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Hindi film songs

V Kumar-An unsung genius composer

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28th July 1934 to 7th January   1996

If we look at the Tamil film music during the golden decade of 60’s , that was the time when all the veterans of the earlier two decades , like Papanasam Sivan, G Ramanathan, S.V. Venkataraman, S.M Subbiaha Naidu, T.G Lingappa, R Sudarsanam, C R Subbaraman etc. were not much active. It was the time  when M.S  Vishwanathan , initially with his partner Ramamoorthy and later on as a solo composer was at his peak. Only the legendary , classically oriented K.V. Mahadevan held on with his own unique style. That is why it was  really a challenge for Varadarajulu Kumar (named Kumaresan at his birth ), popularly known as V. Kumar to enter the field with his debut film Neerkumuzhi  in 1965 that was directed by  K Balachandar-his mentor and long-time associate .  In the initial years KB was a great support to him . A genius , who never got his due during his lifetime and as it happened with many other legendary artists , only after he passed away , people started realizing what a great legacy V. Kumar  has left behind.

He had to find that niche between MSV & KVM , both unbeatable legends to be successful and relevant. It is really commendable that he could compose some great songs that continue to be appreciated by many , though some of them may not really know the composer behind those songs! Who can forget the evergreen “ Unnidam Mayangugiren”- one of KJ Yesudas’ topmost songs  ,  Seerkazhi Govindarajan’s “Aadi Adangum Vaazhkaiyada” that can compete with his more famous  Ullathil Nalla Ullam by MSV, the evergreen New-Year favorite song  “ Naan Unnai Vaazhti Padugiren” by P Susheela, just to name a few . It is also a surprising co-incidence that two iconic songs -one in typical Madras Baashai and one in typical orthodox TamBrahm Tamil were composed by him. I am referring to “Va Vaadyare Oottanda” by Manorama and “Aduthathu Ambujatha Paarthela” by T.M. Soundararajan  & P. Susheela .

V Kumar was born to Varadarajulu Naidu and Danabaghyavathi Ammal on 28 July 1934 in Madras as it was called then. He did not have any  formal training in  classical music but  used to sit beside his sister when she was being taught and grasped some nuances. Having obtained a B.A  degree  from Loyola College, he initially worked for  the Telephones Department. Like most of the music directors , his  love for music kept him pushing and he formed a small troupe and conducted music programs as a passion . In the 60’s Tamil dramas were very popular and he  started composing music for the stage. ‘Kann Thirukkuma?’ was the first play for which Kumar composed music. In due course,  fate would bring him to the noted producer-director Kailasam Balachandar.

Starting off composing music for KB’s dramas , he had  developed a good  rapport with him, and their  association continued for many years till the film Arangetram after which even KB moved on to MSV . When KB made his directorial debut with the film Neerkumuzhi, Kumar was his natural choice . It is said that for this film V Kumar was  supported  by an experienced musician Rajagopal Kulasekar ,  better known as R.K. Sekar and later his son  A.R. Rahman went on to create great waves in Tamil film music.

Although Kumar was an integral part of KB’s early films and his best songs came with this association , after the film Arangetram, KB never worked with V Kumar. However he worked with other banners such as Mukta films. Many films of the 70’s had memorable songs by V. Kumar even though the films themselves went into oblivion.

He  must have composed for 100 odd films, that mainly consists of Tamil and few Telugu films. His music had melodious tunes, unique string, guitar arrangements, with the charanam composed in a manner that one would usually not anticipate after listening to the pallavi. Other  unique features in his songs were that the interlude music were sometimes extra-ordinarily long and even within the charanam , there was a slight extension just when we would normally think it would end. These features would make his song stand out  from that of an MSV or KVM composition. Of course only a discerning listener would be able to make this out. It was ironic that  many of his songs were thought to have been composed by MSV!

While compiling the list of songs for this blog , I realized one glaring omission-I could not find even one MGR film in his repertoire. And there was a lone Sivaji Ganesan film, though I would say that I am not an authority on statistics on Tamil film music. That could be one more reason why he  remained obscure,  mostly known only to the serious listeners and not to the masses.

On the personal front, little is known about him except that in 1969 he married the playback singer K Swarna and has a son, Suresh. He passed away on 7th January , 1994 and the news of his demise was relegated to an obscure corner of the newspapers.

I myself was not aware of most of his songs and only while researching for this blog, came across many rare and forgotten gems. If I had missed out any prominent song, it is only due to my limited knowledge and not for any other reason. I have listed 27 songs in the chronological order of the release of the films, with song/film/year/singers/lyricists mentioned in that order.

  1. Kanni Nathiyoram-Neerkumuzhi-1965-T.M.Soundararajan &

P. Susheela-Alangudi Somu

As already mentioned Neerkumuzhi was the debut film for V Kumar (  I shall refer to as VK going forward). Superb orchestration , coupled with a scintillating dance by  Nagesh make this a delightful song to watch and listen.

2. Aadi Adangum Vaazkaiyada-Neerkumuzhi-1965-Seerkazhi Govindarajan-Suratha

When one talks about Seerkazhi’s most memorable film songs , Ullathil Nalla Ullam always come to top of the mind. Not lesser in depth and pathos, this song is also considered as one of his masterpieces, with those trademark, stress that he does with the words. Suratha’s lyrics condense life’s philosophy in few words and that elevates this song to higher level.

3. Oru Naal Yaaro-Major Chandrakanth-1966-P.Susheela-Vaali

When you watch this song, you will find it difficult whether to focus on the fantastic antics of Nagesh or the excellent orchestration by VK , where he recreates the sound of vessels banging, bangles tinkling or the scintillating singing of PS ! A superb ,melody composed by VK in the famous film Major Chandrakanth that was sole collaboration of Jayalalitha with K Balachandar. One can observe the genius of VK in just this song alone.

4. Kalyana Saapadu Podava- Major Chandrakanth-1966-T.M.Soundararajan-Vaali

Once again the team of KB, VK & Nagesh come out with an evergreen song . The main strength of this song is the excellent tabla & dholak. What a great percussion arrangement and in between VK makes TMS sing a small classical ‘ alaapanai’ that is so beautifully embedded within  the song.

5. Vaa Vathyare Oottanda-Bommalattam-1968-Manorama-Vaali & M.L.Govind

Now-a-days in Tamil films there is a trend and craze for folksy songs that are termed “ gaana song”! This could be the first one to be composed way back in 1968. Composed by Vaali with lot of help from one M.L. Govind who knew the  typical lingo that is popularly called Madras Bashai, Manorama has done a scintillating rendition. Anyone familiar with that lingo is sure to have a smile after listening to this fantastic song. Manorama used to sing earlier in dramas and was not an active singer at that time, especially in films. Hence VK was a bit apprehensive to have Manorama as the singer , especially the high notes at “ Nainaaa….” and “Machhaaan….” But he was awe-struck after listening to Achi singing that part with so effortlessly!

6. Aduthathu Ambujatha Parthela-Edhir Neechal-1968- T.M.Soundararajan & P. Susheela -Vaali

If ‘Vaa Vadyare’  showcased the typical Madras lingo , this one is an equally great classic that is composed by Vaali in typical Tamizh that is spoken by TamBrahms. We can call this song also as  an anthem for that “ neighbour’s envy” complex. What wonderful lyrics, acting, singing by the legends TMS & PS who proved that they can sing anything and everything given to them. VK has composed this with a simple tune and orchestration but at the same time giving that comical effect in the tune itself. Absolutely no doubt that he was one of the most under-rated composers.

7. Thamarai Kannangal- Edhir Neechal-1968-P.B.Sreenivas &P.Susheela-Vaali

This is one of the most popular composition of VK. The great prelude and those extended interludes are as note-worthy as that of well -known composers. That characteristic string arrangement, use of  guitar, saxophone and flute all blend together in a harmony that is evergreen! Not to forget the percussion arrangement with tabla and dholak playing along like a wave.

8. Punnagai Mannan-Iru Kodugal-1969-P.Susheela & Jamuna Rani-Vaali

Written by Vaali  in a question-answer format that depicts the tussle between two women married to the same man, and composed by VK in a tune that brings out the struggle both the women are going through. VK has to be credited for bringing to limelight many singers of yesteryears who were confined to sidelines. For this song, he had brought in Jamuna Rani to sing along with P Susheela.

9. Kannoru Pakkam-Nirai Kudam-1969- T.M.Soundararajan & P. Susheela -Kannadasan

I think this could be the only film that VK composed for a Sivaji Ganesan film. Superficially if you listen to this song , it may  sound like that of a typical MSV song for a Sivaji film, but the interludes and charanam are typical of VK.

10. Unnai Thotta Kaatru-Navagraham-1970-S.P.Balasubrahmanyam &P.Susheela-Vaali

One interesting aspect in VK’s compositions that I observe is the manner in which he extends the charanams  a bit more than what we usually expect it to end. Beautiful , lilting melody, and the lyrics by Vaali is so imaginative-in each stanza he describes how the wind, the sea waves and the rain drops join both the lovers . Only in very few songs you get to hear the male singer only supporting with a humming. SPB in his early years  had great support from VK and he himself acknowledged this in one of his programs Simply SPB that he did during the Covid-19 pandemic.

11. Nitham Nithamoru-Nootrukku Nooru-1971-T.M.Soundararajan -Vaali

One more example of VK taking the charanam to an extended part just when we expect it to end. I think this could be one very unique aspect of his tunes. The orchestration is never very grand ( obviously as most of the films he composed for were low budget ones) but he does lot of innovations within that constraint and makes the song interesting.

12. Naan Unnai Vaazthi – Nootrukku Nooru-1971-P.Susheela-Vaali

The string arrangements, bass guitar, drums, use of chorus -all make this song as good as you can expect any of the leading musical director  of Tamil or Hindi films. It was a regular song in good old days during new year eves. The highlight of the song is that slow fading out of P Susheela’s voice at the end of each charanam.

13. Oru Malligai Mottu-Ranga Raatinam-1971- S.P.Balasubrahmanyam -Kannadasan

VK takes the usage of Hawaiian guitar, strings, accordion , flute to a different level. Add to that , SPB’s early youthful voice and  his Rafi-esque style in elaborating the words ‘ mottuu..’ and ‘pattuu…’ Simply superb! However it is my  observation  that  first part of the charanam and an accompanying brief violin phrase  appear to have been inspired from the famous Hindi song Yeh Jo Mohobbat Hai from Kati Patang, though rest of the song is different.

14. Engellam Valaiosai Ketkindradho-Veguli Penn-1971-T.M.Soundrarajan-Kannadasan

If we listen to at least a dozen songs of VK then we can easily identify his style that was different from MSV & KVM. It would have been really a tough task for him to compose something unique when both these “ jambavans” were at their peak. Listen to this song to understand how beautifully he has arranged the charanams. TMS had the unique ability to mold his voice to suit the actor on whom the song was picturized similar to Mohammad Rafi and one can observe this , where he has modulated to suit actor Muthuraman and sounds different from that of a Sivaji or MGR song!

15. Unakkenna Kurachal Nee Oru Raja-Velli Vizha-1972-M.S.Vishwanathan-Vaali

What a great camaraderie the music composers of those times had! When VK composed this tune , that was to be picturized on an aged person’s character ( played by Gemini Ganesan) , he had decided this was to be sung by MSV . But the director K Balachandar was doubtful  whether  MSV would sing due to two reasons. One was whether he would sing for another  composer’s tune and the other was both had not worked together till then.

However VK went ahead and went to MSV to request him. MSV was also initially hesitant as he said he sings very rarely and that too in his own compositions with the songs  being not lip-synced by any actor and were mostly  background songs. Once VK convinced him , MSV , after hearing the tune  felt it was similar to his own  style and added to that it was to be a background song . And what a great rendition by him! To this day a majority  would be under the impression that as MSV had sung , it  must be his own composition!

16. Kaathoduthaan Dhaan Naan Paduven- Velli Vizha-1972-L.R.Eashwari-Vaali

This could be VK’s most famous song. He did something truly innovative in this film by giving this melodious and soft song to L.R Eashwari and the other-a  boisterous one to P Susheela ( Naan Satham Pottuthaan Paduven) . Both the singers are known for their skills in genres just the opposite! For LR Eashwari , this turned out to be one of her career best songs. Although the first lines of this song seem similar to Jeena Yahan Marna Yahan song from Hindi film Mera Naam Joker (1970) , rest of the song is totally different and shows VK’s caliber in taking a masterpiece of Shankar-Jaikishan and giving it a totally different treatment.

17. Moothaval Nee Koduthai Vaazhvile-Arangetram-1973-P.Suheela-Kannadasan

Arangetram means the debut, but sadly for the great association of K Balachandar and V Kumar , this movie turned out to be their last. To the best of my knowledge VK did not compose for any of KB’s film after this. This film was a bold , controversial film and one can say far ahead of its times. This song remains one of the most famous from this film.

Kannadasan had worked with V Kumar to a lesser extent and it was mostly Vaali who wrote most of VK’s songs. But the genius of Kannadasan is in full flow in this song. Like in many of K Balachandar’s  films, he summarizes the entire story in three stanzas!

18. Devan Vedhamum Kannan Geethayum-Raja Nagam-1974- S.P.Balasubrahmanyam & P.Susheela- Vaali

One of the most popular songs of VK and SPB-PS team and a great hit when it was released. The overlapping of both the singers towards the end adds so much charm to the song. Once again , listen to the superb orchestration of VK in terms of the percussion arrangement , guitar , flute, synthesizer, and that typical VK’s strings -great!

19. Sivappu Kallu Mookkuthi-Ellorum Nallavare-1975- T.M.Soundararajan & P.Susheela -Kannadasan

Inn this song , listen to the innovations VK has done in the percussion. So different and charming. And when we have the evergreen pair TMS & PS , we get a simple, but memorable duet. Even towards the end of the song , VK does an unexpected humming , when we least expected it.

20. Unnidinam Mayangugiren-Then Sinthuthe Vaanam-1975-K.J.Yesudass -Vaali

If there is one song that is quintessentially  V.Kumar  , this is  it. This is not only one of VK’s best , but even for KJ Yesudas, this can rank among his top 10! In his Simply SPB YouTube video, SPB  explains how he missed the opportunity to sing this as he could not give dates to VK for the recording and ultimately , in his own words, ‘ the song went to the singer who rightly deserved it.’

The piano prelude, interlude, and that solo violin towards the end all make it a timeless classic. And not to forget the superb alaap by KJY. Thanks to Ms. Subashree Thanikachalam for featuring this song in one of her QFR series , I could learn that the piano was played by one Mr. Trevor Fernandez ,  the subtle but superb drums played by Mr. Noel Grant and that exquisite solo violin by Mr. Joseph. Great  musicians and a legendary song composed by an unsung genius- V Kumar.

