From: "Snehal B. Oza" Date: Tue, 23 Jan 1996 Message-Id: <199601231157.LAA16230@wipro.wipsys.soft.net> Subject: Anil Biswas's Araam and Mukesh (Re: Aiye Dil Na Mujhse Chupa...) X-Mail2News-Path: wipro.wipsys.soft.net X-NNTP-posting-host: wipro.wipsys.soft.net Content-length: 12691 Content-type: Text Newsgroups: rec.music.indian.misc X-Mailer: ELM [version 2.4 PL22] Ashok writes: > > >"aiye dil na mujhse chhupa... > > > sachh bata kya hua...." > > Where have all the S-J sycophants gone? :)) > They were testing you; if you can come out with an answer! :-) > My first thoughts were that "aye dil na mujh se chhupa" was either one of the > lesser compositions of an MD like Ghulam Mohammad or one of the superior effor ts by > > an MD entity like S-J. Navin's posting about the cast did help me pin it down as > the latter! > > The song is a Lata-Mukesh duet from an early S-J film 'Badal'. HMV's Anmol Ra tan > set > of Mukesh duets has a recording. It grandly gives the year as 1942! Should be That's what is HMV today! Can never bank on it for authentic information. > 1951. And thank heaven for small mercies; if S-J had nabbed Mukesh in 1942, t he > Mukesh > repertoir would be quite barren! You can mark 1951 as the year when Mukesh's > decline > started. After all, it's the year in which they inflicted the horrid "aawwara hun" > That was not bad. (Awaara Hun) > on the world; and added insult to injury with an equally pathetic Mukesh solo in > 'Badal': "main raahi bhaTaknevaala hun". This may be. Anyway I like it :-) > > Interestingly, in the same year (1951), Prem Nath was an unusual kind of 'thir d > side of the triangle' in film 'Aaram', the main sides being Dev and Madhubala. I Now, you are coming to serious stuff! :-) > think the film has two male-singer songs and neither of them was picturized on Dev > Anand! Anil Biswas also used Mukesh as the playback singer for Prem Nath, but what > > a song!: > > aye jaane jigar, dil mein samaane aa jaa > ujaDi hui basti ko basaane aa jaa > > Talat shows up on the screen as the invited singer for an occasion and gives u s: > > shukriya, shukriyaa > aye pyar tera shukriya > When I compare these two songs from Araam; I find Anil Biswas' words about Mukesh really true: 'He was my "manas-putra"!'. Tatal song looks mediocre compared to majestic 'Ai Jane Jigar'! The prelude, the change to rhythm in the middle of each stanza, and of course the heavenly rendition of the song by a great soul; all these things would not have come, unless there was that special relation between two greats. In fact Mukesh, was in deed a lovely present to us, by Anil Da. Mukesh came to Mumbai (M'shtra Govt. has ordered to change from Bombay to Mumbai at all places by 31st Jan.! :-)) in 1940 and signed a 3 year contract with National Studios. That time Anil Da too; was an employee-music director of that film company. He took special interest and trained this young man from Delhi; seeing immense potential. It was a different story that until 1945's Pehali Nazar Anil Da never got a chance to test his faith; but Mukesh had already proven it through some songs in Nirdosh (1941, MD Ashok Ghosh), Dukh Sukh (1942, MD Khemchand Prakash), Us Paar (1944, MD Bulo C. Rani) and Murti (1945, MD Bulo C. Rani). It was Anil Da who asked Mukesh to sing in his original voice instead of copying K. L. Sehgal (and a very well done of all the Sehgal devotees including Rafi; it was only Mukesh who could sing in a manner that was too close to real maestro's singing!). And not only Anil Da (Bulo C. Rani and Hansraj Behal too) disclosed his faith in his singing but also encouraged giving him more songs in the coming years. One good example is 1948 movie Veena. Here Mukesh has three songs. But those who have listened to his 'Gokul Ki Ik Naar Chhabili Jamuna Tat Par Aai Re' can tell how beautifully he has sung it; and how convincingly he has proved what Anil Da believed in him since early 1940s. And Mukesh too, got a good support from other music directors as mentioned above. I recommend listening to following songs to have a feel of Mukesh's range and his masterly control over rendition of all types of songs: Moti Chugne Gai Re Hansi Man Sarovar Tir - MD Hansraj Behl w/ Shamshad Begum Ja Parvane Ja - w/ Hamida