Soolamangalam Rajalakshmi singing a duet with KJY , composed by the legendary Dakshinamoorthy ’ swami’ – as he was reverently called . I am not an expert in identifying the raagam, but as per information available in the Net , this is set in Saaranga ragam.

6. Annai Velankanni-1971-Vaanam Yenum Veedhiyile- G Devarajan-Kannadasan-Duet with Madhuri

The veteran composer from Malayalam films G Devarajan comes out with yet another evergreen classic for KJY from this hit film that had many leading actors playing cameo roles.

7. Karumbu -1973-Thingal Maalai Venkudayan -Salil Chowdhury-from the Tamil literary classic Silappathikaram written by Ilango Adigal.

Probably one of the oldest ever lyrics taken for a film-from the ancient Tamil literary classic Silappathikaram written by Ilango Adigal. Once I came across this song, I found this  simple but melodious  tune very soothing. Music was composed by the great Salil Chowdhury ( who later on gave  KJY a super hit song in Hindi films-Jaaneman Jaaneman). Whatever I could gather from the Internet sources is that the film Karumbu was either  unreleased or had a very short run. With direction  by Ramu Kariat ( of Chemmeen fame), a Malayalee, music composed by a Bengali and another Malayalee singing lyrics from a  Tamil epic with flawless diction. What a great combination and justifies the fact that music transcends language barriers !

This is taken from the Kaanal Vari -the song of the oasis-from Silappathikaram and is in chaste Tamizh of Sangam times. The interpretation of this song is complex and presently beyond the scope of this blog.

The second  decade….1974-83

The  years 1973-74 were a turning point for KJY. He  finally “ arrived” in the Tamil film music world. With MGR’s midas touch  falling upon KJY , he had a hit song in Ulagam Sutrum Vaaliban-Thanga Thoniyile . And then came the song that finally ensured that there was no looking back for KJY-the most famous  Deivam Thantha Veedu Veethi Irukku, penned by the great Kavignar Kannadasan and  melodiously tuned by the veteran MSV. This was followed by another scintillating classical one : Athisaya Raagam from the 1975 film Apoorva Ragangal . Finally, the public got hooked on to this great singer and his glorious  journey continued after these super-hit  songs.

1. Aval Oru Thodarkathai-1974-Deivam Thantha Veedu-M.S Vishwanathan-Kannadasan

Should I say anything about this song that is well known to everyone  in Tamil Nadu? It is just a timeless classic with Kaviarasar going all out in capturing the philosophy of life , a captivating tune that mesmerizes us till today and above all a rendition that etched KJY’s name in golden letters in Tamil film music.

2. Apoorva Ragangal -1975-Athisaya Raagam Ananda Raagam-M.S Vishwanathan-Kannadasan

After almost struggling between the years 1963-1974 in Tamil films , KJY finally got going in the 70’s. One after the other he started giving some iconic songs that made him a household name in T.N. Composed by MSV in a very rare Mahati raagam and then ending it with Bhairavi. It is said that MSV took the help of noted classical singer M. Balamuralikrishna who had suggested this raagam which he had created  in a tetra tonic scale ( only four notes).

3. Swami Ayyappan-1975-Harivarasanam Vishwamohanam-G Devarajan-Kambankudi Kulathu Iyer/Konnakathu Janaki Amma

The famous devotional song on Swami Ayyappan is very closely associated with KJY . I could see in the Internet that the credit for writing this is having some ambiguity and so I have mentioned both the names I could see. Anyone knowledgeable can throw some light on this. KJY later on was advised that the word “ Arivimarthanam” should in fact be split into Ari & Vimarthanam and he used to sing with the corrected version  later on.

4. Then Sindhude Vaanam-1975-Unnidam Mayangugiren-V Kumar-Vaali

One of the most under-rated music composers, V Kumar came out with this masterpiece of a song, that KJY rendered so beautifully. The piano used in this song is simply exceptional. Thanks to Ms Subashree Thanikachalam for giving lot of background information about this song in her QFR YouTube series- I could know that the person who played the piano is Trevor Fernandes. The song has a ghazal feel with superb western style orchestration. One more interesting fact about this song is that originally SPB was supposed to sing this but due to his tight schedule at that time he could not and it went to KJY. KJY himself considered this song among his topmost ones.