21. Vaazhvil Sowbagyam Vanthathu-Thoondil Meen-1977- S.P.Balasubrahmanyam & P.Susheela-Vaali

If one has to understand the quintessential VK style of composition , then this is the song to listen to , not once , but many times to understand how he comes out with an unusual charanam and blends it back to the Pallavi  so effortlessly.

22. Ennodu Ennannavo Ragasiyam- Thoondil Meen-1977-Jayachandram & K Swarna-Vaali

The film Thoondil Meen had only two songs and I have included both of them here. VK had married the playback singer K. Swarna in 1969 and she has sung many songs for him. This is a rare song that has P Jayachandran & Swarna singing under the baton of VK . Listen to the superb guitar in the prelude and in subsequent interludes .

23. Madhanorchavam Rathiyoduthan-Sathurangam-1978- S.P.Balasubrahmanyam & Vani Jayaram-Vaali

I find lot of similarities between this song and the famous K J Yesudas Hindi song Mana Ho Tum Behad Haseen from the film Toote Khilone, music composed by Bappi Lahiri. Bothe films seem to be from 1978! I am not a historian of film music and hence leave it at that! But the orchestration and charanam cannot be said to be exactly same. The way SPB and Vani Jayaram have rendered this  is something out of the world!

24. Saptha swara punnagayil kanden-Nadagame Ulagam-1979- S.P.Balasubrahmanyam & Vani Jayaram -Kannadasan

One more hidden & rarer gem from VK. I have to say that my experience while searching for VK’s songs was truly and enriching one and I could hear many melodious songs that I have not heard for ages!

SPB & Vani Jayaram -they had sung comparatively few duets together in Tamil but most of them are so good.

25. Oru Paarvai Paarkum bodhu-Nangooram-1979- S.P.Balasubrahmanyam & K. Swarna-Kannadasan -V Kumar with Premasiri Khemadasa

This film was unique in one  aspect – the music is credited to both V Kumar and another Sri Lankan composer  Dr Premasiri Khemadasa. Both the songs that I have included are mostly unheard , but I found them very melodious and having a distinct charm .

26. Aalayam Naayagan- Nangooram-1979- S.P.Balasubrahmanyam & S.Janaki-Kannadasan- V Kumar with Premasiri Khemadasa

A sweet melody, unfortunately now mostly forgotten. I was pleased to rediscover this song , that I must have heard more than 40 years back!

27. Pattu Poochi Pattu Poochi-Meendum Mahaan-1984- S.P.Balasubrahmanyam & KS Chitra-Vaali

Towards the end of his career, V. Kumar came out with this song and it was tragic to note he was just credited as VK in the album. Tamil music had changed a lot during this time , when the innovative sounds of orchestration, superior recording techniques employed by Ilayaraja ruled the roost.

I end this humble tribute to this simple gentleman , who remained so humble and unassuming like the music that he created, which , despite grand orchestrations or superior techniques  , remained soulful and unique. It is indeed sheer coincidence that the day I complete this blog and publish it , happens to be his 28th death anniversary.

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. Ms. Subashree Thanikachalam’s QFR series in YouTube
  4. A blog “ An Ode to V Kumar”  published in newdhool.blogspot.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.

Hindi film songs

Rafi’s Birth Centenary Special: His journey with his  top music directors

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24th Dec 1924 to 31st Jult 1980

When I was racking my brain for a suitable theme to pay my humble tribute to the great singer Mohammad Rafi on his birth centenary that falls on  24th December 2024, I remembered an old interview of the great man. In his lifetime he had spoken so little that one can condense them in a single page , whereas if we have to write about the invaluable treasure of songs that he left behind , even a lifetime would not be enough! In that interview he had very modestly credited  whatever he sang to his gurus and the  music directors! No doubt the music directors explain the tune and situation to the singers to bring out the right effect, but it is a well-known fact that Rafi sahab always  used to check on which actor the song was to be picturized, understand the mood of the song , rehearse thoroughly ,  and then render  the song to a perfection that no one has come close to till this day. Also, he always used to point to the sky, referring to the Almighty whenever someone praised his singing , indicating that it was all God’s will. That was Rafi sahab-ever humble and down to earth.

Now , coming to the theme of this blog, since he very modestly  credited his music directors ,  I thought why not look at  the number of songs he sang for the music directors with whom he had worked in the 37 years of his career. I did that and selected   those music directors with whom he had sung at least 20 songs and above. My count was 36 music directors, surprisingly very close to  the number of years of his fabulous career in playback singing.

For this blog I have focused only on his solo songs, and maybe on some other occasion in future will try to write about his duets. For some of the music directors for  whom Rafi had sung a huge percentage of excellent songs, I have selected two songs and for the rest only one . This is with an idea to keep the blog shorter ( even then it runs into 45 songs in all!). But I am sure Rafi fans will never tire of listening to his songs ; moreover, being a blog to commemorate his  birth centenary, it definitely has to cover a wide range of songs. 

Before I get into the song listing , some more statistics. The 36 music directors whom I have included here were the major ones for whom he sang 20 or more songs. But there are around 257 other music directors for whom he had collectively sung around 1030 songs! That only shows how he never bothered about money, big names/banners/heroes etc.

The listing is sequenced in descending order of total number of songs Rafi had sung for each music director, with the approximate number of songs he had totally sung mentioned in brackets. These are only rough numbers as per some  data available with me. Even I was surprised to note the numbers against some of the music directors-for some it is surprisingly lower than what we usually perceive, like Naushad or surprisingly higher , like R.D Burman!   Also, one may find some music directors like Vinod, Avinash Vyas, A.R Quereshi , S. Mohindar, Jamal Sen etc who could not make it to the top and remained relatively obscure , but some of the songs Rafi had sung for such music directors are top class, even though  they are never heard much.

Against each song , I have mentioned the film, year, and the lyricist. The choice of the song for each music director is purely my own personal choice and will never match any other person’s choice. It is absolutely impossible to select one or two from hundreds of top-class songs he had sung for these music directors. Also, I would have written about some of the greatest songs of Rafi with these music directors elsewhere in my blogsite and so to avoid repetition, I have consciously selected some other song. With that caveat , let me start!

Laxmikant-Pyarelal(389)

For Laxmikant-Pyarelal, Rafi was always their most preferred male singer. Despite starting off only towards the late sixties and the fact that Rafi passed away in 1980, they scored the maximum number of songs for him. Although some of the songs towards the late 70’s may not count much in terms of quality, they gave so many hits for him. L-P’s tunes had great orchestration and percussion arrangements and most of their peppy numbers suited Rafi’s breezy style of singing.

  • Huyi Shaam Unka-Mere Humdum Mere Dost-1968-Majrooh Sultanpuri

I have selected a soft and less-boisterous song of L-P that Rafi takes it to great heights with his typical nuances.

  • Khilona Jaankar Tum to-Khilona-1970-Anand Bakshi

When the maestro sings, he gets into the soul of the song so much that it really tucks at your heart. There are many phrases that are sung with extra stretch in the antara…only Rafi could pull it so well. One of the most under-rated but superb actors of Hindi films, Sanjeev Kumar enacts this so well on screen.

Shankar-Jaikishan (378)

If only Jaikishan had not passed away so early , the duo of Shankar-Jaikishan would have scored the maximum songs for Rafi. I had to simply do a random pick of two of their songs as Rafi had given the most memorable hits with this golden duo -the emperors among music directors  of the golden era.

  • Ae Gulbadan Ae Gulbadan-Professor-1962-Hasrat Jaipuri

The distinct S-J style of orchestration and power-packed tunes were rendered by Rafi with equal energy, making them a formidable team.

  • Mein Gaoon Tum So Jao-Bramhachari-1968-Shailendra

Generally, lullabies are associated with female singers, but Rafi can sing even a lullaby better than others.

Chitragupt( 261)

The very talented  Chitragupta,  remained in the shadows of the top stalwarts mainly  due to the fact that he  got only low budget films and not the big banners  starring the top heroes. Rafi remained his main male playback singer.

  • Akhiyan Sang Akhiyan-Bada Aadmi-1961-Prem Dhawan

This could be among the top ten classical raag based film songs of Hindi film songs, but less talked about. Rafi is simply scintillating in this. As the picturization of the song is not matching the superb quality of singing, I have posted a link that has only audio, with good quality and also a bonus -the song repeats once more ! Get yourself immersed in this out-of-the world Malkauns raag based classic.

  • Sonwa Ke Pinjara Mein-Ganga Maiya Tohe Piyari Chadhaibo (Bhojpuri Film Song)-Shailendra

How can a singer bring so much of emotion in a 3-minute film song? Hailing from Punjab, observe the way he has rendered this song written in  Bhojpuri dialect by Shailendra. Chitragupta has kept the orchestration to the bare minimum , with Rafi pulling your heartstrings  . Even a stone listening to this song will melt.

Ravi (251)

Chitragupta and Ravi had much in common in the sense that  melody always  dominated their compositions and so Rafi was the most-preferred choice for both. Only difference was Ravi could get better commercial success . Rafi rendered some of his greatest ghazals and romantic melodies for Ravi.

  • Jaane Bahar Husn Tera-Pyaar Kiya To Darna Kya-1963-Shakeel Badayuni

Typical laid-back style composition of Ravi, that mostly had poetry at its heart , with Rafi rendering each and every syllable with so much of passion. That “Are wallah kamaal hai haaye”…it is such special touches that only Rafi brought into playback singing , making him the University for Playback Singing!

  • Choo Lene Do Nazuk Honton Ko

On screen, actor Raj Kumar is singing , intoxicated, but the teetotaller Rafi is rendering it as if he is even more intoxicated and making us intoxicated with his rendering.

O.P Nayyar (206)

Unlike  most of the yester-year music directors who gave more  soft, melodious , sober tunes, O.P Nayyar was different with his pulsating percussion arrangements. He brought in so much of high energy in the tunes  like S-J and gave Rafi a much-needed break from getting bracketed with more of sad or soft melodious numbers. I have selected two songs that show cases the peppy side of Rafi’s singing as well as a soft romantic side that OPN composed.

  • Hai Duniya Usiki Zamaana-Kahmir Ki Kali-1964-S.H.Bihari

I could have selected a more fast , typical tonga-style song of OPN  but this is too good to be left out. A masterpiece of composition and singing.

  • Subhan Allah haye haseen chehra

This is the typical OPN-Rafi combo that is full of joie de vivre and the hallmark of OPN-Rafi.

Kalyanji-Anandji (174)

To many it would be a surprise to note that K-A having composed 174 songs for Rafi. Their music is mostly associated with Mukesh in their earlier years and latter  with Kishore Kumar. But Rafi had given some fantastic songs with K-A .

  • Yahan Mein ajnabee hoon-Jab Jab Phool Khile-1965-Anand Bakshi

Sung with a subdued undercurrent of pathos, with  Rafi’s vocals fitting to a tee  the actor on screen , Shashi Kapoor.

  • Dil Bekaraar Sa Hai-Ishaara-1964-Majrooh Sultanpuri

The manner in which Rafi always balanced those little nuances in his singing ( example..mausam nashe mein choor hai, kuch peeke aayee hai ghata), without overdoing the same is something many singers were not able to emulate.

Naushad (171)

After the initial few years when the legendary Naushad used other male singers like Mukesh and Talat Mehmood, he almost completely switched to Rafi for the rest of his musical journey. The number of songs is lesser only due to the fact  that he took very few assignments. Sometimes he used to take 6 to 8 months to complete a film.  Most of Rafi’s songs with Naushad are masterpieces and it is indeed a futile exercise for me to select two from them!

  • Man Tarpat Hari Darshan-Baiju Baawara-1952-Shakeel Badayuni

One of the most memorable bhajans ever composed in Hindi films, no one can ever write anything about this song as it is enough to just immerse oneself into the same with closed eyes…Rafi brings Hari’s darshan to us with his singing.

  • Kal Raat Zindagi Se-Palki-1967-Shakeel Badayuni

This could be one of the songs that has a very long antara. Only the three legends-Rafi, Naushad and Shakeel can create such a masterpiece. The way Rafi elaborates each and every line of the antara is something out of the world.

Madan Mohan (168)

The Ghazal king Madan Mohan had a special chemistry with Rafi-he used to always ask him if he had sung any of those peppy, fast songs in the recent past and only after ensuring a ‘no’ from Rafi , he used to go for his recordings. MM’s music was known for its melody  and Rafi rendered many immortal ghazals for him. With Rafi , MM had even experimented with a song that was far ahead of its time-Tum Jo Mil Gaye Ho-that was one of the most complex songs in HFM. I had already written about that song in my earlier blog and so here , I have listed  two gems-one a famous ghazal and other one a very soft , romantic number that caresses you as you listen like a gentle breeze.

  • Rang Aur Noor Ki baraat-Ghazal-1964-Sahir Ludhianvi

Signature composing style of MM, with those fabulous violins and Rafi coming up with those evocative singing for which he was famous.

  • Ek Haseen Shaam Ko-Dulhan Ek Raat Ki-1966-Raja Mehdi Ali Khan

Like many of MM’s compositions , this is as fresh as it was composed yesterday! Whenever Rafi sings in lower octaves and in a softer tone , they become timeless! While listening , please do not miss that extra sweetness in “ shaaam ko” that only the master can render.

R.D Burman (130)

Although one would not immediately associate RDB with Rafi, like many music directors, who had depended on Rafi in their debut film, RDB was not an exception. His debut film Chote Nawab( 1961)  and many other subsequent films till 1970 had predominantly Rafi as the main male singer. In fact, the film Teesri Manzil( 1966)  had six songs by Rafi and all were super hits and gave the major boost to  RDB’s career. Kati Patang in 1970 marked a significant shift to Kishore, but RDB continued with Rafi even till 1980 , when Rafi breathed his last. Late 70’s had many top hits for Rafi with RDB, even , ironically fetching him the lone National award for best male playback singer with the song   Kya Hua Tera Vada.

  • Tumne Mujhe Dekha-Teesri Manzil-1966-Majrooh Sultanpuri

A superb romantic song from this musical bonanza film, with trend-setting music by Pancham da.

Usha Khanna(115)

The only female music composer to have a long and successful career in the male-dominated field , Usha Khanna had great respect and admiration for Rafi and had given him a much-needed boost in the somewhat lean period for Rafi during the early 70’s, with her Teri Galiyon Mein Na Rakhenge song.

  • Maine Rakha Hai Mohabbat-Shabnam-1964-Javed Anwar

This typical Arabian music  influenced composition is one of Usha Khanna’s top songs with Rafi. Written by her father Manohar Khanna under the pseudonym Javed Anwar.

Sonik Omi (114)

Manohar Lal Sonik and his nephew Om Prakash Sonik started their career as music arrangers and instrumentalists. They got their first film Dil Ne Phir Yaad Kiya as independent composers and its music is remembered even till today. In spite of giving many hits songs , they were relegated to low budget films and could not come to the top. Rafi had given some memorable hits for them, with Donon Ne Kiya , Tha Pyaar Magar being the most famous.