Bano MD Bulo C. Rani Badariya Baras Gai Us Paar - MD Bulo C. Rani w/ Khurshid, Hamida Jeevan Sapana Toot Gaya - MD Anil Biswas Ab Yaad Na Kar Bhool Ja Ai Dil - MD Anil Biswas w/ Meena Kapoor/Lata Kagaz Ki Mori Nav Aur Dur Kinara Hai - MD Pt. Govindram w/ Suraiya Kahan Tak Jafa Husna Walon Ki Sehte - MD M. A. Rauf Ye Kisne (2), Chhede Taar - MD Snehal Bhatkar w/ Geeta Roy Badara Ki Chhanv Tale - MD Ma. Krishna Dayal w/ Suraiya Baharon Ne Jise Chheda Hai Wo Saze Jawani Hai - MD Gyan Dutt Tumhare Liye Hue Badnaam - MD Sachin Dev Burmon w/ Shamshad Most striking reality that reveals itself seeing above list is that much sung Naushad does not figure out there! Though he had had Mukesh singing in his Anokhi Ada (1948), Mela (1948) and Andaz (1949); those songs came Mukesh's way on his own and I consider that, no favour. In fact Mukesh-Naushad connection; to me; requires a separate post. Coming back to Mukesh-Anil Biswas thread reminds this glorious film that Ashok has pointed out. I have had no privilege to watch the movie; but can tell easily it's Anil Da's very best music and the best received by all in general. Why I rate Anil Biswas (my favourite music director) THE BEST, is not because he remained on the scene from 1935 to 1966 but simply because of the range and the superlative quality of his work. You may not find as many albums of his as Naushad has managed from HMV/EMI; and its by no account a yardstick to measure one's performance overall; his songs are acclaimed best amongst all. Apart from Araam and Tarana and may be Anokha Pyar, not many of his films has had privilege to have all popular songs in a mass; yet he has demanded the respect of the most highest order from the listeners and critics as well. The reason is his unmatched talent; that has mixed so efficiently the folk traditions of Bengal with Hindustani classical; to churn out the never to say die music. If you talk about the range; he has all possible songs one can think of in his fold. Classical, Mujara, Semi-Classical, Ghazals, Nazams, Geet, Light, Chorus... covering all moods and colours. Who can forget his compositions from Hamdard; 'Pi Bin Suna Ji' sung by Manna and Lata; starting with Jogiya notes and covering different rags; without making any compromise with the quality of the song, just to match the mood of the lyrics? Its so lucid, you seem to forget about everything; and come out of the musical aura only at end of the song; and with some efforts!! 'Balamva Nadan' as pointed out by Ashok is unforgettable by Lata; so is 'Tumhare Bulane Ko' in Laadli. And remember that first song of well discussed RMIM 'shayar'-Sahir Ludhianvi; 'Muhobat Tarq Ki Maine' in a 1953 movie Do Raah ? What a delightful and memorable composition for a Nazm! A right tune, a right amount of orchestration at right places; are touch of a Guru! Same film has some songs by Lata shadowed by this Talat masterpiece, but are equally good. One of them 'Ghadiyan Gini Hai Maine Tere Intezaar Ki' is superb semi-classical composition. So were his other songs from Maan (1954) 'Guzara Hua Ulfat Ka Zamana', Naaz(1953) 'Zilmil Sitaron Ke Tale Aa Mera Daaman Tham Le', all by Lata , Fareb (1953) 'Khuda(?) Ki Nazar Ho Gai Chale Aao' by Sandhya Mukherjee, Jeet (1949) 'Tum Git Mere Tum Pran Mere' by Suraiya, and 'Zamane Ka Dastur Hai Ye Purana' an immortal duet of Lajwaab (1950) which was his own production. His work in 1940s is also equally remarkable. Just to mention in brief about those movies I can list names of Basant, Hamari Baat, Gajare, Jwar Bhata, Milan, Kismat, Deccan Queen,... etc. Some of his other 50s movies were Badibahu (produ- ced by him), Jalianwala Baug Ki Jyoti (Jalianwala Baug), Mehmaan, Waris, Jalati Nishani, Paisa Hi Paisa, Sanskar, Char Dil Char Rahen, Pardesi etc. In 1960s he came with Sautela Bhai, Chhoti Chhoti Baten. Sautela Bhai has one marvelous Lata song 'Ja Mai Tose Na Hi Bolun'. CCB was well discussed by Vish Krishnan some time back; hence I won't go in any detail about that one. Note:- Music director of film Basant (1945), is thought to be Pannalal Ghosh. But all songs were by Anil Biswas and background music was by Ghosh Da. Similarly Nirsdosh(1941) might have music of Khemchand Prakash. The reason is all, Anil Biswas, Khemchabd Prakash, Ashok Ghosh were working for National studios then. The only music director who had the ability to produce music of Anil Da's calibre was perhaps Roshan. Both has produced some music which is unparallel in terms of sweetness, softness, light orchestration; and yet striking and so simple. And what a coincident it is that Mukesh has produced his best after Anil Da only for Roshan! Mukesh, has some excellent songs by both of them. So, after that long deviation we are back at Mukesh! :-) And also, saying Mukesh started degrading in 1951 is grossly wrong. Songs like 'Kise Yaad Rakhun Kise Bhul Jaun' (1956), Kanton Me Rehne Waale' (1960), 'O Dil Na Lagana' (1953), 'Satayega Kise Tu Asmaa' (1952), 'Hame Ai Dil Kahin Le Chal' (1954); all came after 1951. And why should one search, only from his early songs ? Take 'Oh Re Taal Mile Nadi Ke Jal Me' in 1968, again by Roshan. Mukesh is still as divine as he was in 1940-50s! And still further down the line in 1970 we have some more great songs in 'Nain Hamare Sanjh Sakare Dekhe Sapane' and 'Jane Kahan Gaye Wo Din'. The magic that he produced in 1945's song in PN 'Dil Jalata Hai To Jalane De' or by 1948 song 'Zinda Hun Is Tarah Ke Ghame' was still very much there in 1970 and remained through all those years. Perhaps there were no Anil Biswas or Roshan to give him songs like 'Zindgi Khwab Hai Tha Hame Bhi Pata' or 'Tere Pyar Ko Is Tareh Se Bhulana Na Dil Chahta Hai'; otherwise Mukesh was the same as proved by those Salil Chowdhury and Jaikishan creations mentioned above. Also it's not fair to blame Shankar Jaikishan alone. In the same Awaara Mukesh has produced through them a great Bhairavi 'Ham Tuzhse Muhobat Karke Sanam' and in Kanhaiya (1959) he came with ace song 'Muze Tum Se Kuchh Bhi Na Chahiye' or again in 1959 Anadi they came with that evergreen song 'Kisi Ki Muskarahaton Pe Ho Nisar'. So did they came with 'Ye Mera Diwana Pan Hai' in Yahudi (1958). I bet had they asked Talat to sing that song probably those who are onto SJ bashing would have said 'what a song!' So was 1957 film; where Jaikishan had his first(only) experience of cameras; Begunah, which had one good Mukesh song 'Ai Pyase Dil Bezubaan'. And yes the song; that has started all this , from Badal! The same Badal has a great Lata song through Jaikishan (IMHO it was Jaikishan who was talented and not Shankar as it turned out after former died in 1970) 'Do Din Ke Liye Mehmaan Yahan'. And who can deny that 'Rasik Balma Hae' or 'Mitti Se Khelate Ho Barbar Kis Liye' were not compositions of a genius? To coclude following is the complete list of films where Mukesh sung under the the baton of Anil Biswas: Pehali Nazar(1945), Veena(1948), Anokha Pyar(1948), Lajawab(1950), Arzoo(1950), Bequsur(1950), Badi Bahu(1951), Araam(1951), Maan(1954), Jalati Nishani(1957), Char Dil Char Rahen(1959), Chhoti Chhoti Baten (1965) Note:- Film Bequsur had dual MDs. Other was Hansraj Behal. Some fine Rafi songs are under him. One is 'Akhiyan Gulabi Jaise Madh Ki Hai Pyaliyan' with Lata. > In addition, I remember two fantastic Lata numbers. The first is one of the b est > piano songs ever in Hindi films. Prem Nath is on the piano and Madhubala burs ts > out into > > man mein kisi ke preet basaa le > o matavaale, o o matavaale BTW, this remains my favourite Lata song. And I agree with Ashok; piano effect is very good. (Anil Da considers this one as, one of his top ten Lata songs). Lata's voice in this song is like a rose in the garden! Also there is one more very good Lata song in Araam 'Ujadi Re Mere Pyar Ki Duniya Ujadi'. Araam is a real gem from Anil Biswas. And still see the greatness of the man! In an interview with All India Radio (Urdu Service), on being stated as the finest MD ever; he politely denied it and said 'That respect should go to Raichand Boral who is one of the pioneer in our cinema music and a basic piller' We remain, greatful to him for providing with us two great singers: Ocean of sweetness-Mukesh and Talat Mehmood-Owner of a Delicate and a Silky voice!! Cheers, Snehal > > The other Lata song is a wonderful mushaira number: > > baalamavaa naadaa.n > samajhaaye na samajhe dil ki batiyaa.n > [marvellous tabla interlude] > balamaa jaa jaa jaa > ab kaun tumhe samajhaaye > > > > Ashok