5. Bhadrakali-1976-Kannan Oru Kai Kuzhandai-Ilayaraja- Vaali-Duet with P Susheela

An iconic song that , when it was released , used to be heard almost daily in radio- those days it was the only source for many to listen to film songs. This could have been the  first Tamil song of KJY in Ilayaraja’s music. A lilting romantic duet sung as a lullaby between a husband & wife that remains evergreen even today.

6. Manmatha Leelai-1976-Manaivi Amaivathellam-M.S. Vishwanathan-Kannadasan

It seems Kannadasan wrote this specially for MSV , not only as a lyricist, but as his close friend . KJY takes us through the intricate alaapanais with so much ease that only if we listen intently, we can appreciate how much effort he must have actually put in to make it appear so smooth for us!

7. Mogam Muppathu Varsham-1976-Yenadhu Vaazhkai Pathayil-Vijaya Bhaskar-Kannadasan

Music director Vijay Bhaskar was very much known for excellent scores in  Kannada films. He had even assisted the veterans like Naushad and Madan Mohan in Hindi films. Although he had scored  music for very few Tamil films , many of them were great melodies and well known. In this song , KJY as usual renders a masterpiece with the typical play of words by Kannadasan-“எண்ணெய் இல்லை ஒன்றிலே , என்ன இல்லை ஒன்றிலே.”

One more song that has a superb piano playing along.

8. Neethikku Thalaivanangu-1976-Intha Pachhai Kilikkoru-M.S Vishwanathan-Pulamaipithan

Towards the later part of his career, MGR started giving opportunities to both SPB and KJY . Most of the songs KJY sang for MGR were super hits ( as such MGR was known for his great music sense). This lullaby is one of the best from the team of MSV-MGR-KJY.

9. Oru Oothappu Kan Chimittugirathu-1976- Nalla Manam Vaazhga-V Dakshinamoorthy -Kumaradevan

V Dakshinamurthy swamigal ( as he is always reverentially referred to) had scored many songs for KJY in Malayalam and in Tamil films also they had come out with  certain classics like this one. He had made the raagam Kalyana Vasantham popular in film songs with this “ Nalla Manam Vaazhga.” Written by a relatively unknown lyricist Kumaradevan , this remains one of KJY ‘s immortal songs.

The orchestration is simply out of the world.

10. Vaazhvu En Pakkam-1976-Veenai Pesum Athai Meetum- M.S Vishwanathan- Kannadasan- Humming by B S Sashirekha

The decade of ’70 saw KJY coming out with some of his career best songs. Some,  inexplicably fade away from public’s memory. Like this one gem of a song that most would have forgotten. I hope my inclusion here will be liked by many fans of KJY. A superb melody!

11. Meenava Nanban-1977-Thangathil Mugameduthu-M.S Vishwanathan-Muthulingam-Duet with Vani Jayaram

One more super hit song from the team of MGR-MSV & KJY , this time joined by another legend  -Vani Jayaram. When two classically trained singers sing together it is sheer pleasure to hear them take us through a song  with so much of ease. MSV’s percussion is out of the world, especially those short pauses just before the  start of interludes .

12.Andaman Kaathali-1978-Andamanai Paarungal Azhagu-M.S Vishwanathan-Kannadasan- Duet with Vani Jayaram

The composer and singers  remain the same , with a difference that it is now for another legend-Sivaji Ganesan. Whenever duets of KJY and VJ are talked about, this one will be at the top. A special mention should be made on the mind-boggling use of guitar and mandolin by MSV. When the times were changing with new  music directors & style of compositions  coming in , MSV used to prove with songs like this that he was  still the king!

13. Aval Appadithan-1978-Oravugal Thodarkathai- Ilayaraja-Gangai Amaran

Ilayaraja brought out the multi-faceted singing of KJY , especially with songs that have a western feel. This one from an offbeat film Aval Appadithan can be considered as a precursor as two years down the line  another famous song from the same team would come out :Yen Iniya Pon Nilave  from Moodu Pani. The orchestration, especially the piano & flute in this song defines the quintessential maestro , Ilayaraja. This will be among the topmost songs for  both IR & KJY.

14. Mullum Malarum- 1978-Senthazham Poovil -Ilayaraja-Kannadasan

At the very beginning , that fabulous humming by KJY sets the tone for this song. One  of IR’s finest orchestrations that literally takes you through  a musical road trip , with Kaviarasar’s fantastic lines and KJY’s soft-as-velvet voice caressing you gently.