  • Kaliyon Ne Ghoonghat Khole-Dil Ne Phir Yaad Kiya-1966-G.L.Rawal

The nephew, Omi was once an arranger for the legendary music director Roshan and one can get a feel of the same arrangement in this song. An evergreen Rafi romantic song.

N. Dutta (112)

Hailing from a small village in Goa, Dutta Naik, credited as  N. Dutta in films, was an unlucky genius. Despite scoring some great masterpieces and that too for big banners like B.R Chopra’s BR Films, somehow he could not get the recognition he richly deserved. He started as an assistant to the veteran composer S.D. Burman and had a great association with lyricist Sahir and together they gave immortal songs . Rafi was always N. Dutta’s favourite singer and the one I have included is an iconic song from the formidable trio of N. Dutta-Rafi-Sahir.

  • Maine Chand Aur Sitaron Ki-Chandrakanta-1956-Sahir Ludhianvi

The use of two sitars  is a special feature of  this evergreen song remembered for Rafi’s superlative singing, Sahir’s exquisite poetry and Dutta’s eternal composition.

Hansraj Behl (110)

Master Ji, as he was referred to in the industry ( the only one after the legendary Ghulam Haider) , Hansraj Behl is one more example of a forgotten or unlucky genius. Everyone would have heard his famous Rafi song  Jahan Daal Daal Par Sone Ki Chidiya in our National days, without knowing the composer who created it! Starting from the Vintage era and going on to the Golden Era , he composed many melodious songs. His Mohabbat Zinda Rehti Hai for Rafi is also a very popular song.

  • Zindagi Bhar Gham Judaai Ka Mujhe-Miss Bombay-1957-Prem Dhawan & Asad Bhopali

Now-a-days even the good old Vividh Bharati channel of All India Radio seems to have forgotten such songs. A very beautiful composition sung by Rafi in his inimitable style. I do not know why two lyricists are associated with this song!

S.D Burman(103)

The veteran composer, Sachin Dev Burman, had a late start to his own career, almost at the age of 40, when he really took off. That , plus the fact that he was the only mainstream composer who even in his early years alternated between Rafi and Kishore , might have resulted in relatively lesser number of songs for Rafi. However, if we look at the quality of those songs, they must rank the highest. Many black & white films of Dev Anand had Rafi’s best songs. I have listed two of them here.

  • Tu Kahan Yeh Bata-Tere Ghar Ke Saamne-1963-Hasrat Jaipuri

The highlights of this song are the ‘out-of-the-world’ humming by Rafi at the beginning of each antara and the special echo effect that Burman da gave to the song.

  • Din Dhal Jaaye-Guide-1965-Shailendra

An entire blog can be written about this song! Guide was SDB’s magnum opus. All the songs are evergreen and this one has Rafi singing out his soul. The manner in which he expresses the  words “ pareeshaaan” and “kkaaunn” are enough to prove he is without any comparison.

Husanlal-Bhagatram(101)

The first successful musical duo , Husanlal & Bhagatram were brothers of a noted music composer of the vintage era, Pt Amarnath. They dominated the 40’s but inexplicably faded into oblivion in later years. Solo songs of Rafi were relatively lesser as their duets for him were more popular.

  • Ek Dil Ke Tukde Hazar Huve-Pyaar Ki Jeet-1948-Qamar Jalalabadi

When one hears this song , we can realize how even at that young age of 24 , Rafi sang with so much of maturity and feel. By this time Rafi was slowly but surely reaching the top, not to look back till 1980!

Roshan(97)

 Roshan ( full name Roshan Lal Nagarath) is known for his scintillating tunes with lilting melody and many twists and turns , with a trademark pause in the song that would elevate the composition to great heights. Flute was an integral part of his music. And similar to how Madan Mohan was considered king of ghazals, he was the king of Qawwalis. With Rafi, even though his number of songs were below hundred , but if we look at their quality, it must be the highest ever by any composer!

  • Man Re Tu Kahe Na Dheer -Chitralekha-1964-Sahir Ludhianvi

Considered as one of the best ever songs composed in Hindi films by many artists, this song, with a profound philosophical tone written by the veteran Sahir, remains one of Rafi’s career best.

  • Maine Shayad Tumhe-Barsat Ki Raat-1960-Sahir Ludhianvi

Barsat Ki Raat was one of Roshan’s best ever album. Who can forget the  most famous qawwali of HFM , Na To Carvan Ki Talash Hai? The same film had some superb solos of Rafi like the one I listed here and Zindagi bhar nahi bhoolegi who barsaat ki raat.

S.N Tripathi(91)

Known for having composed the music for many films that had mythology or history as the main theme, Shri Nath Tripathi,  apart from being a successful music director,  was also an actor, singer , writer, and director of films. As Rafi was well-known for singing devotional songs, he was a natural choice for SNT for his various mythological films. The song I have selected is repeated from my earlier blogs , but could not ignore the same as it is a one-of-a-kind , that has only Rafi’s vocals , with no orchestration. Pure bliss!

  • Na Kisiki aankh ka noor hoon-Lal Quila-1960-Bahadur Shah Zafar(Muztar Khairabadi?)

There is always some ambiguity about who really wrote this song-whether the last Mughal emperor Bahadur Shah Zafar or Iftikhar Hussain Akhtar who was the grandfather of lyricist Javed Akhtar and father of another great lyricist Jan Nissar Akhtar. But there is no ambiguity in stating that this is one of Rafi’s topmost songs which only he can render!

C Ramachandra(83)

Although in his initial days, C Ramachandra composed many songs with Rafi, in the later years he had drifted away from him. There is a reason , but as it is controversial, I will skip that. One apparent reason could be that he himself was a good singer and so in later years he sang many of his compositions. Presenting a famous song of CR with Rafi from the film Nausherwan-E-Adil.

  • Ye Hasrat Thi Ki Is Duniya Mein-Nausherwan-E-Adil-1957-Parvez Shamsi

Apart from this superb solo, the same film had two very famous duets of Rafi with Lata: Taron Ki zubaan par hai mohabbat & Bhool Jayen Saare Gam.

Iqbal Qureshi(82)

With a height of 6’ 4” , Iqbal Quereshi was quite an impressive personality in the film industry. Like many other music directors, he is another example of an immensely talented composer but  now relegated to obscurity.  His film Cha Cha Cha had many popular and great songs.

  • Woh Hum Na The-Cha Cha Cha-1964-Neeraj

The  film Cha Cha Cha was a forgettable one but all the  songs are masterpieces. 

S. Mohindar (76)

One of the last composers from the Vintage Era & Golden Era to have survived till 2020, his one song , Guzra Hua Zamaana , Aaata Nahin Dubaara , sung by Lata is just enough to keep his name immortal. Although he could not achieve much fame in Hindi films, he was a very prominent composer in Punjabi films.

  • Gussa Fizul Hai -Reporter Raju-1962-Anand Bakshi

One should credit S. Mohindar for giving Rafi a rare yodelling song. Yodelling is usually associated with Kishore and no one would have thought  Rafi had ventured into that. But yes, he had done that also!

Khayyam(65)

After starting off his career in the mid 50’s with some of Rafi’s greatest songs like Hai Kali Kali Ke Lab Par, Jane Kya dhoondti rehati hai yeh ankhen, it appears that Khayyam forgot Rafi for a long ten years. Subsequently it was in 1977 , in the Kamal Amrohi film Shankar Hussain that Rafi sang for Khayyam and that one song is considered a masterpiece-Kahin Ek Masoom Nazuk Si Ladki. However, Khayyam and Rafi worked together in an few non film albums dedicated to bhajans and ghazals that showcase Rafi’s immense talent in the non-film genre also.

  • Aur Kuch Der Tehr-Aakhri Khat-1966-Kaifi Azmi

Observe how Rafi brings out the pleading of the character asking his love to be with him for some more time with that “ tehar.”

Ghulam Mohammad(62)

Apart from  being Naushad’s right hand by taking care of his percussion arrangements , Ghulam Mohammad was  a  great independent music composer . Like many others talented , but unlucky composers of his time,  he also remained in the shadows of the other stalwarts who could get commercial success. His last film Pakeezah, is an epic in terms of musical quality, but unfortunately the great composer could not live to see the immense appreciation the film’s music received. As that film was almost  a decade in making, some of the songs were not included in the film. I have presented one such unheard song here.

Yeh Kiski Aankhon Ka Noor Ho tum-Pakeezah -1972 ( Not included in the film) -Majrooh Sultanpuri

The film had only Rafi song-the duet Chalo Dildar Chalo, with Rafi repeating only the first line Chalo Dildar Chalo Chand Ke Paar Chalo and that fabulous alaap in the interlude. This unreleased solo is truly a hidden gem.

Ravindra Jain(58)

By the time Ravindra Jain had debuted , it was almost mid 70’s . Yet they worked together for around 60 songs and this one is supposed to be the very first song composed by Ravindra Jain. Once again we see how Rafi had been associated with many upcoming music composers and giving them the boost to their careers with his songs. Truly an institution!

  • Nazar Aati Nahin Manzil-Kanch Aur Heera-1972-Ravindra Jain

Rajesh Roshan(47)

Son of the  legendary music director of the golden era  Roshan Lal Nagrath ,  Rajesh Roshan started his career with Kunwara Baap in 1974 and followed it with a successful film Julie that made him famous. Although Rafi had relatively lesser songs with him compared to other singers, he gave his best to all composers. One such from an obscure film is included here.

  • Dil Ki Kali Yun Hi -Inkaar-1977-Majrooh Sultanpuri

Sardar Malik(47)

There are many examples in HFM where the father remained unlucky and did not get the recognition he rightly deserved , but the next generation got immense fame. Sardar Malik and Anu Malik represent this . Mukesh had relatively more famous songs with Sardar Malik. Presenting a sweet melody from Sardar Malik & Rafi .

  • Mujhe Tum Se Mohabbat Hai-Bachpan-1963-Hasrat Jaipuri

Vinod(41)

Born Eric Roberts in the undivided Punjab, he adopted the screen name Vinod. Starting off with the vintage era he, went on to compose music till the late 50’s when he passed away at a young age of 37 due to some illness. His La Ra Lappa La Ra Lappa Layee Rakhda from the film Ek Thi Ladki sung by Lata is popular to this day. He is one among the many pioneers who introduced western music arrangements in HFM.

  • Puchiye Na Haal Ji Palle Nahin Maal Ji-Mukhda-1951-Aziz Kashmiri

I do not know what was the situation for this song-from the lyrics it appears that Rafi is singing for someone whose business has not gone well! Just listen to that “ hai”…by Rafi! I now realise that my criteria of travelling through Rafi’s journey with his music composers really turned out to be a right one. What an immense variety of songs we get to hear!

Avinash Vyas(38)

The Hindi film music world  might not have given much chances to this composer, nor remembered him , but in the Gujarati film world he was a top-notch music composer. Rafi has also sung some Gujarati film songs under his music direction.

  • Bol Bol Bol Sach Sach Bol-Laxmi-1957-Qamar Jalalabadi

It was  really a very pleasant surprise for me to listen to this song for the first time. What a rocking , laugh riot this song is! There are no words to describe this song. The lyrics are absolutely fantastic, the music is typical rock & roll style and in such peppy songs Rafi simply excels .

Vasant Desai(36)

Vasant Desai is one the leading composers from the vintage era to the golden era, who was known for his intricate classical music-based compositions. I have covered his major songs in my blog in this blogsite. He had famously said that  Rafi  was a ‘shapit gandharva’ , meaning a celestial singer who was sent to earth!

  • Kehdo Koi Na Kare Yahan Pyar-Goonj Uthi Shehnai-1957-Bharat Vyas

When someone hears this song immediately after listening to the Bol Bol Sach Bol I posted just above, it would be impossible to believe that the same singer has rendered both! What a versatility!

Hemant Kumar(30)

Hemant da, being a good singer himself, had used other singers sparingly and Rafi even lesser.

  • Hum Laaye Hai Toofan Se-Jaagriti-1954-Rajendra Krishan

Among the many patriotic songs that we hear during our National days, this one is somehow forgotten. A nice composition with Rafi’s usual fervour.

A.R. Qureshi(27)

Many would not know this famous table maestro , more popular by the name Allah Rakha, composed music for many films under the name A.R. Quereshi.

  • Ram Ki Mahima Nyari Re Manwa-Khandaan-1955- Sarshaar Sailani

A nice bhajan by Rafi , with that typical ease with which he sails through the high notes so effortlessly.

Jamaal Sen(27)

One of the forefathers of music composer Jamaal Sen, Kesar Sen was disciple of  the legendary Tansen who was the Royal musician in Akbar’s court! Like many of the unlucky but talented composers in HFM , he never got his dues despite giving some memorable songs. However, his son and grandson Dilip Sen-Sameer Sen became quite popular in recent years.

  • Sun Sun Meri Kahani-Rangeela-1953-S.H. Bihari

One more quirky song by Rafi, that he has sung so much of variety and tricky , elaborate alaaps . I am sure you would like to listen to this twice or thrice to get a feel of the uniqueness of the tune and rendition.

Dattaram Gaikwad(26)

Just like how Ghulam Mohammad was the percussion expert for Naushad, Dattaram Gaikwad was for Shankar-Jaikishan. The similarity extends to both being independent music directors also. Ab Dilli Door Nahin was his debut film as independent music composer with the song that I have listed here becoming very popular. His songs from Parvarish were also well received.

  • Chun Chun Karti Aaaye chidiya-Ab Dilli Door Nahin-1957-Hasrat Jaipuri

Salil Chowdhary(26)

If there were two music directors in HFM who apparently did not have much fascination for Rafi , they were Anil Biswas and Salil Chowdhary. I do not have anything to write about the former, as he had hardly worked with Rafi. But Salil Chowdhary did work with Rafi for few songs and most of them were really great songs. The major rift happened during the recording of the song Tasvir Teri Dil Mein for the film Maya. But I do observe there were one or two songs that Salil Da composed for Rafi many years after Maya. Controversies apart, Salil da the composer is one of my all-time favourites and  I do not let his apathy towards Rafi come in the way of appreciating his great music. He was a true genius.

  • Koi Sone Ke Dilwala -Maya-1961-Majrooh Sultanpuri

Maya had some of Rafi’s best songs with Salil da , despite the infamous spat! This is a typical Salil da composition with Rafi’s honey-laced vocals.

Bappi Lahiri (24)

Even I was surprised to note Rafi singing around 24 songs for Bappi Lahiri! In his early years Bappi da gave some great compositions , even classical based ones. Even though he might have worked with Rafi towards the fag end  of Rafi’s career, he always held Rafi in great respect.

  • Bheegi Bheegi Rut Hai -Taqdeer Ka Badshah-1982-Nandi Khanna

This song must have been recorded before or in 1980 and the film released in 1982. When we listen to Rafi’s voice even in 1980 it sounds so young!

Jaidev(22)

Jaidev, a long-time assistant to the senior Burman, got his fame with the film Hum Dono which had three Rafi songs that are eternal. The one I have selected here and Kabhi Khud Pe & Abhi Na Jao Chodkar. Jaidev did not have any “ favourite “ singers and experimented with many. We would have loved to had more of Rafi singing for  him.

  • Mein Zindagi Ka Saat-Hum Dono-1961

Iconic song from the Hum Dono..Sahir’s philosophical lines with Rafi singing with a drawl…duen mein udaaaaa….

Shyamji Ganshyamji (22)

Contrary to popular perception this is not a duo composer team but a single individual! Having changed his name from Ghanshyam to Shyam and then finally Shyamji Ghanshyamji, he achieved fame with this one song from Thokar.

  • Apni Aankhon Mein Basakar-Thokar-1974-Sajan Dehlavi

Like many of the olden day songs, there are two versions of this song-one with two antaraa is more commonly heard but the one with the third antaraa is too good with Rafi in his usual elements.

Acknowledgements and Disclaimer:

I sincerely thank the publishers of following blogsites & Internet sources  for the information that I could gather for this article. 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. You Tube
  2. Wikipedia
  3. www.geetmanjusha.com

Hindi film songs

The golden duo-Shankar-Jaikishan-Part 2

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Shankar Singh Raghuvanshi (15th October 1922 to 26th Apr 1987)

Jaikishan Dayabhai Panchal (4th Nov 1929 to 12th Sep 1971)

When  I started writing   my blog on the golden duo, Shankar-Jaikishan , I initially thought I would be able to cover a representative list of their  songs in two parts. I published Part 1 on 1st November 2024 that had 25 songs selected from the years  1949 to 1960 . When I started listing out the songs from year 1960 onwards, I found that I may not be able to do full justice to their work in just 2 parts and it has to go to part 3! That shows how prolific the golden duo S-J were. Added to the huge number of hits in the 60’s , some of the films in this decade had multiple super hits, leaving me in dilemma as to which one I should include in my blog. So, there will  soon be Part 3 also and to everyone’s surprise there would be many songs that Shankar composed after Jaikishan’s untimely death in 1971 ; most of the authors of books and blogs on HFM summarily dismiss the songs Shankar composed in 70’s as not worthy but I would completely disagree . We will come to that in Part 3!

As I had written about S-J ‘s journey and the highlights of their style in my first part , let me straight away start with the song list. This blog , i.e. Part 2 covers their songs from 1961 to 1966. It is a well-known fact that  the decade of 60’s was the peak of SJ’s career. Every film  had so many hit songs and at least 2-3 were super hits  and that is why I had to stop this part with year 1966 and continue the rest of the songs in next blog.

This decade saw a major change in the overall style of music and more so in S-J’s own style. The influence of western music became stronger, Rafi was also at his peak  and also the years 1963-67 were marred by the  infamous spat between Lata & Rafi during which they did not sing any duet together. This resulted in many new duet combinations with most of the music directors signing up mainly  Suman Kalyanpur &  Asha Bhonsle  along with many other female singers to sing with Rafi. Rafi was not at all the loser and it was more of an issue for  Lata, whose total number of songs got reduced , especially the duets. It is interesting to note that it was Jaikishan , who took lot of efforts to bring the two legends together -unfortunately the film for which Lata & Rafi started singing together once again was shelved and so the honour went to S.D Burman’s Jewel Thief with the song Dil Pukare Aaa Re Aaa Re . I will not go into the details of that rift as there are many versions going around and as per my own unwritten rules, I steer clear of controversies!

Let us focus and enjoy S-J ‘s immortal compositions in their super-golden era!

  1. Ehsaan Tera Hoga Mujh Par-Junglee-1961-Rafi-Hasrat Jaipuri

I intentionally left out the most popular Yahoo! Chahe Koi Mujhe Junglee Kahe and instead selected this soulful romantic number mainly to emphasize that S-J were equally capable of composing very soft , melodious numbers as much as they were experts with a boisterous “ Yahoo!”  I could not find in YouTube the sole Rafi version; this link has both Rafi & Lata solo versions. You can understand Rafi’s superb singing with Lata failing a bit at the high octaves!

  • Teri Pyaari Pyaari Surat Ko-Sasural-1961-Rafi- Hasrat Jaipuri

It is said that the first lines of this song were thought about by Hasrat when his son was born. Later he must have composed this into a song for the film .The last stanza in the link provided below  is a bonus, that appears only in the film version.  Usually  in radio we hear only the first two stanzas. One of Rafi’s most famous songs that is always remembered even till today.

  • Dheere Chal Dheer Chal-Boy Friend-1961-Rafi- Hasrat Jaipuri

Now-a-days in the name of  rap we hear absolute cacophony! This song can be defined as a melodious rap! An oxymoron as how can rap be melodious?! Yes , if we have S-J & Rafi it can be! The frenzied pace in which S-J composed this , ably assisted by his trusted lieutenants Sebastian and Dattaram and of course Rafi, is something unbelievable. The percussion & guitar  use is mind boggling. Pity such songs are totally ignored in media.  There are two other absolutely fabulous songs in the same film: Mujhe Apna Yaar Bana Lo- a Rafi solo  and a very rare duet of Rafi with Aarti Mukherjee -Aiga Aiga Aiga Yeh Kya Hogaya. Check these two songs out in the Net and you will be bowled over!

  • Mehtab Tera Chehra-Aashiq-1962-Mukesh & Lata-Shailendra

Sometimes S-J take a slight pause, sit back, and compose some masterpieces  with a leisurely pace. Such songs seem to have been tailor-made for Mukesh. Sitar, sarangi, and the favourite accordion  of S-J are prominent . Sebastian deserves all praise for being the sheet anchor for S-J with extraordinary orchestration. The song ends with a superb alaap by  Lata that  is simply out of the world.

  • Tera Mera Pyaar Amar-Asli Naqli-1962-Lata-Shailendra

How can someone describe this song?! Grand -this one word is enough ! S-J ‘s typical orchestration with the 1st & 3rd interludes being the  same and  2nd one different. With the mandolin giving a counter melody, Lata’s scintillating singing and the ethereal beauty of Sadhana on screen , all these make this song a visual delight as well. I can keep listening to such songs of S-J a thousand times without ever getting bored!

  • Dil Tera Deewana Hai Sanam- Dil Tera Deewana-1962-Rafi & Lata-Shailendra

Bijli Girake Aap Khud Bijli Se Dar Gaye

Hum Saadgi Pe Aapki Lillaah Mar Gaye

The way  Rafi sings that Lillaah sets the tone for what we are about to hear in the next  5 minutes. When Rafi & Lata roam around in the stratosphere of octaves, there are the ubiquitous 30-40 violins , guitars , saxophone all creating a harmony that is “ never-dull-a-moment”. In most of S-J ‘s songs we hear so much happening that one gets lost in the song totally. That was their secret of success and reigning at the top for more than twenty years!

  • Mujhe Kitna Pyaar Tumse- Dil Tera Deewana-1962-Rafi & Lata-Shailendra

Classic  example of how  S-J could give multiple super hits in the same film. This is a slightly sober song version as compared to the earlier one . With violins, piano, mandolin and  guitar giving excellent company to  Rafi & Lata , this is truly another gem from S-J.

  • Masoom Chehra Yeh Kaatil Adayen- Dil Tera Deewana-1962-Rafi & Lata-Hasrat Jaipuri

Hidden in between the above two super hit songs, this is a sweet romantic number, mostly forgotten now . Starts off with the mouth organ -rarely heard in a S-J song . Flute plays in between in short phrases.  Also notice the tabla takes a brief pause  in the antara . Must definitely be Dattaram’s touch!

  • Bol Mere Taqdeer Mein Kya Hai-Hariyali Aur Raasta-Mukesh & Lata-Shailendra

Sometimes I feel the interludes of S-J alone deserve so many awards! The song deceptively starts off with a relatively slow pace with only the bongos accompanying the singers . Then comes the  first interlude ,  with flutes  imitating  the movement  of a train and then the  tempo builds up ,  with the accordion, reaches the height with mandolins , guitars and finally hands over the baton to the majestic violins of S-J that ends with a flourish.  Mukesh has his own charm in such duets.

  1. Ae Gulbadan Ae Gulbadan-Professor-1962-Rafi-Hasrat Jaipuri

It is unimaginable that they could come out with super hits after super hits with so much of regularity. Really sad that they are not being celebrated the way they should have been. When Rafi starts off with the lines ‘kya haseen mod par aa gayee zindagani , that string arrangement takes the song to heavenly heights.

  1. Mein Chali Mein Chali- Professor-1962-Rafi& Lata-Shailendra

Whenever  Rafi & Lata  sang together , the palpable romance in the song was sheer bliss to hear! One can take an analogy of how a great building is built starting with a strong foundation-the way S-J begin the song with the prelude is something similar! Apart from Rafi & Lata , the violins  and guitars are also in a conversation. Not only the prelude and interludes, just observe the postlude also  in this song. I simply cannot stop wondering at the amazing orchestration in S-J ‘s songs.

  1. Chotisi Duniya Pehchane Raaste-Rangoli-1962-Kishore Kumar-Shailendra

In the 60’s Kishore had few songs with S-J that were mostly in the films in which he also acted as the hero. It is said that after Barsaat brought together S-J , Shailendra & Hasrat together, S-J had promised Shailendra that they would recommend him to few producers. But apparently S-J had forgotten this promise and Shailendra wrote a small note to them “ Chotisi Yeh Duniya Pehchane Raaste Hain , Tum Kahin Toh Miloge , Kabhi Toh Miloge Toh Poochenge Haal,’ which they later used in this song. I do not know how far this is true as I find a long and continuous association of S-J with these two lyricists. In fact , only in few films that were remade from Tamil,  Rajendra Krishan wrote for them as he used to write the dialogues also as he knew the language. Later on, after Shailendra’s untimely , tragic demise, other lyricists started writing for S-J like, Neeraj. Film world is full of such stories and we do not know the real facts!

  1. Yaad Na Jaye Beete Dinon Ki-Dil Ek Mandir-1963-Rafi-Shailendra

S-J who could make a song full of pathos sound so soulful and at the same time have such  intricate orchestrations. Who should get the credit? S-J for such a soulful composition , Rafi for rendering it from his heart or Shailendra for the immortal lines? !  Talat Mehmood had natural vibrato in his voice , but Rafi brings that out effortlessly with his skill. When we listen  it may appear  to be effortless, but he must have sat in a corner and gone through those famous self-improvisations  for which he was well-known!

  1. Tum Hi Tum Ho Mere Jeevan Mein -Ek Dil Aur Sau Afsane -1963-Rafi & Lata-Shailendra

A somewhat rare song that we used to listen quite a lot earlier, but now has faded away from memory. All other male songs were rendered by Mukesh except for this one. Due to some reason Mukesh was not available and since the filming was due , they recorded with Rafi and thought afterwards they can replace with Mukesh’s voice. But it is said that when Mukesh heard this , he said let it remain in Rafi’s voice! One more anecdote for you!

  1. Kuch Sher Sunatha Hoon Mein -Ek Dil Aur Sau Afsane-1963-Mukesh-Hasrat Jaipuri

Mukesh goes all out in rendering this -what a tune and what superb poetry by Hasrat Jaipuri. Makhmal pe tum chalo to chile paaon gulbadan! S-J , apart from Kalyanji-Anandji and Roshan always brought out the best in Mukesh’s voice. Observe how beautifully S-J utilized the Sarangi in this song. The antara is structured like a wave we see in shores, slowly building up and then crashing on to the shore, taking a brief pause when the music completely stops and it is the sonorous voice of Mukesh that dominates! Wow!!

  1. Mujhko Apne Gale Laga Lo-Humrahi-1963-Rafi & Mubarak Begum-Hasrat Jaipuri

One of the most memorable songs of Mubarak Begum. Unfortunately, her talents were not utilized properly due to HFM ‘s monopolistic issues. The complete cessation of background music towards the end of the antara takes this song to a different level. The film version of the song has three antaras but I found most of the uploads in YouTube with poor audio quality and hence this link that has only two but of good quality.

  1.   Aaj Kal Mein Dhal Gaya-Beti Bete-1964-Rafi-Shailendra

Long before I started my own blogsite, I had written an article about this song. One of the best lullabies ever composed in HFM . Sadly, we do not hear this often and as usual most of the popular media channels never air this , reasons best known only to them!. An excellent composition, with superb lyrics, soulful singing by Rafi and an under-played but grand orchestration by the masters S-J.

  1. Tumne Pukara Aur-Rajkumar-1964-Rafi & Suman Kalyanpur-Hasrat Jaipuri

During the Rafi-Lata rift years, many music directors could not afford not to have Rafi in their duets as he was at the peak of his singing career. It was Lata who missed the opportunities and so we had some of the fabulous duets of Rafi with Suman Kalyanpur & Asha. The interlude is a harmony between saxophone, guitar, and the ubiquitous violins of SJ. The slow pace of the antara that is almost like a recitation , contrasts so well with the mukhda.

  1. Ajhoon Na Aaye Baalma-Sanjh Aur Savera-1964-Rafi & Suman-Hasrat Jaipuri

Though I am not an expert on raagas, I understand this is based on Raag Madhuvanti. I intentionally posted the audio only as the picturization spoils the sanctity of the song rendered so beautifully by Rafi & Suman. S-J did a yeoman service to HFM by having many songs based on classical raagas in a simple format that would appeal to the masses.

  • Dost Dost Na Raha-Sangam-1964-Mukesh-Shailendra

Sangam and Mera Naam Joker were major works of SJ for Raj Kapoor , the former a super hit and the latter a flop ; but I would still say the music of Mera Naam Joker was equally good like  Sangam. This song can be described as quintessential S-J :  grand orchestration, piano simply out of the world, interludes that are still etched in our memory.

  • Yeh Mera Prem Patra- Sangam-1964-Rafi-Hasrat Jaipuri

One of the best Rafi songs in a RK movie that over shadowed to some extent the equally good ones Mukesh sung in the same film. They say one of the reasons a rift happened between Shankar & Jaikishan was this song. They had an unwritten agreement that neither will reveal which song was composed by whom and Jaikishan apparently broke this by revealing it was his composition in some interview to a magazine. Shankar had however denied this story. Let us forget that and listen to this masterpiece and get ourselves lost in the beauty of the song.

  • Bedardi Baalma Tujhko-Arzoo-1965-Lata-Hasrat Jaipuri

Saxophone and violins take centre stage with those typical high octaves of Lata & S-J! Apparently Lata once asked S-J why they set such high pitch and their response was to match those fabulous violins that were an integral part of their orchestration. One more example of a  song that an undercurrent of pathos  , but presented in a catchy style Only SJ could do it.

  • Jaan Pehchaan Ho-Gumnaam-1965-Rafi-Shailendra

I had written about this song in my blogs earlier under different themes but would always like to repeat as this is the most shocking under-appreciated song in our country , whereas it has a cult-following in western countries! It was the opening song shown in the titles of a 2001 Hollywood film Ghost World title, in a German  beer brand  advertisement , and also many pop artists abroad recreated this. Something similar to the “  awara hoon”  craze. SJ & Rafi showed they were the real kings of jazz.  Unfortunately all the video versions of this song cannot be embedded as they do not play in other sites and so I had to upload only the audio version. Those interested please do check out the video in YouTube as the dance in the song is simply out of the world-Laxmi Chhaya , choreographed by Herman Benjamin who has also sung this on screen.

  • Tumhe Yaad Karte Karte-Amrapali-1966-Lata-Shailendra

All the songs of Amrapali were sung by Lata except for one “ Nacho Gaao Nacho Dhoom Machao – a rare one that had only chorus singing the song. Apart from this the other songs , viz, Jao Re Jogi Tum , Neel Gagan Ke Chaaon Mein , Tadap Yeh Din Raat ki are all top class and  deserve to be included  but due to brevity , I am restricting to one. We can say “Tumhein yaad karte karte”  is one of Lata’s top songs with a restrained orchestration by SJ and a very soft singing by Lata.

When we see the simple personality of Rafi and then hear him sing songs like Jaan Pehchan Ho and Aaja Re Aa Zaraa  , it is simply unbelievable how he sings such westernized tunes so authentically. They say when he starts singing in front of the mic , he transforms into a different person. Remember this was in 1966 , and observe that  stylish singing. He did not have any role model in HFM  for taking inspiration for such a style . It is truly amusing when we  hear the popular media taking only  one popular music director’s name to have brought western style music in HFM , ignoring the likes of  S-J, C Ramachandra, Salil Choudhury and many others. I do not have anything against  that music director, i.e. R D Burman but to ignore all others and talk only about him is so biased.  The main purpose of my blogsite is to cover all the artists , rather than getting fixated with one or two artists only. Coming to this song, the use of piano, violin and guitar is exemplary and so is Rafi’s singing with that vibrato that he does so effortlessly.

  • Baharon Phool Barsao-Suraj-1966-Rafi-Hasrat Jaipuri

In addition to the song Teri Pyari Pyari Surat Ko , this one made Rafi a household name. Rafi used this tune to sing few songs composed in Dutch and English also , in his concerts abroad , as the tune was so popular.

  • Titli Udi Udi Jo Chali- Suraj-1966-Sharada-Shailendra

Even I was surprised to include this song as Sharada is not a favourite singer for me , personally. Plus, it is a general talk , again no one knows how far true , that one of the reasons for S-J’s decline was Shankar’s promotion of Sharada as an alternative singer to Lata. As usual I will stay clear of the controversies! But this song made a great change in the Filmfare awards. Till then the award for best playback had only one category irrespective of whether male or female playback singer. Since this song was tied with Rafi’s Baharon Phool Barsao, a separate category for female playback singer was introduced from the next year. The tune , lyrics and orchestration in this song are good and could be said to be one of the few songs of Sharada that I like. She had serious accent issues and those days , it truly mattered. Today anything passes off as music!

If one can ignore the accent issues of Sharada , she did sing few  good songs . I was also shocked to know only now, when researching for this blog that she had passed away in June 2023 and I do not remember seeing that news prominent in any media!

  • Duniya Bananewale-Teesri Kasam-1966-Mukesh-Hasrat Jaipuri

Whenever I write about the songs from this movie Teesri Kasam it is always with a feeling of sadness. Shailendra  venturing into film production with this film despite many of his well-wishers advising him not to do that mistake completely devastated him financially and ultimately the dejection took him  away from us at the early age of 43! It is even more tragic to note that the film that bombed at the box office on its release is now considered a cult classic. S-J had poured their heart into this film’s music. Each and every song is a masterpiece. Ideally I should be including all the songs from this film but restricting myself to just two.

  • Aa Aaabhi Jaa Teesri Kasam-1966-Lata-Shailendra

Personally, I rate this song much better than the more popular Paan Khaye Saiyyan by Asha. SJ could have kept the rhythm simple but they added a slight variation in the beats , making this a great song.

  • Raat Ke Humsafar-An Evening In Paris-1967-Rafi & Asha-Shailendra

One of the most famous duets of Rafi & Asha and no doubt a great song. That was a time when films getting shot in foreign locales were becoming popular and most of them  had music composed by S-J. Who else to give that grand orchestration that suited a European setting?!

  • Taron Se Pyaare-Diwana-1967-Mukesh-Hasrat Jaipuri

A classic example of how a mediocre film can have such fabulous music. Apart from this song, few others like Deewana Mujhko Log Kahe , Ham To Jate Apne Gaon , Ae Sanam Jisne Tujhe , Tumhari Bhi Jai Jai  etc were all great hits. The Shehnai played in Taron Se Pyaare sounds like a bagpiper! S-J  knew exactly how to bring out the best from Mukesh.

We are still 3 years away from the end of the 60’s decade  and I have completed my Part 2! Shows how S-J had dominated the 60’s with the most memorable songs of HFM. I will continue this musical journey with S-J in part 3 , showcasing their songs from 1968 till 1979, with Shankar plodding along bravely  from the year 1971 , with his friend &  partner Jaikishan departing in 1971. Most of his associates ditched him , including his mentor Raj Kapoor! To re-phrase  the famous quote from Shakespeare’s Julius Caesar-That was the most unkindest cut of all…….

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.

Hindi film songs

The golden duo: Shankar-Jaikishan-Part 1

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Shankar Singh Raghuvanshi (15th October 1922 to 26th Apr 1987)

Jaikishan Dayabhai Panchal (4th Nov 1929 to 12th Sep 1971)

Among the great legendary music directors who created immortal film songs during the golden era of Hindi film music ( HFM) , that is from late 40’s to early 70’s , there were two, who ruled at the top for almost two decades. It is very rare to see quality and quantity going hand-in-hand , but Shankar Singh Raghuvanshi & Jaikishan Dayabhai Panchal could exactly do that ! They created sheer magic with their tunes that had an eclectic mix of the classical , catchy rhythm patterns, unparalleled  orchestration that appealed to the connoisseurs as well as the laity. If we look at the Hindi film music( HFM) journey from the 1930’s when songs started appearing , the early years were influenced by Hindustani classical music and  Rabindra sangeet style of music. They were no doubt melodious but was not that much understood and appreciated by the masses. However , when  Shankar -Jaikishan ( abbreviated SJ  from now onwards) stormed the music scene with the film Barsaat in 1949, there was  sudden whiff of freshness in the music that was melodious and at the same time with a faster tempo and an easier format for a layman to appreciate  and sing along. From then it was literally a “ barsaat” of hit songs for the next two decades, uninterruptedly.

The impact  of their music was so powerful  that even in regions within our country where Hindi is not the main language, their songs Like Awaara Hoon or Ramayya Vastavayya became  so popular. Crossing the seas, even in far off countries where the Hindi language was unknown, like Turkey, Russia  & China  people could sing along with “ Awaara Hoon” ! Talking about that song , noted music director Pyarelal of the Laxmikant -Pyarelal duo once said , if one has to understand S-J , it was that  accordion piece that comes immediately after that Awaara hoon line. We cannot  think of that song without that piece. That , in essence , was S-J style. For their fans , every note of the preludes and interludes of the songs are almost etched in memory.

The pulse of the masses was rightly discovered by S-J . Their compositions were  a heady cocktail of underlying classical raag base to which they added  a fast , catchy rhythm, an orchestration with superb preludes, interludes & postludes, even to the extent of composing sad songs with a faster tempo -all these factors making them the undisputed ‘emperors ‘ of HFM till around 1970. If I can go a little overboard , I can even call them the  ‘ superstars’ among music directors. They painted with a larger canvas and made songs the center-piece of a film , and started getting paid sometimes even more than the main actors ! Their names in the posters were enough to pull the crowd.  With 179 films and around 1300 songs , any discussion on the golden era of HFM cannot be complete without their music. In one of his shows, noted lyricist and story, screenplay writer Javed Akhtar rightly described their music as: “till the advent of S-J , film song  was a short story, but S-J made it into a novel” There can  be no better way to describe .

Somehow, despite all the greatness in their career, today we seem to have totally forgotten them, more so in the so-called mainstream media, radio/TV channels that keep harping about just one or two names always! The year 2022 was the birth centenary of Shankar,  and sadly there was no mention  of that! That is no surprise as the film world is notorious for ignoring many such stalwarts . For Shankar , the neglect  started immediately after the sad and sudden demise of his partner Jaikishan in 1971. Even more irritating is that in many of the books or blogs , whenever they talk about S-J , they start off with how the glorious music they gave initially deteriorated in their later years ( as if all other music directors did not have their creativity reducing in later years!) ,  their so-called rift , and again how they did not deserve some of the Filmfare awards etc. Somehow I find this repulsive and so would not talk anything about that and would, instead  dedicate a two-part blog to capture their excellent music. S-J’s music has to be celebrated.

I started writing this blog on 16th October ’24 just a day after  the 102nd birth anniversary of Shankar. By the time I complete this blog it would be closer to 4th November which happens to be the 95th birth anniversary  Jaikishan. This blog comes  immediately after my earlier one on the genius Sajjad Husain. I am wonder-struck with the contrasting variety that we had in the music of the golden era. Sajjad music became immortal with just less than hundred songs and on the other extreme end  of the spectrum we have S-J with more than 1300 songs , working with some 115 different movie banners and around 100 different film directors!

One may wonder why I am going overboard in praising their music.   In any  creative art, sustaining the top position for two decades is definitely a great achievement , more so in the intensely competitive film industry. Also there may not be a single day when their songs are not played or remembered . Their songs were the first to transcend our borders and go to various regions  like Russia , the middle-east and even Europe. One of their songs Jaan Pehchaan Ho ( from the film Gumnaan, sung by Mohammad Rafi) is strangely ignored in our country , but so many artists in Europe & USA have recreated that and even used it in a commercial advertisement for a beer brand and in the  titles   of a Hollywood movie Ghost World! Songs like Awaara Hoon , Mera Joota Hai Japani, Kisiki Muskurahaton Pe Ho Nisar , Aaj Kal Tere Mere Pyaar Ke Charche, Yahoo!..Chahe Mujhe Koi Junglee Kahe, Zindagi Ek Safar Hai Suhana are popular even in those regions of our country where people may not know Hindi.  

At their peak , they mostly  used a grand 60–70-piece orchestra ! They were the highest paid among music directors, reaching an astronomical figure of Rs 5 lakhs in the 60’s. It is a fact that  many actors owed their career to the super hit songs scored by  S-J in their films. They had the maximum number of silver jubilee and golden jubilee films in those days. It is said that , if the film producer was able to rope in  S-J , a simple letter from the duo that they are composing music for the film , would make  financiers  queue up for funding the film. Sometimes the film posters used to have only “ Music by Shankar Jaikishan”  rather than the name of  actors and it was a guarantee for success. Only one other music director had  this recognition and that was O.P Nayyar.

How these two legends joined together is interesting. They were from different  backgrounds. Shankar,  a Punjabi born in Madhya Pradesh and brought up in Hyderabad ( then in Andhra Pradesh & now in Telengana ) and Jaikishan , a Gujarati , born in  Bansada, Gujarat. Both did not have much of formal education. But music was their passion. When these two met at the office of Gujarati film director , Chandravadan Bhatt in search of opportunities to score music for films , they discovered their common interest and that is how their association began.

Shankar started working for the Prithvi theatres that was run by Prithviraj Kapoor and he introduced Jaikishan as a harmonium player. Shankar had by then learnt to play Harmonium , Tabla, Accordion, Piano and also learnt kathak dance. When Prithviraj ‘s son Raj Kapoor made his first film , Aag in 1948 , he chose Ram Ganguly as the music director. S-J assisted him on the orchestration and Shankar was also assisting the noted music duo Husanlal -Bhagatram . When Raj Kapoor wanted to make Barsaat in 1949, he had some issues with Ram Ganguly and that is how luck smiled upon the young S-J to fetch them their first break as independent composers. Barsaat’s music brought in a huge wave in the form and style of HFM that catapulted them to the top. Initially , it is said that many other veteran music directors were initially skeptical and only C Ramachandra had remarked that one day these boys will prove to be tough competitors!    

Although they composed under the joint name Shankar-Jaikishan, it is no secret that they used to compose the songs individually. However they had their trusted arranger for orchestration and percussion in common: Sebastian D’ Souza taking care of the orchestration and Dattaram Wadkar, looking after the  rhythm section. It is said that Shankar’s forte was more on dance-based songs, theme-based songs and in Raj Kapoor’s films the title song was always Shankar’s responsibility. He worked more with Shailendra. Jaikishan was more into the romantic and sad songs and worked with Hasrat Jaipuri. Jaikishan was also an expert in background music.  He was also more social and looked after the financial aspects. He had the skill to interact with the outside world  whereas Shankar was more of an introvert , a bit short tempered , traits that would go against him after the demise of Jaikishan. He was not the party-going type unlike Jaikishan and was happy with his other hobby, that was wrestling! Many stories were written about their so-called rift post Sangam film. I read somewhere that Shankar himself denied those stories.

More than two years back , in this blogsite I had written about the golden team of S-J with their inseparable lyricists Shailendra & Hasrat Jaipuri. During those days , I was not embedding the songs and so it was just a long write up on some of their best songs. Their music is an ocean and I am sure that I would be able to pick many other songs that I could not cover in my earlier blog .

To my pleasant surprise, when I started listing out their songs , I found that I could pick an astonishing 50 songs from their debut year 1949 to 1960! And there was more to come from the  decade of 60’s which was their peak! So I am breaking this blog into two parts-Part 1 covers 1949 to 1960 and Part 2 the years after 1960 till Shankar’s demise in 1987. Many music critics  tend to completely dismiss the songs composed by Shankar alone , but I beg to differ and found many good songs composed by him in the 70’s. I will try to cover them in Part 2.

Songs are sequenced chronologically, as per the year of their films, with song /film/year/singer(s) and lyricist mentioned in that order.

  1. Patli Kamar Hai Tirchhi Nazar Hai/Barsaat/1949/Mukesh & Lata / Shailendra

I have selected this song as this shows the early signs of S-J’s fabulous orchestration. Note how they seamlessly switch over from the foot-tapping part that Mukesh sings in contrast to  the sober Lata’s part. The long association of Mukesh & Lata would continue for many years with S-J . With Barsaat , S-J had arrived in a grand style!

2. Tere Bina Aag Ye Chandini-Ghar Aaya Mera Pardesi/Awaara/1951/Manna Dey & Lata/Shailendra

Can someone believe this song was composed around 75 years back! A classic example of their grand orchestration. Starting off slowly with Lata’s slow lament conveying the pangs of separation , the song jumps to a fast tempo with Manna Dey conveying the  frustration of on screen Raj Kapoor  soulfully. The violin arrangement became a trademark of S-J and stayed with them in most of their songs. Mandolin brings in the joy when Lata starts off with the lines ‘Ghar aaya mera pardesi’ with that famous dholak beats of Dattaram who was instrumental in providing a great percussion support in all S-J songs. That peculiar style of Dattaram’s dholak had a unique term in the industry-Dattu’s theka!