15. Kavariman-1979-Brova Bharama Raghurama-Ilayaraja-Thyagaraja Swamigal

I remember  when this film was released , this song used to be heard regularly in radio. After many years looks like it is totally forgotten now. Long before IR and K Balachandar team came up with several classical numbers in the film Sindhu Bhairavi, this was a  rare Carnatic classical kriti of Saint Thyagaraja used in a film song. Even the famous Telugu film Shankarabharanam that had Carnatic classical music as its mainstay came in the next year.

16. Moodupani-1980-Yen Iniya Pon Nilave-Ilayaraja-Gangai Amaran

The full credit goes to Ilayaraja for bringing out a different style of singing from KJY. It remains a favourite with almost all till today. A classic guitar song of IR, with KJY freaking out with those “ da dara da da daaaaa” intricacies!

17. Thai Pongal-1980-Theertha Karaithanile Shenbaga Pushpangale-Ilayaraja- M.G Vallaban-Duet with Jency

There have been many songs that have somehow got into the “ now -forgotten category” . This is a superb one , with KJY scaling the higher octaves with so much ease. A curious co-incidence-the following lines have a connection to the  song # 7 in the first section ( the song from Silappathikaram-Thingal Maalai Venkudayan).

காவிரி ஓரமாய் கோவலன் காதலி

பூவிழி மாதவி காதலில் பாடிய

கானல் வரி சுகம் தேடிடும் நெஞ்சங்களே  கொஞ்சவா

18. Koil Pura-1981-Vedam Nee Iniya Natham Nee-Ilayaraja-Pulamaipithan

Give a song with a strong  classical base  to KJY and he just turns it into a timeless classic. With IR always having that expert touch of combining a classical tune with the innovative orchestration that he is well known for, what else can one want? Veenai, Violin, Flute, Mridangam all become magical instruments for the maestro and he compresses a full-fledged classical concert effect into a 4-minute film song. And who else to give full justice to the song except the Gaana Gandharvan?

This is supposed to the first time the raagam “ Goulai” was used in a Tamil film song.

19. Ananda Raagam-1982-Megam Karukuthu Mazhai-Ilayaraja-Panju Arunachalam- Alongwith S Janaki & Ilayaraja

KJY proves he can pull off a folksy tune with the same ease that he does in a classical tune. A very famous duet of KJY with the versatile S Janaki.

20. Moondram Pirai-1982-Kanne Kalaimane-Ilayaraja-Kannadasan

The best way to conclude my first part of blog in covering the early two decades of KJY’s glorious innings  has to be this unforgettable  song. This was also  the  last film song written by the great Kaviarasar Kannadasan. The pathos that KJY brings out is something that will remain with us for ever.

Legends like KJY cannot be summarised in one blog. I hope to continue this in future blogs and also plan to write about his Hindi songs which are a class apart.

Till then…goodbye .

Acknowledgement & Disclaimer 

I sincerely thank the publishers of following blogsites & Internet sources for the information that I could gather for this article:

1. You Tube
2. Wikipedia
3. Ms Subashree Thanickachalam’s QFR series in Ragamalika TV You Tube channel

The songs mentioned are from the popular, public domain and have been embedded here   only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights.

28^th Sep 1929-6^th Feb 2022

The last time I wrote about this great singer , it was a hurried tribute immediately after her sad demise more than a year back. With an illustrious career spanning almost 7 decades , she has left behind thousands of songs for us to cherish. It is almost impossible for any blogger  to do full justice to the task of writing  about her songs.  If there is one singer whose songs I can keep listening on and on without ever getting bored, after my personal favourite Rafi, it is no doubt Lata Mangeshkar. One may have reservations on some of the issues she had with many of her co-singers, music directors etc  as a person, but when it comes to Lata ,  the artist , she was absolutely without any comparison. She was just perfection personified!

During her prime years, mainly the 50’s to early 70’s , she had rendered her best songs composed by  almost all the leading music directors of those days and picturised for heroines across generations! Till the first decade of this century, she was active though age had caught up and one could sense  the strain in her  voice in last films like Veer Zara ( 2004).