3. Aawara Hoon/Aawara/1951/Mukesh/Shailendra

This song could be termed as the most famous song from India, having captured the hearts of Russia , Turkey, and many other Middle-Eastern countries. It was   mentioned even in the Noble -prize winner Aleksandr Solzhenitsyn’s novel Cancer Ward! A simple tune , but the way in which S-J composed it with the follow-through accordion, and those fabulous interludes, and last but not least , Shailendra’s simple but heart-touching poetry make this song an eternal one.

4. Ae Mere Dil Kahin Aur Chal/Daag/1952/Talat Mehmood/Shailendra

One of the earliest examples of counter -melody. Note how S-J play with accordion in the antara. A simple song , but remains popular till today, with Shailendra’s poetry that touches every heart. Although Talat Mehmood sang very few songs in S-J’s direction, this one will count among his top ten without a doubt.

5. Jhoome Jhoome Dil Mera /Poonam/1952/Lata/Hasrat Jaipuri

In the 50’s Lata’s career was to a great extent shaped by S-J’s solos, a fact that she might not have attached much importance , but we , fans of Lata & S-J can very well appreciate. In this article alone there are around 11 duets and 6 solo songs of Lata-all fantastic ones. The best part in this song is the manner in which the interlude  starts  with that fabulous accordion playing just  for  few seconds only to handover the baton to those violins . All along the mandolin gives great company to Lata , with a flute that chirps like a bird in between. Tere is never a dull  moment in S-J’s orchestration. They embellish each and every part of the song.

6. Aa Neele Gagan Tale/Badshah/1953/Hemant Kumar & Lata/Hasrat Jaipuri If I can rank the famous duets of Hemant Kumar & Lata , this song will definitely be in the top 10!. What a haunting superb melody ,  accompanied by an under-stated orchestration that has  accordion , harmonium      , violins with a waltz rhythm.

7. Manmohana Bade Jhoote/Seema/1955/Lata/Shailendra

For all those critics of S-J who trivialized their music as ‘copied from western music’ or ‘too loud’ , they gave a fitting reply by composing songs like Manmohana Bade Jhoote and also with all the songs of Basant Bahar. Based on raag Jaijaivanti, with that exceptional singing by Lata, S-J prove  that  they do not need a 60–70-piece orchestra always! They have used  just a tanpoora, tabla & sarangi in this song.

8. Ramaiyya Vastavayya/Shree 420/1955/Rafi, Mukesh & Lata/Shailendra

An iconic song that is popular across our country, even in non-Hindi speaking regions! One of the best songs with three legends singing together: Rafi , Mukesh & Lata. Shankar , having been brought up in Hyderabad knew Telugu and it is said that once he, along with Jaikishan & lyricist Shailendra were waiting for tea in a small tea stall where the boy serving tea was supposedly named Ramaiyya. Shankar was calling out to him for bringing the tea -the first lines of this song in Telugu translates to”  would you come , Ramaiyya” . Jaikishan started putting those words to a tune  and Shailendra filled in the rest of the lines. A legendary song was born!

9. Duniya Na Bhaye Mohe/Basant Bahaar/1956/Rafi/Shailendra

As I had mentioned earlier , with the film Basant Bahar , S-J figuratively slapped their critics and proved they can compose songs with pure classical base as much as a jazz or rock& roll song. One can include all the songs from this film , but due to brevity , I am including this one and another gem of  a  song by Manna Dey.

10. Bhaya Bhanjana Vandana Sun/ Basant Bahaar/1956/Manna Dey /Shailendra

The music directors of the golden era were firm in deciding who should sing which song. It seems the producer & director wanted Rafi to sing all the songs of Basant Bahaar , but Shanker was very firm in insisting Manna Dey for this and few other songs in the film. What a great decision and how soulfully Manna Da has rendered this song based on Mian  Malhaar raag. I literally have goosebumps whenever I listen to this song. I have read articles and seen videos , where many ignore the name of Shankar in giving a major boost to Manna Da’s career. But the man who really matters, Manna Dey always acknowledged the contribution of Shankar to his career and that is enough.

11. Yeh Raat Bheegi Bheegi/Chori Chori/1956/Manna Dey & Lata/ Shailendra

Should I write anything about this classic romantic song that flows through like a meandering river. Set on a base of raag Kirwani , the guitar, string arrangement with that solo violin and sarangi all playing on your ears till you are elevated to a tranquil state. Once again , it was Shankar who firmly put his foot down and rooted for Manna Dey and also gave a completely new genre to him, namely romantic songs. Manna Da , till then was mostly  associated with only classical, philosophical, and sad songs. The producer was from south, the renowned A.V Meyappa Chettiar insisted on  Mukesh  as an obvious choice since  the hero was  Raj Kapoor.  Shankar convinced him to listen to Manna Da and then decide! After listening , AVM , luckily agreed! All the three duets in this film were sung by Manna da. Chori Chori also fetched S-J their first Filmfare awar

12. Dil Ka Na Karna Aitbaar Koi/Halaku/1956/Rafi & Lata/Shailendra

Many a times it so happens that though the film faded away from memory , its music was not at all forgotten. I am sure that if you ask the  die-hard fans of S-J , they would definitely mention this film , remembered mainly for the songs. Halaku,  for me , is one among S-J ‘s superb albums. I have included three best songs from this movie-all are truly masterpieces for the excellent orchestration and catchy tunes. That famous Dholak of Dattaram , and oh God that Mandolin !! No words can do justice in describing these songs. Just listen to these 3 gems and get yourself immersed in their melody.

13. Aaja Ke Intezar Mein/ Halaku/1956/Rafi & Lata/Shailendra

The waltz like rhythm, Rafi & Lata ‘s great singing , the strings and cellos  that come in waves and that mandolin making its presence felt in between only to fade away at the blink of the eye! Sheer magic…

14. Yeh Chand Yeh Sitare / Halaku/1956/ Lata/Shailendra

It appears that a most of us  have forgotten this gem. I have very rarely heard this played even in the good old Vividh Bharati. Just observe that percussion arrangement,  the interlude with guitar and mandolin pieces throughout the song.

15. Aaye Bahar Banke Lubhakar/Rajhath/1956/Rafi/Hasrat Jaipuri

With Rafi, S-J could give peppy Yahoo style songs and at the same time come out with such soulful melodies also. Here he has literally poured out his heart into the song. Rafi’s singing directly touches your heart and that is why they remain evergreen. Knowing this , S-J kept the orchestration to the bare minimum and let the master take over!

16. Bol Ri Katputli Dori/Katputli/1958/Lata/Shailendra

During the 50’s , S-J had composed so many  songs like this one for Lata that brought out the best in her. Once again , a lesser-talked about and recognized fact is that S-J were instrumental in taking Lata to the heights of her popularity. Sadly , she herself had not acknowledged this much except in one or two  occasions.   Apart from being a masterpiece to listen to , this song is a visual treat. Vyjantimala did not require any elaborate costume or setting. In the simplest of the setting and dress, she pulls off a scintillating dance and emotes the song on screen to perfection . Truly great !

17. Aate Jaate Pehloon Mein aaya koi/Yahudi/1958/Lata/Shailendra

Continuing on the same lines from the earlier song, one more rare solo of Lata in S-J’s composition that has a superb dholak.

18. Yeh Mera Deewanapan Hai/Yahudi/1958/Mukesh/Shailendra

Somehow S-J could always bring out the best in Mukesh. With very simple orchestration, S-J proved in this song they could create the same magic with Mukesh , not singing for Raj Kapoor in a R.K Film banner , but for Dilip Kumar in Bimal Roy’s film!.

19. Tera Jaana Dil Ke Armanon/Anari/1959/Lata/Shailendra

That interlude alone  deserves all the awards in the music industry!! What a magnificent prelude and interludes. Piano & string arrangement in this song are simply out of the world. Not to forget one of Lata’s most soulful rendering. Most of S-J ‘s songs have three antara , but this one just has two but that is enough to prove their innovative variations.

  • 20. Yaad Aayee Aadhi Raat Ko/Kanhaiyya/1959/Mukesh/Shailendra

One lesser-heard gem from Mukesh-SJ -Shailendra combination with a slow pace and that typical low octaves in which Mukesh was absolutely sweet. Note the conversation that the violins have with Mukesh every time he asks “ kist baat ki tauba”. I could have also included the other song “ Mujhe Kuch Bhi Na Chahiya “ which is more popular…with S-J it is always a difficult choice .

  • 21. Dheere Dheere Chal Chand Gagan Mein/Love Marriage/1959/Rafi & Lata/Hasrat Jaipuri

Only the words say “ Dheere Dheere chal” ; S-J’s tune, zooms  like a formula 1 race! One can sense the pace right at the beginning with those violins and guitars playing at  a frenzied pace. Most of the S-J fans can identify the song just by listening to few seconds of the prelude! And when you have two greatest romantic voices behind the microphone , what else do you need?

  • 22. Kahe Jhoom Jhoom Raat / Love Marriage/1959/Rafi & Lata/Shailendra

If anyone accuses me for being too much biased towards Lata & Rafi, it is OK. I accept with all humility! It is impossible for me to ignore these immortal numbers! It is a well-known fact  that many music directors used to say that when they have Rafi & Lata , they do not have any restrictions in composing the tune at any pitch or any scale or range or tempo. S-J utilized their skills to the full. The uniqueness  of S-J ‘s interludes , ably assisted by Sebastian and Dattaram is that they become a painter  who steps back , looks at the painting and  keeps adding few strokes of the brush repeatedly  till the painting becomes  masterpiece.  Almost all the interludes of S-J are like exquisite  paintings!

  • 23. Duniya Walon Se Door/Ujala/1959/Mukesh & Lata/ Shailendra

While researching for this blog I was surprised to note that during the early 60’s a whole lot of Hindi film songs were recreated in far-away Greece by many singers. This was absolutely new information for me. I only knew about Awaaara Hoon being recreated in Turkey . There is a nice Greek version of this song  Duniyawalon Se Door . The prelude with those bongos beat and  that combination of mandolin and xylophone ( I hope I am right in identifying the instruments)  sets the mood of the song. The mood they create is as if the lovers, true to the words, duniyawalon se door  jalnewalon se door aaja aaja chale kahin door, are running away.  S-J can create sheer magic with their tunes that conveys the entire emotion of the song. That is why they were the emperors!

  • 24. Ajeeb Daastan Hai Yeh/Dil Apna Aur Preet Parayee/1960/Lata/Shailendra

One more song that was recreated by a pop group called Ivy York in 2010, almost 60 years after Ajeeb Daastan Hai Yeh was composed. No doubt, S-J ‘s composition was inspired from Jim Reeve’s song “My lips are sealed” ,  but if one can keenly observe they had just taken the first line only. The  preludes, interludes were superbly embellished by them and that is why I hate when critics of S-J keep harping about their so-called plagiarism. Many-a-times they had made it even more beautiful than the original one. For that matter most of the legendary music directors had, on few occasions , had taken inspiration from others , but that stamp was always made on S-J!!

  • 25. Aa Ab Laut Chalen/Jis Desh Mein Ganga Behti Hai/1960/Mukesh & Lata/ Shailendra

A song of epic proportions! It is said totally there were more than  70-80 artists ( violin , cello, guitar, percussion etc and a huge number of chorus singers ) apart from the main singers Mukesh and Lata. The entire orchestra couldn’t be accommodated within the recording studio and some had to even spill over to the corridors. In order to avoid disturbing noise from outside , they recorded this at the dead of night so that there was no traffic noise! We can only imagine what S-J would have done if they had today’s modern technology. The alaap of Lata at the end and the climax of the song is something that gives one goosebumps.

With these 25 songs, I complete the Part1 of my blog. Hope I have been able to pay my tribute to these great composers , whose music will never fade away in hundreds of years to come. I will come up with its sequel soon. Maybe I need part3 also , if the list becomes too long! With S-J one can never have enough!

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.

Hindi film songs

The incomparable musical genius- Sajjad Husain

2 Comments

 15th June 1917 to 21st July  1995

He scored music for just around  100 songs in 18 films , yet he is still talked about as one of the most original music composers of Hindi film music.

He rubbed many film producers, actors , directors in the wrong way and as a result some  of his film’s songs were not even released  in gramophone records! Yet his songs, thanks to the Internet, are still talked about  and there are many  articles and  videos made on them.

Singers and  musicians had the jitters during his recordings as he was the ultimate   perfectionist; yet the great singer Lata Mangeshkar , who was also once chided by him in one of his recordings , consider him to be a genius composer. Veteran music director Anil Biswas called  him as the most original music director in Hindi film music as he believed all others, including himself, were at some time or the other , influenced by other music. Sajjad’s every note, he said , was original.

That , in a nutshell , is Sajjad Husain.  Sometimes we may think  if such a great mind would have been less stubborn , we, the music lovers, could have enjoyed thousands of his songs  rather than the meagre hundred odd songs  he has left behind. But who are we to comment or judge? Most of the extremely talented minds always have that very strong individuality which we should respect. It is unfortunate and  a loss for the Hindi film music world that it could not understand, appreciate, and recognize his music the way it should have.

I will not be going in detail about the various controversies he got into due to his mercurial temperament and would instead try writing about his great music. If the reader searches in the internet and YouTube, there are umpteen stories of them. I feel it shifts the topic more towards his mercurial temper and as a result his music gets less talked about.  I can only attempt to translate my passion in listening to his songs as a layman and write about them as to how I perceive them. I also wish one day someone having a deeper knowledge about music would try to bring more rigor to the analysis of his songs.

Sajjad Husain was born on 15th June 1917 to Mohammad Amir, the last of 9 siblings , in a place called Sitamau ,  then a princely state in Central India ( modern day Madhya Pradesh). His father was a tailor in the durbar of  local king Raja Ram Singh . For  grand occasions , his father used to stitch clothes for the king and the young Sajjad used to accompany him to the durbar. Those days the royal durbar was full of musicians, dancers and he slowly got interested in music. Among the siblings , Sajjad was the only one interested in music. Gradually he learnt to play the sitar and once he observed the mandolin being played at the local Tehsildar’s place. He wanted to play that instrument , but was denied access to it. He made his own mandolin and mastered the art of playing that! It was only much later that he got as a gift from a Jewish musician  ,  Rahim Solomon, a proper mandolin. His father encouraged his interest in music and gradually the young Sajjad mastered many instruments like piano, harmonium , violin, flute, Jal tarang , veena, vichitra veena,  clarinet,  Spanish guitar, and Hawaiian guitar .

Like all others who wanted to make their career in films, he shifted to Bombay ( present day Mumbai)  in the year 1937. After trying a brief career as a member of orchestra in Minerva Movietone and Wadia Movietone, he felt that was not what he wanted. After another brief stint at All India Radio, his inner urge to be an independent music composer drove him to  music directors Mir Saheb and Rafiq Ghaznavi and reluctantly became their assistant. Being proficient with many instruments, he also took up a contract job with Shaukat Hussain Rizvi , who later married  noted actor-singer Noorjahan. In the 40’s he once again assisted Ali Baksh , father of famous actor Meena Kumari , himself  a music director and  also the music director Hanuman Prasad. The latter gave him opportunity to score few songs for the film Galee ( 1944). Shaukat Hussain Rizvi gave him the first break as an independent composer for the 1944 film Dost. As fate would have had it , he had a major dispute with Rizvi when the latter credited his wife Noorjahan for the success of its music. Many such issues kept happening -as I had assured in the beginning , I will not go into those negative aspects of his stubbornness. Any article about him  in the Internet will carry loads of them. Lata , in one of her interviews , said that many of those stories were exaggerated and spread to demean him.

He comes out as a perfectionist to the extreme . He made Talat Mehmood go through 17 takes for the famous song “ Yeh Hawa Yeh Raat Yeh Chandini “ . He never had assistants and used to conduct the entire orchestration himself even to the extent of writing down the “ bol” for the tabla player! Like many such genius who had that intense passion for perfection , any interference or mistakes would bring out the temper in him.

As a result , in three decades of musical career in Hindi films , he composed only around 100 songs in  18 films ( including  one Sinhalese film Daiva Yogaya that became a hit mainly for its music!) , but what compositions were those! He created absolutely stunning  tunes, unusual rhythm patterns, and  unexpected twists and turns in the song . No doubt many stalwarts in music , like Anil Biswas, Lata Mangeshkar, C Ramachandra and even his close competitor Naushad ,  considered him as one of the best composers ever to have graced the Hindi film music world.

Like how his music was complex and un-structured, I am not going in for the usual chronological listing of his songs and would rather take his major works first and then go in a random way about his other songs, many of which have been forgotten  but are true gems.  Among his works, Rustom Sohrab, Sangdil and Saiyyan may be considered as major as most of the songs from these 3 films  are true gems. Even if we consider the other films as lesser works, once we listen to the songs many times, we can appreciate those songs better . It is purely my opinion that the complex , difficult-to-sing compositions might have been both a gift and a curse ! Curse, because the very nature of those songs could have made them so difficult to be reproduced by other singers . In how many singing contests have we seen a Sajjad’s composition being attempted?!

I am presenting the major films Rustom Sohrab, Sangdil & Saiyyan first and then , in not any particular order , his other songs. Under each film , the year of release is mentioned and then the song/singer(s)/lyricist are given.

Rustom Sohrab-1963

  1. Ae Dilruba- Lata-Jan Nissar Akhtar

One may have to dedicate a separate article only for the songs of Rustom Sohrab, considered as Sajjad’s magnum opus. It was also his last major work, although there were two other films in the seventies -Mera Shikar in 1973 and Aakhri Sajda in 1977, the music of which were no doubt unique but they went completely un-noticed.

Ae Dilruba Nazren Mila could be one of the toughest songs ever composed and who else to make it immortal than the great Lata ! Each and every note of this song, though based on Arabic style , is so unique and intricate. I think this could be the  shortest lyrics ever written for a film song, but how wonderfully Sajjad created a superb prelude and a postlude that has only Lata’s vocals performing a virtual gymnastics!

Ai dilruba nazre mila

Kuchh to mile gam ka sila

Ai Dilruba…….

Ashkon ka ek dariya baha

Pyasa tha dil pyasa raha

Nazre mila, nazre mila

Rehne na de koi gila

Ai Dilruba, ai Dilruba……

That is all!-five lines in the song! Rest is sheer magic woven by Sajjad with a  scintillating tune , orchestration and not to forget , one of the best renditions by Lata. I do not think anyone can visualize such a song except Sajjad. The prelude has violins, sarangi and santoor playing one after the other in sequence. Throughout the song the piano keeps playing at the background subtly , enhancing the melody. Percussion arrangement was always unique in Sajjad’s music and you can observe that in almost all his songs.

2. Ye Kaisi Ajab Daastan- Suraiya-Qamar Jalalabadi

The most talented singer of yesteryears , Suraiya bid farewell to her singing & acting career  with this swan  song. What a grand way to end her career! Sajjad always employed very catchy rhythm patterns and this is one more classic example. The interlude starts off with violins slowly building up the tempo , reach a peak and then stop abruptly , only to give way to that fabulous piano taking over. Piano notes keep coming in  between the lines like a wave.

3. Mazandaran Mazandaran- Rustom Sohrab-1963-Talat Mehmood- Jan Nissar Akhtar

I have not seen the film Rustom Sohrab, but understand it is based on the tragedy of Rostam and Sohrab ( father and son who tragically  fight each other not knowing their relationship ) that forms part of the 10th-century Persian epic Shahnameh by the Persian poet Ferdowsi. This song is about a singer who praises the land from where comes , Mazandaran ( there is a province in Iran by that name) . Personally I consider this song as one of the best by Sajjad & Talat although Yeh Hawa Yeh Raat Yeh Chandini is more popular. I like the unusual rhythm pattern and the way Sajjad blends the violin, flute and piano , that follows the singer throughout. The interlude piece is sheer bliss-the strings of violin initially come rushing like waves, only to fade away gradually! One can only imagine if such songs were recorded with today’s superior technology , what could have been the result!!

4. Phir Tumhari Yaad Aayee-  Mohammed Rafi, Manna Dey, Sadat Khan & chorus- Qamar Jalalabadi

When Sajjad composes a qawwali , it is bound to be different from others. He has used the three singers Rafi, Manna Dey and Sadat Khan so well .  The song starts off with only Rafi’s voice deceptively as if it was a solo song. Sajjad builds it into a qawwali gradually . Note the unusual start “ aaaaa” hummed by Rafi and abruptly switching over to Phir Tumahari Yaad aayee line.  Each antara has an alaap that keep oscillating , ending with a flourish accompanied by an early form of synthesizer ( I read somewhere it is the Univox) . This is no doubt one of the most popular songs of Sajjad .

Sangdil-1952

5. Yeh hawa Yeh Raat Yeh Chandini-Talat Mehmood-Rajendra Krishan

Sangdil and Rustom Sohrab-music of these two films are just enough to keep Sajjad’s memory alive for thousand years. Although I am personally a fan of many other legendary music composers, but  the songs from these two films are simply out of the world and when I listen to them , I feel Sajjad was way ahead of his contemporaries.

Yeh hawa yeh raat yeh chaandini is one of the most popular songs of Sajjad. The way he had used the sitar and sarangi at the beginning and in the interludes is the work of a genius.  Sajjad castigated veteran composer Madan Mohan for taking this tune  for his “ Tujhe Kya Sunaoon Mein Dilruba” with the comment “Aaj kal humare gaane kya, hamare parchhaiyan bhi ghoomne lagi”! Madan Mohan had to pacify him with an apology that he took inspiration not from any ordinary music composer but from the great Sajjad Husain!

6. Dil Mein Sama Gaye Sajan-Talat & Lata- Rajendra Krishan

What a great romantic melody! If there is love and romance in this world, this song will be there to define it. Rajendra Krishan’s starting lines, composed at such high octaves and rendered so effortlessly by Lata set the stage for a grand aural treat that you can hear :

Aaj preet ne tod di, bandhan ki deewar

Haar maanke preet se  chala gaya sansaar

Sajjad , with those typical extended phrases “ samaaaa gaye sajan” , masteeee bharee hawa chali that continue throughout the song , creates another timeless classic.

7. Darshan Pyasi Aayi Dasi”-Geeta Dutt- Rajendra Krishan

It is a popular belief that Sajjad’s music had lot of Arabian influence . No doubt that is true, but listen to this superb bhajan composed by him that is totally different  It is unpardonable that no radio /TV program ever airs this song. Geeta Dutt could render such bhajans with so much of emotion and Sajjad had rightly chosen her for this song. The highlight of this song is the Jal Tarang , played by Ustad Alauddin Khan . Sajjad has used the jal tarang throughout the song to sound like temple bells. The beauty of that jal tarang is that it runs almost in sync with the tune at times  and as a counter melody in others. The tune is so mesmerizing that one would like to listen to it multiple times to get oneself immersed into the song.

8. Kahan Ho Kahan Mere- Talat – Rajendra Krishan

I am not an authority on music , but I understand this could be one of the earliest use of piano as a percussion instrument. If you listen keenly it provides  rhythm and at the same time accompanies the singer, goes into a counter melody also at certain places. I really wish I knew something about the nuances of music to write about such intricate compositions. Mind boggling composition! The songs ends with an unusual high note ! Talat Mehmood was lucky to have three of his best songs composed by Sajjad.

9. Woh To Chale Gaye Ae Dil-  Lata- Rajendra Krishan

Rajendra Krishan was a versatile lyricist and gave evergreen songs with many music directors and his work with Sajjad in the film Sangdil is  one of his best.

Who Toh Chale Gaye Ae Dil

Yaad Se Unki Pyaar Kar

Jeene Mein Kya Maza Raha

Maut Ka Intezaar Kar!

In many other films of Sajjad , there were multiple lyricists but all the songs of Sangdil were written by Rajendra Krishan.

Saiyyan-1951

10. Us Paar Is Deewar Ke Jo Rehte Hain- Rafi-D.N Madhok

For a change , this is a lighter tune from Sajjad -a lilting sweet melody and once again , not heard in the popular stream. Picturized on Sajjan who is known for his character roles , the way Sajjan has acted out this song on screen is a delight to watch.

11.  Kali Kali Raat Re Dil Bade Sataye- Lata- D.N Madhok

Sajjad once commented “ give me Lata and I can keep on churning  out magical tunes ”. Lata has said that Sajjad was one of the most misunderstood genius of Hindi film music; in early days the only composer whose recordings she used to be jittery was Sajjad for the perfection that he demanded from his singers and instrumentalists. Can you believe that there is no gramophone record made for this film. I saw a video wherein the noted music director Hridayanath Mangeshkar talks about how , those days, the gramophone company manger used to decide whether  song was “ fit” to be recorded on  gramophone or not! No wonder Sajjad never bothered about those in the film industry who ‘dictated’ terms to him. In this song , right from the mukhda to the antara , the orchestration in the background all are top class, yet I am sure majority of us would not have heard this song often. A timeless masterpiece , rendered flawlessly  by the nightingale when she was just 22 years old!

12. Hawa Mein Dil Dole- Lata- Rajendra Krishan

Sajjad’s orchestration was always strong with  string instruments, piano etc. as he himself was a master in playing them. This one has a beautiful flute playing through out , coupled with a catchy rhythm and a superb chorus supporting Lata’s young voice. Again, note the way the antara starts off in an unconventional manner.

Khel -1950

13. Woh Aaayenge- -Shamshad Begum-Zia Sarhadi

Sometimes I wonder how such songs lie hidden for years , even decades! I have never heard this song till I started working on this blog. Even some of the earlier blogs/ YouTube videos on Sajjad do not mention this song. After I heard  this song, I might have listened to this at least  50 times! What a power-packed rendition by the veteran Shamshad Begum! Only she can pull off such songs. One must listen to this song minimum thrice-first time  for the tune, then for Shamshad’s singing and then third time for the unique structuring of the lyrics. Zia Sarhadi was a lyricist, screen play writer and has come out with unconventional lyrics.

14. Apni mehfil mein phir ek baar chala aane de- GM Durrani-Jan Nissar Akhtar

A unique song that has no percussion instrument except for the  interludes. Very softly rendered by one of the well-known singers of the vintage era, G. M Durrani.

15. Jate Ho To Jao Hum Bhi Yahan- 1950-Lata-Sagar Nizami

One more example of how the complexity in his melodies could have been one of the reasons why they were more appreciated by connoisseurs of music  and remained ignored by the masses. The notes with which this songs starts is testimony to this.

16.  Bhool Ja Ae Dil Mohobbat Ka- 1950-Lata-Shams Azimabadi

One of the most popular songs from this film, this is an absolute stunner. The antara has Lata stretching certain words unexpectedly and that is the specialty of Sajjad. In his compositions , the interludes were relatively very short;  the intricate twists and turns  in the antara make up for the short interludes!

Dost-1944

17. Badnaam Mohobbat Kaun Kare-Noorjahan-Shams Lakhnavi

Sajjad’s  first major work as an independent composer was in this film. Initially , when I heard this song it sounded a bit odd -especially the way Noorjahan  the word  stresses on the word “ Badnaam!” But once you listen to this repeatedly , then can appreciate how different his compositions were at the very beginning of his career.  A subtle percussion, strings & clarinet following with the singer and  a “blink and you miss”  piece of jal tarang in the second interlude.

 18. Koi Prem Ka Deke Sandesa- Noorjahan-Shams Lakhnavi

In contrast to the peppy ‘Badnam Mohobbat’ an eighteen-year-old Noorjahan renders a song full of pathos in such a mature way! Sajjad uses a slow waltz rhythm for a sad song. A bass flute, strings, and a subtle tabla beat-with bare minimum orchestration Sajjad weaves a magic!

1857( film name)- 1946

19. Teri Nazar Mein Rahoon Meri Nazar Mein Tu-Surendra & Suraiya-Mohan Singh

Most of Sajjad’s compositions , have an intricate tune  , more intricate alaap in between, unusual rhythm patterns , unexpected phrases that are either longer than what one would anticipate or equally stunning abrupt , short phrases that one would not be expecting. I wish I knew some rudimentary knowledge on music to explain these aspects properly.  Waltz seems to be one of his favorite rhythm , but he has used that in so manyvariants!! In this song , notice the way he has made both the singers extend the word “ hoon” like an elaborate humming.

Rooplekha -1949

20. Teer pe teer khaye jaa- Mohammad Rafi – Khumar Barabankvi

Rafi was slowly getting recognized by 1949 and this early song with Sajjad shows his great maturity in singing , at a young age of 25 years. Sajjad keeps the orchestration to the bare minimum level and lets the tune dominate. Note how the antara starts with just a recital and then slowly the tempo picks up.

Rukhsana-195521. Ye char din bahar ke – Kishore Kumar and Asha Bhosle, lyrics Shakeel Badayuni

Who can ever imagine Kishore Kumar, more famous for his peppy , fast songs , coming out with such a superb soulful number. Note the over-lapping alaap in both the antara with Kishore and Asha making a complex composition sound so easy. No wonder Sajjad was considered a tough task master!

Daiwayogaya-1959 -Sinhalese Film

22. Adarayai Karunawai – Rukmani Devi –

Although I do not have any idea about the Sinhalese language , I am adding one last song that made Sajjad famous in neighboring Sri Lanka. Music transcends language and  even if one does not understand the lyrics, the music of Sajjad conveys the pathos inherent in the song.

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. Songsofyore blogsite on music
  4. All those who uploaded the forgotten gems of Sajjad in YouTube

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.

Hindi film songs

Pioneer of Tamil Playback Singing-Tiruchi Loganathan

2 Comments

24th July 1924-17th November  1989

The early years of Tamil film music was dominated by those male & female actors who were also good singers. In fact, if anyone wanted to get into acting , they had to be singers too. M.K Thyagaraja Bhagawatar , P.U Chinnappa, K B Sundarambal, N.C Vasantha Kokilam etc are some of the names one could think of. Towards the late 40’s,   a new trend started  when some of the actors who were not basically  singers got to “ sing” them on screen with the help of playback singers. Although I am not a qualified film historian, from what I could learn from various sources , in the 1947 film Rajakumari , M.M Mariappa and his cousin Tiruchi Loganathan  became the first male playback singers . Mariappa was also a stage actor and he  sang few songs for the emerging  star M.G Ramachandran ,  who had his first  lead role in this film  and went on to dominate not only Tamil films , but politics for a very long time. In that film,  for  M.N Nambiar,  Tiruchi Loganathan  sang Kattinile Naangal Vazhvathe -a duet with K.V Janaki who was the first female playback singer in Tamil films. So, it could be said the in all probability Tiruchi Loganathan was truly the first male playback singer in Tamil films.

The decade of 1950’s was a happening time with many legendary singers making their mark like T. M Soundararajan, P.B Sreenivas, A.M Rajah, Seerkazhi Govindarajan etc. Before these singers could make a name for themselves ,  it was  Tiruchi Loganathan who established himself as a leading playback singer. The  number of songs he had sung may be lesser in terms of quantity, but many of the songs he rendered became iconic and are remembered even after 70+ years . Some of us may not know  the singer who sang  Vaarai Nee Vaarai, Aasaiye Alaipole, Velli Panimalayin Meedulavuvom but definitely these songs are well known to us.  Tiruchi Loganathan’s birth centenary year , 2024 has almost passed on without much talk about him. When I did my usual search in the Internet for this blog, I was pained to note  woefully inadequate articles  about him.

Ever since I started my blogs, the greatest satisfaction I get is the opportunity to listen to a multitude  of singers. To be honest , except for 4 to 5 songs of Tiruchi Loganathan , I have not listened to many . The sheer variety he has demonstrated by singing patriotic, comical, sad, philosophical, and romantic songs is no less than many other playback singers who had become quite successful. I fail to understand why he did not sing after the early 60’s. He was alive till 1989 and as per whatever information I could dig out, he seems to have completely faded away after the 60’s. Maybe it was his own choice to take an early retirement. However his sons became playback singers like Deepan Chakravarthy, & T.L Maharajan,

There are many anecdotes about him and he comes out as a person who was not primarily  after money . When he was offered to sing a song for the hero in a film , after having sung 4 songs for the comedian , he refused,  stating it would not be appropriate and instead  introduced his friend Seerkazhi Govindarajan. Also, for the film Kappalottiya Tamizhan, he refused to take any remuneration as he was basically a freedom-fighter  and felt it was not right  to take money for this film. His generosity  reminds me of another legendary singer , incidentally born in the same year, 1924-Mohammad Rafi!

Tiruchi Loganathan ( for simplicity I will henceforth mention as TL) was born to Subramania Achari, in a family of traditional goldsmiths, and did not have any formal education. The family business also did not  interest him and his mind was on music. Fortunately,  his father noticed his keen interest in music and encouraged him . The young TL went on to perform musical plays along with his cousin M. M Mariappa and also learnt music under the tutelage of Nataraja Pillai , a noted  music guru.

After his debut in the 1947 film Rajakumari, in the 1948 film Abhimanyu, TL sang a duet with U.R Jeevarathnam “ Pudhu vasanthamaame vaazhvile’. There is an interesting story behind this  song . It was composed by the young  M.S Vishwanathan who, at that time,  was just an errand boy in Jupiter Pictures and S.M Subbaiah Naidu was the music composer for the film. When SMS was trying to compose the tune and had taken a break , MSV tuned the song and was playing it on the harmonium . When SMS entered the studio, he was frightened initially, but SMS liked the tune and recorded the song and only after the song became popular , announced that it was tuned by the young MSV!! If he had initially mentioned that it was composed by an inexperienced boy , the song could have got rejected! Listen to that song that could be MSV’s first composed song!!
 

Then came the 1950 film Manthiri Kumari , and with the immortal song “ Vaarai Nee Vaarai, there was no looking back for Tiruchi Loganathan . The film makers were somewhat apprehensive about this song that featured towards  the end of the film as an afterthought . On release , the producer & director were surprised to note that this song was in everyone’s lips and so it was retained! The same film had one more gem of a song by him “ Ulavum Thendral Kaatrinile” , once again , a duet with noted singer  Jikki.

In the next few years TL became a much sought-after singer for his clear Tamil diction and voice modulation : just note how he rendered Adikkara Kai Thaan Anaikkum in a ‘tipsy’ style, with a perfect hiccup or the famous demonic laugh in ‘Kalyana Samayal Saatham’!. The songs featured in my list below , showcase the immense variety in TL’s singing. With the limited knowledge that I have in general about Tamil film music and specifically about Tiruchi Loganathan, I have tried to compile few of his best songs . These are sequenced in chronological order of the film’s release , with song-film-year-music director-lyricist -co-singer mentioned in that order.

  • Vaarai Nee Vaarai-Manthiri Kumari -1950-G Ramanathan-A Maruthakasi-Duet with Jikki

The first song that would come to anyone’s mind if we mention the name  Tiruchi Loganathan . A superb tune, orchestrated in G Ramanthan’s inimitable style and sung by TL with a tinge of that villainy appropriate for the situation of the song. It is supposed to be one of those rare songs where the entire sequence was shot earlier and the song was written and composed later. Although the actual hero in the film was the veteran MGR , this was picturized on S.A Natarajan, playing an anti-hero  role. He takes the heroine to the top of a hill with an intention to push her -note the lyrics that Maruthakasi had written with a hidden meaning to an apparently romantic song!

  • Ulavum thendral kaatrinile- Manthiri Kumari -1950-G Ramanathan-A Maruthakasi-Duet with Jikki

This is another gem from the same movie. Note the change in TL’s singing as he switches to a more romantic tone as compared to “ Vaarai”…The song is  beautifully written, composed like a waltz by the veteran G Ramanathan  and sung in a question-answer format. Note how TL places so much of stress in the lines “ Ithayam antha malaikku yethu ” or “ Unathu Kadaikkan Paarvai kaatum” ! We see the early signs of how he refined the art of  playback singing !

  • Koovamal Koovum Kokilam-Vaira Maalai-1954-Vishwanathan -Ramamoorthy-Kannadasan-Duet with M.L. Vasanthakumari

I do not know why  the famous musical duo Vishwanathan-Ramamoorthy did not utilize the talents of TL much. Maybe after they discovered TMS who became the de-facto voice for both the leading stars MGR & Sivaji Ganesan , they could not give much opportunities to TL . This is one of their  early compositions and is picturized on  R.S Manohar, more famous for his magnificent mythological dramas and mostly in negative roles in later films. Picturized in the beautiful Lal Bagh garden in Bengaluru , this is also visually a charming song with a simple delightful tune.

  • Vanjamitho Vaanjai Itho-Vaira Maalai-1954-Vishwanathan-Ramamoorthy-Kanaga Surabhi-Duet with M.L Vasanthakumari

The same film Vaira Maalai has one more beautiful duet by TL & MLV. Observe how TL has sung this with a soft , romantic tone and contrast this with his other songs that will be coming up in my list.  Truly he was a pioneer in playback singing!

  • Kalyana Samayal saadam-Maya Bazaar-1957-Ghantasala-Thanjai N  Ramaiah Dass

One of the most popular songs of TL! A delight for both music lovers and food lovers! That laugh is something fabulous that TL rendered so nicely. This tune is basically an inspired one ( from  The laughing Policeman by Charles Penrose ) but in my very humble opinion, both Ghantasala , the music composer and TL , the singer,  have to be complimented  for elevating the song to a different level. Also, we should not forget the veteran S.V Ranga Rao for enacting the role of Ghatotkachan so nicely. The film Maya Bazaar remains a masterpiece till today remembered for its excellent photography.

  • Chinnakutti nathana chillaraye-Aaravalli-1957-G. Ramanathan-Pattukottai Kalyanasundaram

This is was a pleasant discovery for me while researching for the blog! What playful lyrics by Pattukottaiyar in this typical folk song and I am truly amazed to observe how the supremely talented TL has demonstrated so many genres within  the limited number of songs  he sang!

  • Aasaiye alaipole-Thai Pirantha Vazhi Pirakkum-1958-K.V Mahadevan-Kannadasan

Definitely among the topmost hits of TL , I had also mentioned this song in my blog on K.V Mahadevan. From the romantic to the comic and now a philosophical TL ! The lines by Kaviarasar tuned so exquisitely by KVM are brought to life by TL’s superb rendition with a flawless diction. Each and every line and word are ‘chiselled’ by him while singing. That special alaapanai in the last charanam , after the line “soorai kaatru veesinal thoni ottam mevumo” and at the end of the song are simply out of the world.

  • Purushan veetil vazha pogum penne-Paanai Pidithaval Bhagyashali-1958-S.V Venkataraman- T.K Sundara Vadyar

It is said that those days ,in villages of TN, every wedding had this  song played . Today feminists may consider the lines a bit male-dominated , but we are talking about TL’s singing-just note how, as a brother he provides  advice to his  newly married sister . The anecdote I had mentioned in the introduction about TL introducing Seerkazhi Govindarajan to the producer for the hero’s song was pertaining to this film.

  • Cycle varuthu cycle varuthu-Neelavukku Neranja Manasu-1958-K.V.Mahadevan-A. Maruthakasi-Duet with L.R Eashwari

One more example of TL’s comical style , this time for the evergreen comedian Thangavelu. Did this song give Thangavelu the prefix to his name “ Danal Thangavel” ?

Danaaal nu adikkara bellum sariya illeenge! As the perfect playback singer , he modulates his voice to suit Thangavelu to a tee!

  • Originality Osantha Quality- Neelavukku Neranja Manasu-1958-K.V.Mahadevan-A.S.Narayanan

I wonder why some songs we did not hear at all  in so many decades! I consider myself to be an avid listener of old Hindi and Tamil songs and I am sure I have never heard this before. One can never imagine KVM , more famous for his classical based songs, coming out with such a peppy comical song . TL does full justice to the composition . Please do not  miss the superb rock & roll style orchestration at the end. Truly a rocking number! Incidentally the lady who plays the role of grandmother in the song , C.T.Rajakantham is TL ‘s mother-in-law!.

  • Adikkira kai than anaikum-Vannakili-1959-K.V.Mahadevan-A. Maruthakasi-Duet with P Susheela

TL proves he is no less when rendering a tipsy song , with a perfect hiccup adding to the charm. A rare duet of TL with the nightingale P Susheela. Once again I am tempted to compare TL with my favourite singer Mohammad Rafi who used to sing those ‘ sharabi’ type of songs so beautifully .

  • Ooraar urungaiyile-Naalu Veli Nilam-1959-K.V Mahadevan & M.K Atmanathan-Folk song-Duet with L.R Eswari

One more hidden gem that I discovered only while researching for this blog. It is sad that many such songs of TL have faded away from popular media. Thanks to YouTube we are able to discover these gems. A typical folk song sung so nicely by both TL & LRE.

  • Kaiyile vaaginen paiyile podale -Irumbuthirai-1960-S.V.Venkataraman- Pattukottai Kalyanasundaram

The revolutionary poet Pattukottai Kalyanasundaram comes out with a beautiful philosophical song with a tinge of comedy and sadness combined , brought to life by TL’s simple but elegant singing. Thangavelu has enacted on screen so well!

  • Kangalum Kavipaduthey-Adutha Veetu Pen-1960-Adi Narayana Rao- Thanjai N  Ramaiah Dass-With Seerkazhi Govindarajan

Almost a decade later  the team of Kishore Kumar, Manna Dey , Mehmood , RD Burman came out with the boisterous Ek Chatur Naar Karke Singaar song  in the film Padosan ( a remake of Adutha Veetu Pen)  . But it was TL and Seerkazhi who set the tone for this classical but comic masterpiece way back in 1960 itself. When two legends compete with each other , even in a comical situation , it is sheer pleasure to listen.

  • Velli pani malayin-Kappalottiya Tamizhan-1961-G Ramanathan-Mahakavi Subrahmanya Bharatiyaar

We now come to the magnum opus of TL. Kappalottiya Tamizhan had three fantastic songs by TL , all picturised on the great Mahakavi Subramania Bharatiyar , played by veteran actor S.V. Subbaiah. There have been many films that featured songs written by the great poet and  freedom fighter but G Ramanathan’s compositions in this film are considered among the best ever on Bharatiyar’s songs. The sheer energy in this song is superbly brought out by GR’s tune and TL’s singing. TL’s close associate Seerkazhi also joins at the end of the song and makes it an evergreen song.

  • Yendru thaniyum intha suthanthira thaagam- Kappalottiya Tamizhan-1961-G Ramanathan-Mahakavi Subrahmanya Bharatiyaar

The longing for freedom,  so nicely written by the Mahakavi is poignantly brought out in TL’s singing. There is both an element of anger or frustration and at the same time a  sense of sadness in Mahakavi’s words and if you hear it keenly , TL has brought out the emotions so finely.

  • Thanneer Vittom Valarthom- Kappalottiya Tamizhan-1961-G Ramanathan-Mahakavi Subrahmanya Bharatiyaar

Only a truly great playback singer can render a ‘Kalyana Samayal Sadam’ and a ‘ Thanneer Vittom Valarthom’ with equal fervour. Such a contrast in style! It is said TL fainted after completing the recording of this song .

To know that he refused to take remuneration for the songs in this film proves what dedicated artists we had those days.

  • Chinna arumbu malarum-Pangaaligal-1961-S Dakshinamurthi-A Maruthakasi

I come to the end of my short compilation with a soulful lullaby sung by TL for an unlikely actor on screen. Who can ever imagine the maverick M.R.Radha singing a lullaby ! Just close your eyes and listen to this song-you can really feel as if M.R Radha is singing ( he had a very unique voice that was his trademark!). One more feather in TL’s cap-what a complete playback singer he was. Truly THE pioneer!!!

           I hope I was able to do a tiny bit of my tribute to this versatile singer who definitely deserved many more songs. One interesting observation – there is not a single song in the above list where he has sung for leading actors like  MGR , Sivaji Ganesan , Gemini Ganesan etc . Could be possible that  my search was not exhaustive . Was that  one of the reasons why he faded away from the industry ? Any knowledgeable reader can comment on that….. 

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 Thanikachalam’s QFR YouTube series
  4. Interviews with sons of Tiruchi Loganathan in YouTube

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.