On 28^th Sep , 2023 she would have completed 94 years. I was wondering what theme I could select  to write about. I thought of taking up the various genres she sang that would be a fitting tribute to the versatility in her songs. There is always a popular belief that Lata could only sing  sober, classical  and romantic songs, but if we seriously explore we can find she had rendered all the genres, even songs with sensual tones that one normally does not associate with her.

I have tried to showcase all types of songs that she sang. The genres and the songs are solely my own choice.  Song listing is based on various genres , with the song -film-year-music director-lyricist-co-singer mentioned in that sequence. I have also tried to place one style  contrasting to the previous one so that when you listen you can appreciate the variety in her singing.

Patriotic-Vande Mataram-Anand Math-1952-Hemant Kumar-Bankim Chandra Chatopadhyay-Lata with Hemant da.

Whenever we talk of Lata’s patriotic song, Ae Mere Watan Ke Logon is the most commonly talked one. Many would have forgotten this gem of a song from a 1952 film Anand Math that was the debut film for the veteran music composer  Hemant Kumar’s debut in Hindi films. Whenever I listen to this , especially the way in which Lata stretches the “Maa……aaa” , I get goosebumps. She would have been just 23 years when she sang this. What a maturity in her rendition!

• Romantic- Dil dhadke nazar sharmaye -Albela-1951-C.Ramachandra-Rajendra Krishan

We go one year back…1951. The film Albela was a musical feast with C Ramachandra giving a dozen odd hits. If one had followed Lata’s songs closely, one can always  observe an extra sweetness in her voice whenever she sang for CR. This one oozes with romance.

• Sad- Aaj Socha to aansoo bhar aaye-Hanste Zakhm-1973-Madan Mohan-Kaifi Azmi

I vaguely remember reading somewhere , an article,  in which it was mentioned that Lata had lost the innate sadness in her voice in her later years. I would beg to differ on this. Listen to this masterpiece from the 1973 film Hanste Zakhm composed by one her most favourite music composer – Madan Mohan. MM’s masterpiece composition with his trademark sitar bringing out the pathos in Lata’s voice so poignantly.

• Happy- Kahe jhoom jhoom-Love Marriage-1959-Shankar Jaikishan-Shailendra

Who else to bring out the foot-tapping  energetic Lata, than Shankar -Jaikishan. Although she had not mentioned much about the great emperors of Hindi film music ( like many others!!) , it was SJ who had given hits after hits during her initial two decades of career. I always describe SJ’s compositions as “high-octane level”-the energy in their songs is simply infectious!.

• Ghazal- Hum hai mata-e-koocha-Dastak-1970-Madan Mohan-Majrooh

Madan Mohan, whom Lata considered as her rakhi-bhaiya, composed the best ghazals ever in Hindi film music and was rightly called the Ghazal king. He had Rafi , Talat among male singers and Lata among female , to render his masterpiece ghazals.

Dastak was MM’s all-time best film , that gave him his first and sole  National award for best music . Note how Lata displays  her expertise in  Urdu diction with words like ‘kharidaar’ . Many times, when I listen to this song, my eyes automatically become moist.

No gender bias when I write this-normally male singers are considered experts in rendering ghazals, but just listen to the manner in which Lata pulls this off with such a commanding style.

Nothing is impossible for the Nightingale!

• Qawwali-Teri Mehfil Mein kismat aazmakar -Mughal-E-Aaazam- -1960-Naushad-Shakeel-Duet with Shamshad Begum

If there is one genre in which Lata had sung very few songs and could be considered her Achille’s heel, it is definitely the qawwali where her sister , Asha  had the upper hand. But the veteran Naushad did bring out her skills in this also , pairing her with the indomitable Shamshad Begum who, in the pre-Lata days was the highest paid singer and was much sought after for her voice that resembled a temple bell. When Lata, Rafi were getting paid around Rs 250 per song, Shamshad commanded a princely amount of Rs 5000 per song, those days!

•      Lullaby-Mein gaaon tu chup ho jaa-Do Aankhen Barah Haath-1957-Vasant Desai-Bharat Vyas

Make any incurable insomniac listen to this lullaby and I am sure he will fall asleep by the time the song ends! A simple but subtle orchestration  by one of the most under-rated music composers Vasant Desai. The film version of this song is even more beautiful with added alaap in between that was sadly missed out in the version  we normally hear in radio.

•      Sensuous- Bahon mein chale aao,-Anamika-1973-R D Burman-Majrooh

When I  discuss about singers with some  of my friends, they  have a prejudice  against Lata , stating she was more suitable for sober , sad, classical songs and was not capable of singing sensuous songs. Even worse is that there is a popular perception that only if singer is able to sing such songs he/she is labelled as “ versatile”-whatever that means! My personal take is that it could have been more of a personal choice that she avoided these songs and not that she could not sing them. This one song is enough to prove that. There is one more composed by Laxmikant-Pyarelal-Aaa Jaan -e-Jaan , aaa mera yeh husn jawan . One more reason why the popular perception veered around that view could have been that Lata’s voice has an  inherent divinity.  

I try to stay away from these controversies and enjoy each artist’s skills that enriches my listening pleasure.

•      Despair-Khuda-E-Bartar – Taj Mahal-1963-Roshan-Sahir Ludhainvi

Many would not have heard this rare song from the film Taj Mahal that was more known for the very popular romantic duet of Rafi & Lata-Jo Wada Kiya Woh Nibhana Padegaa. Again, these types of songs were quite rare for Lata , but as always she renders anything given to her with expertise. Written in chaste Urdu, by the great poet Sahir Ludhianvi, Lata brings out the basic theme of the song-futility of wars in such an evocative manner.

Playful-Aplam chaplam -Azaad-1955-C.Ramachandra-Rajendra Krishan-Lata with Usha Mangeshkar

A superbly choreographed song , that brings out the peppy style of Lata’s singing. One can also categorise this song a dance number. Percussion was always a great strength on CR and the tabla superbly played in this song keeps excellent company to the sisters-Lata and Usha.

Haunting-Kahin deep jale kahin dil-Bees Saal Baad-1962-Hemant Kumar-Shakeel Badyuni

Among all great  music composers of the golden era, Hemant da and Madan Mohan composed some of the best haunting scores. This one is an eternal favourite among those ,  composed by Hemant da. The way Lata croons the “ oh oh ho…..” conveys the eerie feeling so nicely. 

Classical- Man mohana bade jhoote-Seema -1955-Shankar Jaikishan-Shailendra

One can list out hundreds of Lata’s classical raag based songs. In this 4-minute song, the magicians SJ bring out a full classical concert feel , with the classicism in Lata’s voice at its best. The  alaap she does towards the end of the song are so intricate and with a voice that is pure honey, we go into another world while listening.

Bhajan-Ae Malik Tere Bande Hum-Do Aankhen Barah Haat-  1957- Vasant Desai-Bharat Vyas

I am consciously avoiding the most popular songs in a particular genre, only  to showcase some songs that somehow go un-noticed. Many would have expected Allah Tero Naam , but it is a much- talked about song among  the devotional songs of Lata. Ae Malik Tere Bandhe Hum  is equally , if not even more pious. Composed by the legendary Vasant Desai who , along with Jaidev are considered to be masters in composing bhajans. Of course, if we look at Lata’s Marathi abhang, Meera bhajans, there are countless examples one can write about. That would be the topic of an exclusive blog.   

Folk-Non-Film-Doli Chad Diyaan Maariyaan (Heer-Punjabi Folk song) -Traditional composition-Rendered live at Albert Hall , London, probably in 1974

I  always discover songs that I have never heard , when I start searching content for my blogs. This is exactly what happened when I was looking for some folk songs of Lata. I was simply floored completely when I listened to this. She performed this at the Royal Albert Hall in London maybe in 1974. At the age of 45 , her voice was as sweet as it was when she sang those fabulous melodies when she was just a teenager.

One more quality of Lata was her meticulous practice to learn the right pronunciation  of the language in which she sang. Just listen to her Punjabi diction in this  heer that she delivers with  perfection.

That was my humble attempt to write about the immense variety in Lata’s singing . For many of these genres there could be hundreds of examples, especially for the sad, ghazal, happy, romantic & classical ones. One can never do full justice while writing about such great legends. Hope I shall be able to continue in future blogs to write about her and thousands of masterpieces she had left behind for us to enjoy.

Acknowledgement & Disclaimer 

I sincerely thank the publishers of following blogsites & Internet sources for the information that I could gather for this article:

1. You Tube
2. Wikipedia
3. www.geetmanjusha.com

The songs mentioned are from the popular, public domain and have been embedded here   only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights.