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Posted by: unni May 26 2004, 09:07 AM

I thought I should share with you, for a change, some instrumental pieces. I am starting off with 3 pieces of Fusion Music. Hope it appeals to you. Would welcome some feedback.

Here's track 1.

Cheers!

Posted by: unni May 26 2004, 09:12 AM

Now Track 2.

Posted by: unni May 26 2004, 09:16 AM

And here's the third.

Posted by: unni May 31 2004, 09:04 PM

In the Mukesh section of HFM, Manish-ji has been requesting songs from "AASHIQ".

The Song Library features 2 songs from this movie.

I am uploading the rest in this thread. I guess a couple of them have already been provided, but so far they are not in the library.

To keep a continuous thread, I am posting all these songs in SKS. Members who participate in the respective sections can download these and retain them with their respective Lata-ji or Mukesh-ji collections.

Here's the first: a lovely solo by Lata-ji.

Posted by: unni May 31 2004, 09:19 PM

Here's Mukesh-ji and chorus: "Yeh tho kaho kaun ho thoom".

Posted by: unni May 31 2004, 09:42 PM

One of my "all-time favourites", Lata-ji and Mukesh-ji in "O Shama mujhe phoonk de".

"Shaam se lekar, roz sehar thak, tere liye main har raat jali" .......... notice how Lata-ji warbles over 'lekar" when she repeats the line. It's exquisite!

S-J at their creative best.

Posted by: unni May 31 2004, 10:04 PM

I always have a hard time deciding which of these Mukesh-ji numbers I like better:

"Ansoo bhari hai yeh jeevan ki raahen;

"Teri yaad dilse";

"Chaahonga banoon pyar ki";

and this beauteous number: "Thoom jo hamaarey meeth na hothay".

Now I just enjoy each one, individually.

But notice how, at the end, he varies and "drags" and extends the word "hothay".

Kya kahoon? Mukesh-ji at his peak!

Posted by: unni May 31 2004, 10:15 PM

And here's the last track from "AASHIQ" being uploaded: "Thoom aaj mayray sung hunslo".............how better can I address all my friends in HFM?

Posted by: Talaikya May 31 2004, 10:16 PM

Posted by: Talaikya May 31 2004, 10:22 PM

Posted by: unni May 31 2004, 10:23 PM

"Chaaha tha banoon pyaar ki raahon ka devta,
Mujhko bana diya hai, gunaahon ka devta"

Film: GUNAHON KA DEVTA
Music: S-J

Posted by: unni Jun 6 2004, 08:02 AM

In the 60's, when these two legends sang together, it was truly "Do sitaaron ka zameen par hai milan".

And listening to them would leave us to react: "Yeh dil diwana hai"!

U/L: "Yeh dil diwana hai" (Rafi/Lata --- Film "ISHQ PAR ZOR NAHIN").

Posted by: unni Jun 10 2004, 06:21 PM

U/L: "Thoomhey yaad hoga" (Hemant/Lata / Film: ?)

"POST BOX 999" or some such post box number, or some other film altogether?

Posted by: unni Jun 11 2004, 08:22 PM

Yes, my last U/L is from that movie. Music: Kalyanji Virji Shah.

Posted by: unni Jun 19 2004, 06:45 PM

While surfing the net inn my quest for pictures to download to make CD covers, I came across some cute sketches/caricatures of some of the legends of HFM.

I wanted to share them with you, and hopefully they will amuse you.

Since I have never before zipped any graphics, I hope this works.

U/L 1: Lata Mangeshkar

Posted by: unni Jun 19 2004, 06:47 PM

Yes, it does work!

U/L 2 : Lata Mangeshkar

Posted by: unni Jun 19 2004, 06:48 PM

U/L 3: Asha Bhosle

Posted by: unni Jun 19 2004, 06:50 PM

U/L 4: Manna Dey

Posted by: unni Jun 19 2004, 06:51 PM

U/L 5: Kishore Kumar

Posted by: unni Jun 19 2004, 06:52 PM

U/L 6 : Mohd. Rafi

Posted by: unni Jun 19 2004, 06:53 PM

U/L 7: Mohd. Rafi

Posted by: unni Jun 20 2004, 12:36 PM

It's almost 3:30 AM. But before I go to sleep and start dreaming of "Naseem Bano, Mumtaz Shanti, Devika Rani, Nirupa Roy and Durga Khote" (by courtesy of 'rom"), let me U/L this rare song of the legendary Kundan Lal Saigal:

U/L: "Main baithi thi"

The song is in two parts, and I would imagine it was on two sides of a vinyl record. I have included both parts (6:35 minutes) in the same track. It is also my guess that it was not a from a film, but a private recording.

It is a rarely heard number that I was thrilled to get hold of.

Posted by: unni Jun 26 2004, 04:54 AM

U/L: "Yeh kaisee ajab daastaan ho gayi hai" (Suraiya / Film: Rustom-Sohrab - 1963 / Music: Sajjad Hussain)

Posted by: unni Jun 29 2004, 06:46 AM

U/L: "Yeh raatein" (HEMANT KUMAR / Non-film)

Posted by: unni Jun 29 2004, 07:07 AM

IMHO this is a "not-to-miss" non-film recording of Hemant-da.

U/L: "Ashq aankhon se rawa" (HEMANT KUMAR / Private recording)

Posted by: mohd2004 Jun 29 2004, 06:13 PM

Thanks Unni, excellent Non-Film Songs of Hemantda. Please post if you have some more of his non-film songs.


Mohd.

Posted by: unni Jun 29 2004, 08:06 PM

Let me first take Mohd-bhai's request.

It is such a pleasure to hear these rare non-film songs of such a great artiste as Hemant-da.

U/L: "Tumne mujhko sada jalaya" (Hemant Kumar / Non-film)

Posted by: unni Jun 29 2004, 08:16 PM

I am starting the upload of four non-film songs. These are meant primarily for members who live outside of India and might not have had access to them. But wherever you live, I envy you if you are going to hear them for the first time.

For a change, these are recordings of present-day artistes.

This first one is in the voice of Penaz Masani. I shall upload later another version of the same song, in the Talat Mahmood thread started by "extenok".

Do not miss the "intoxicated" style of her rendition.

U/L: "Meri zindagi hai zaalim" (Penaz Masani / Non-film)

Posted by: unni Jun 29 2004, 08:24 PM

You might have heard this song in the voice of that unique artiste Mehdi Hassan. But I heard this version first and the lyrics captivated me.

U/L: "Zindagi mein tho sabhi" (Anuradha Paudwal / Non-film)

Posted by: unni Jun 29 2004, 08:35 PM

Again, the exquisite lyrics!

....maine tujhey dil ke jharokey mein bitha rakkha hai
teri tasveer ko palkon mein chhipa rakkha ai ....

U/L: "Mainey dildaar tujhe" (Mitalee / Non-film)

Posted by: unni Jun 29 2004, 08:43 PM

Every time I hear this song it gives me goose-pimples.

A bandish of mauseeqi and ibaadat.

U/L: "Allah hi Allah" (Mitalee / Non-film)

Posted by: ghulam Jul 2 2004, 03:30 PM

unni ji I really enjoyed listening to the 4 non film songs that u uploaded, especially Maine Dildar Tujhe Dil Mein Bassa Rakha Hai. Its awesome cant stop listening to it since I d/loaded a couple of days ago. It would be nice if you could upload a few more of these type of songs here , ure choice is xlnt

Posted by: unni Jul 3 2004, 07:44 PM

U/L: "Ja tujhe bhool gayey" (Hemant Kumar / Non-film)

Posted by: unni Jul 8 2004, 05:22 PM

Here are some songs by the Pakistani folk singer Reshma, in Punjabi and in Urdu.

U/L: "Hai o rabba"

Posted by: unni Jul 8 2004, 05:27 PM

U/L: "Akhiyanu raine de" (Artiste: Reshma)

Posted by: unni Jul 8 2004, 05:33 PM

U/L: "Hosh bhola baithey" (Artiste: Reshma)

Posted by: unni Jul 8 2004, 05:37 PM

U/L: "Haayey mausam rangeeley" (Artiste: Reshma)

Posted by: unni Jul 8 2004, 05:43 PM

U/L: Aksar shab-e-tanhaiyi mein (Artiste: Reshma)

Posted by: unni Jul 8 2004, 05:52 PM

U/L: "Bhoola do ranj ki" (Artiste: Reshma)

Posted by: anurag Jul 11 2004, 11:12 AM

Posted by: anurag Jul 11 2004, 11:34 AM

Unni, you shared very fantastic tracks. Let me share couple too - these are from 2 CDs that I recently bought. Mostly fusion - one is by Pt. Ajay pohankar and his son Abhijit.
The other is penned by Gulzar and music is composed by young Abhishek Ray. I love these two tracks.

Posted by: anurag Jul 11 2004, 11:38 AM

the second one...

Posted by: unni Jul 12 2004, 06:48 AM

Posted by: Bawra Jay Jul 12 2004, 07:42 AM

Posted by: anurag Jul 12 2004, 10:06 AM

Unni,

can you please post the names of the albums here? Thanks..

BJ, I liked Piya Bawari too. Actually, it's becuase of Piya Bawari that I bought Sajanwa. The father and son duo do produce some melodic stuff.

I'd like to listen to the one song from bhoomi that you mentioned. Anyone has it here?..

Posted by: unni Jul 12 2004, 05:27 PM

Anurag:

The names of the albums will have to wait since I'll have to find the original albums (if I still have them). For now I shall use the album in which I had compiled some of my favourite ghazals and just upload the songs in higher quality.

Posted by: anurag Jul 13 2004, 09:54 AM

That'd be great, Unni - those songs in high quality is exactly how I'd like to listen to them..

anurag

Posted by: unni Jul 28 2004, 07:07 PM

U/L: "Dekhiye yeh kya ajeeb baat hai" (Manna Dey / Film: "KAL AAJ AUR KAL" / Music: Shankar-Jaikishen)

Posted by: unni Jul 29 2004, 11:33 AM

This is perhaps one of the best known non-film songs of Hemant Kumar. The resemblance to Pankaj Mullick's singing style and music is uncanny. I wonder if it was originally a Pankaj Mullick rendering or perhaps composed by him. If anyone has additional information, I look forward to your input.

U/L: "Kithna dookh bhoolaya thoomnay" (Hemant Kumar / Non-film)

Posted by: unni Aug 1 2004, 06:09 PM

Anurag:

I had a problem uploading this track. Let me try again, and if it goes through I shall provide the album notes.

Posted by: unni Aug 1 2004, 06:15 PM

Anurag:

Whew! It was accepted! Hope you like it.

This is one of my new acquisitions of Fusion Music from the album "SHIVA MOON" by Prem Joshua.

The track is called "Darbari NYC".

The track notes read: "The ancient royal Raga Darbari takes a trip from King Akbar's court to 5th Avenue, New York, wearing a magnificent turban".

Vocals on the track by Sandhya Sanjana.

6:56m / 128 kbps

Posted by: anurag Aug 2 2004, 03:49 AM

Hi Unni

This was a good one. Pretty good. Let me share something similar. It's a Sitar-Jazz fusion track. Hope you like it.

I also posted a chill track of Asha before in Asha's forum while you were gone - lyrics based on verses from Gita. Here is the link for you: http://www.hamaraforums.com/index.php?showtopic=3233

anurag

Posted by: anurag Aug 2 2004, 03:59 AM

Unni, in another thread (or may be this one), you had begun to post some songs by Parveen Sultana but then I think the conversation drifted in another direction and you posted other songs. May be I am mistaken but I was searching for that thread and could n't find it.

Can you post the ones, you intended to post before - here or in another thread?

Thanks.

anurag

Posted by: unni Aug 2 2004, 05:52 AM

Posted by: anurag Aug 2 2004, 07:03 AM

Posted by: unni Aug 2 2004, 05:05 PM

Anurag:

The next Parveen Sultana track has been uploaded in Raag Rang.

Posted by: anurag Aug 2 2004, 09:41 PM

got it, Unni. Thanks..

Posted by: unni Aug 5 2004, 06:34 AM

U/L: "Meeri Aashaaon Ki Basti" (Hemant Kumar / Non-film)

Posted by: unni Aug 10 2004, 06:54 AM

Since this article is about use of Ragas in Hindi Film Songs, it is being featured in SKS instead of Raag Rang:

Extract from an article by Rajan P. Parrikar, a recognized expert on Indian Classical music who has written a series of articles on Classical Indian Music.)

We turn our attention to one of the foundational blocks of the Hindustani melodic edifice - Raganga Raga Kalyan- we shall use the name interchangeably with Yaman.

As the preeminent night-time Raga, Yaman embodies considerable gravitas. No other Raga has cut so wide a swathe across all genres of music and no other Raga has purchased so viselike a hold on the Indian's thoughts and feelings. Every child embarking on a preliminary study of classical music brings with her a working familiarity of Kalyan obtained through folk and other sources. Yaman has come to be acknowledged as the touchstone among classical musicians in calibrating a peer's quality and depth, its mastery deemed a sine qua non for any serious student. The magnitude and extent of Yaman's reach impel us to offer here a substantial listening experience both in the realm of the 'light' and the classical. In the posse of clips that follows, the Yaman and Yaman Kalyan instances are commingled.

Ragas Yaman, Bhairavi and Pahadi have been mined extensively by the Hindi film composers. The tunesmith Roshan, in particular, shared a very special relationship with Yaman. Roshan and Madan Mohan were, in some sense, musical twins: in their shared penchant for conceiving melodies that blended intimately with the lyric, in their drawing on India's classical music and traditional bandishes, and in their attention to the design of the interludes, they seemed to be cut from the same cloth. Both remained in a state of creative ferment throughout their relatively short lives. Roshan's genius came to full flower in Yaman as witness some of the extraordinary compositions that follow.

Yaman - The 'Lighter' Side

That Yaman has seduced every creative mind of the post-recording era generation is evident from the enormous volume of documented work. Here, we must content ourselves with only a modest slice of that output. Not every 'light' composition will align with Yaman according to Hoyle, but some important, and sometimes surprising, gesture will be manifested in each of the adduced clips. To the non-Indian readers, this will be an object lesson in driving home the nexus between classical and 'light' music.

Lata Mangeshkar

Kalyan is Lata and Lata is Kalyan. Not even the classical masters can hope to hold a candle to the magic she conjures in Yaman.

Meerabai's bhajan, Hridaynath's tune: keNu sanga -

From BHABHI KI CHOODIYAAN (1961), a luscious Yaman-based beauty set to music by Sudhir Phadke: lau lagAti -

The next two corkers were conceived in the highly discriminating mind of Madan Mohan. From BAHAANA (1960), jA re badarA bairi jA -

Film: ANPADH (1962), jiyA le gayo -

Ghalib's exceptional ability with verse more than meets its match in Lata in this memorable composition set to music by Faiyaaz Shauqat: har eka bAta pe -

Vasant Desai's gentle communion with swara finds an ally in Lata's equally gentle treatment of swara. From ARDHAANGINI (1959), baDe bhole ho -

Film: SHOKHIYAAN (1951), Music: Jamal Sen: supnA bana sAjana Aye -

Film: SUNHERE QADAM (1966), Music: Bulo C. Rani: Mangne se -

Film: PAKEEZAH (1971), Music: Ghulam Mohammad: Mausam hai -

Film: SATI SAVITRI (1964), Music: Laxmikant-Pyarelal: Jeevan Dor -

Film: RAGRANG (1952), a take on the very popular classical cheez, Eri Ali Piya bina sakhi. The words of the mukhDA are attributed to Meerabai. Lata delivers admirably -

A hauntingly beautiful composition from MAMTA (1966), distinguished by Lata's intensity of feeling -

In this immortal composition, with its celebrated sarod and flute interludes, Roshan draws inspiration from a famous old Yaman Kalyan bandish, manA tu kAhe nA dheera dharata aba, words of which are attributed to Tulsidas. Sahir Ludhianvi's mukhDA reflects Tulsi's sentiment in the movie CHITRALEKHA (1964). Mohammad Rafi: Mana re tu kahe na dheer dhare.

Roshan and Sahir combine again in the following three classics.

Mohammad Rafi in BARSAT KI RAAT (1960): Zindagi bhar nahin

Asha Bhonsle's tour de force in the qawwali from DIL HI TO HAI (1963): Nigahen milane ko jee chahta hai
http://www.sawf.org/audio/kalyan/asha_nigahen.ram

Film: BABAR (1960), Voice: Sudha Malhotra: Salam-e-hasrat

An evergreen hit from K.L. Saigal is inspired by the Kalyan spirit. Film: ZINDAGI (1940), Music: Pankaj Mullick: maiN kyA jAnu -

K.L. Saigal in TANSEN (1943), Music: Khemchand Prakash: diyA jalA'o -

Mohammad Rafi, Lata Mangeshkar and Mukesh

The transparent sincerity in Mukesh's voice has deposited quite a few Yaman-based compositions permanently into the public memory bank. This bhajan composed by Lacchiram, for instance: chhoDa jhamela jhooThe jaga kA -

Madan Mohan's gem from SANJOG (1961): bhooli hui yAdoN -

Who hasn't heard of this jeremiad from PARVARISH (1958), tuned by Dattaram? Aansoo bhari haiN -

Every college Romeo has at some stage allowed himself the fantasy of wooing a babe with this well-worn number from SARASWATICHANDRA (1968), under Kalyanji-Anandji's baton: chandana sA badana -

Mukesh finds some more romance in this Sardar Malik classic from SARANGA (1960): sArangA teri yAda meN -

Pt. Kishore Kumar of Khandwa --

We now turn to the suzerain from Khandwa, Pandit Kishore Kumar. Panditji's first offering is a canonical Khandwa cheez from ANURODH (1977) composed by Laxmikant- Pyarelal: Aapke anurodh pe -

Panditji now gives a dhrupad-anga treatment to this Sadra in Jhaptala, composed by the Punjabi ruffian O.P. Nayyar in EK BAAR MUSKURA DO (1972): savere kA sooraj -

Panditji coos wistfully in this cheez specially procured here from the Khandwa bag of tricks. Hemant Kumar is the composer in KHAMOSHI (1969): woh shyAm kuch ajeeba thhi -


In the final contribution of this God-in-human-clothing, Panditji, for a change, presents a 'light' composition. Anu Malik's tune in AAPAS KI BAAT (1982): terA chehrA -


Ghalib's classic Ghazal is tuned by Ghulam Mohammad in this Suraiyya number from MIRZA GHALIB (1954): nuktAcheeN ha gHam-e-dil -


Another superb Ghazal of Ahmad Faraz delivered by the richly gifted Mehdi Hasan: ranjish hi sahi -

The Pakistani songstress Farida Khanoum's stentorian voice takes charge: woh mujhse -

Only rarely did Laxmikant-Pyarelal surpass themselves, one such instance being the movie PARASMANI (1963): woh jaba yAda Aaye -

Ravindra Jain's handsome tune in CHITCHOR (1976) was a rage following its release. K.J. Yesudas: jaba deep jale AanA -

We wind down the Ya'mania' with a couple of Shankar-Jaikishan compositions. Their folksy number in TEESRI KASAM (1966) was its time the national chant. A rollicking Asha rises to the occasion: pAn khAye saiyyAN humAro -

In LAL PATTHAR (1971) we watch in despair as Manna Dey comes a cropper. It hurts to see an adult man whipped so badly by a girl but the pain is instantly diminished by the realization that the male in question is a Bong. Those Manna Dey tAns are indistinguishable from the first cries of a freshly baked baby as it tries to cope with life outside the amnion: re mana sur meN gA -

Posted by: unni Aug 10 2004, 07:27 AM

Classical Ragas and Film Songs in the respective ragas:

Abhogi Kanada
SONG
Jiya Lage Kya Karu Sajna
Na Jaiyo Re Sautan Ghar Sainya

Adana
SONG
Jhanak Jhanak Paayal Baaje Jhanak Jhanak Paayel Baje (1955) Vasant Desai (music director)
Manmohan Man Men Ho Tumhi Kaise Kahoon (1964) S. D. Burman (music director)
Radhike Toone Bansari Choorayee Beti Bete (1966) Shankar Jaikishen (music director)

Ahir Bhairav
SONG
Albela Sajan Aayo Re Hum Dil De Chuke Sanam (1999) Ismail Darbar (music director)
Aapne Jeevan Ki Uljhan Ko Uljhan (1975) Kalyanji / Anandji (music directors)
Chalo Man Jayen Ghar Aapne Swami Vivekananda (1994) Salil Chowdhury (music director)
Dhire Dhire Subah Hui He Jag Uthi Zindagi Haisiyat (1984) music by Bappi Lahiri
Hamen koi gham nahin tha, gham-e-ashiqi se pahle (non-film song) Ghazal by Mehedi Hassan
Mai Ri Mai, Kaise Jiyun Ri (non-film song)
Main To Kabse Teri Sharan Men Hun Ram Nagari Jaidev (music director)
Man Anand Anand Chhayo Vijeta (1983) Ajit Verman
Meri Bina Tum Bin Roye Dekh Kabira Roya (1957) Madan Mohan (music director)
Meri Galiyonse Logonki Yari Badh Gai Dharmatma (1975) Kalyanji / Anandji (music directors)
Puchho Na Kaise Maine Rain Bitai Meri Surat Teri Aankhen (1963) S.D. Burman (music director)
Ram Teri Ganga Maili Ho Gayi... Ram Teri Ganga Maili (1985) Ravindra Jain (music director)
Ram Ka Gun Gaan Kariye (non-film song) "Ram Shyam Gun Gaan" album by Lata Mangeshkar
Sola Baras ki Bali Umar ko Salam Ek Duje Ke Liye (1981) Laxmikant / Pyarelal (music directors)
Vandana Karo, Archana Karo Ladki Sahyadri Ki (1966) Vasant Desai
Waqt Karta Jo Wafa Aap Hamare Hote Dil Ne Pukara (1967) Kalyanji / Anandji (music directors)
Zindagi Ko Sanvarana Hoga Alaap (1977) Jaidev (music director)


Alhiya Bilawal
SONG
Bhor Ayi, Gaya Andhiyara Bawarchi (1972) Madan Mohan (music director)
Jana Gana Mana (non-film song) Indian National Anthem
Sare Ke Sare Ga Ma Ko Lekar Gate Chale Parichay (1954) Shailesh (music director)

Asavari
SONG
Chale Jana Nahin Naina Milake Badi Bahen Laxmikant / Pyarelal (music Directors)
Meri Yad Men Tum Na Ansu Bahana Madhosh (1951) Madan Mohan (music Director) sung by Talat Mahmood
Mujhe Gale Se Laga Lo Bahut Udas Hun Main Aaj Aur Kal (1963) Ravi (music director)
Piya Te Kaha Toofan Aur Diya (1956) Vasant Desai (music director)

Bageshri
SONG
A Ja Re, Beiman Tujhe Jan Liya Private Secretary (1962) D. Dilip (music director)
Aja Re, Paradesi Madhumati (1958) Salil Chowdhary (music director)
Bedardi Dagabaz Ja Tu Nahin Balma Mora Bluff Master (1963) Kalyanji / Anandji (music directors)
Bedardi Hua Balma
Chah Barbad Karegi Shahjehan (1946) Naushad (music director)
Chaman Men Rang-e-Bahar Utara To Maine Dekha (non-film song) a ghazal by Gulam Ali
Chalak Rahi Bunden
Divane Tum, Divane Hum Bezubaan (1962)
Ghadi Ghadi Mera Dil Dhadke Madhumati (1958) Salil Chowdhary (music director)
Hamse Aya Na Gaya Dekh Kabir Roya Madan Mohan (music director)
Jag Dard-E-Ishq Jag Anarkali (1953) Anna Saheb Mayankar (music director)
Jao Jao Nand Ke Lala Rangoli (1962) Shankar / Jaikishan (music directors)
Poochhta Jaa Mere Marghatse Guzarne Waley (non-film song) a ghazal by Gulam Ali
Radha Na Bole Na Bole Azad (1940) C. Ramchandra (music director)
Shubh Ghadi Ai Re

Bahar
SONG
Chham Chham Nachti Ayi Bahar Chhaya (1961) Salil Choudhary (music director)
Re Re Bahar Ayi Jai Hanumaan (1984) Gaurang Vyas (music director)
Sakal Bana Gagan Chalat Puravai Mamta (1966) Roshan (music director)

Barawa
SONG
Khai Hai Re Humne Kasam Talash (1957) C. Ramchandra (music director)

Basant Bahar
SONG
Ketaki, Gulab, Juhi Champaka Bana Phule Basant Bahar (1956) Shankar / Jaikishan (music directors)
Manki Bin Matavari Baje Shabaab (1954) Naushad (music director)

Basant Mukhari
SONG
O Basanti Pavan Pagal Jis Desh Me Ganga Behti Hai (1960) Shankar / Jaikishan (music directors)
Vada Kar Le Sajna Haathki Safai

Bhairagi Bhairav
SONG
Kisi Nazar Ko Tera Intazar Aja Bhi Hai Aitbaar
Mein Ek Raja Hun Upahaar

Bhairav
SONG
Dil Ek Mandir Hai Dil Ek Mandir Hai (1963) Shankar / Jaikishan (music directors)
Jaago, Mohan Pyare Jaago Jagte Raho (1956) Salil Chowdhary (music director)
Mohe Bhul Gaye Sanvariya Baiju Bawra (1952) Naushad (music director)
Sun Ri Pavan, Pavan Puravaiya Anuraag (1972) S.D. Burman (music Director)

Bhairavi
SONG
Raat Bhar Aap Ki Yaad Ati Rahi, Raat Bhar Gaman (1979) Jaidev (music director)
Ai Dil Ab Kahi Na Ja Bluff Master (1963) Kaliyanji / Anandji (music directors)
Ai Diwali, Ai Diwali Rattan (1944) Naushad (music director)
Ai Mere Dil Kahin Aur Chal Daag (1952) Shankar / Jaikishan (music directors) sung by Talat Mahmood
Ai Mere Dost, Ai Mere Hamdam Mehrabaan
April Fool Banaaya April Fool (1964) Shankar / Jaikishan (music Directors)
Baaki Kuchh Bacha To Menhagai Maar Gayi Roti Kapda Aur Makaan (1974) Laxmikant / Pyarelal (music directors)
Baat Chalat Nayi Chunari Rang Dari Rani Roopmati (1959) S.N. Tripathi (music director)
Babul Mora, Naihar Chhooto Hi Jaaye Street Singer (1938) Sung by Saigal
Bacche Man ke Sacche Do Kaliyan (1968) Ravi (music director)
Bane To Ban Jaye Zamana Dushman Dulha Dulhan (1964) Kaliyanji / Anandji (music directors)
Barasat Men, Hamse Mile Tum Barsaat (1949) Shankar / Jaikishan (music directors) sung by Lata Mangeshkar
Beshaq Mandir Masjid Dha De Bobby (1973) Laxmikant / Pyarelal (music directors) sung by Narendra Uchal
Bhari Duniya Men Akhir Dil Ko Samajhane Kahan Jaayen Do Badan (1966) Ravi (music director) sung by Mohd. Rafi
Bhor Bhaye Panghatpe Satyam Shivam Sundaram (1978) Laxmikant / Pyarelal (music directors)
Bol Radha Bol Sangam Hoga Ke Nahin Sangam (1964) Shankar / Jaikishan (music directors)
Chahe Koi Mujhe Jangli Kahe Junglee Shankar / Jaikishan (music Directors)
Chali Gori Pi Ke Milan Ko Chali Ek Hi Raasta (1956) Hemant Kumar (music director)
Chaliya Mera Naam Chhaliya (1960) Kalyanji - Anandji (music Directors)
Dhanya Bhag Seva Ka Avsar Paaya Sur Sangam (1985) Laxmikant / Pyarelal (music directors)
Dil Apna Aur Prit Paraiyi Dil Apna Aur Prit Paraiyi (1960) Shankar / Jaikishan (music directors)
Dil Ka Khilona Haye Tut Gaya Goonj Uthi Shehnai (1959) Vasant Desai (music director)
Diyana Bujheri Son of India (1962) Naushad (music director)
Do Hansonka Joda Bichhad Gayo Re Ganga Jamuna (1961) Naushad (music director)
Dost Dost Na Raha Sangam (1964) Shankar / Jaikishan (music directors)
Ek Dil Aur Sau Afsane Ek Dil Aur Sau Afsane (1963) Shankar / Jaikishan (music directors)
Gharib Jaan Ke Choo Mantar (1956) O.P. Nayyar (music director)
Gharibon ki Suno Das Lakh (1967) Laxmikant / Pyarelal (music directors)
Hame Tumse Pyar Kitana Kudarat (1998) Rajesh Roshan (music director)
Hato Kaheko Juthi Banao Batiyaan Manzil (1960) S.D. Burman (music director)
He Aag Hamare Jivan Hai Jis Desh Me Ganga Baheti Hai (1960) Shankar / Jaikishan (music directors)
Doli Chadte Heer Heer Ranjha (1970) Madan Mohan (music director)
Hoton Pe Sachhayi Rahati Hai Jis Desh Me Ganga Baheti Hai (1960) Shankar / Jaikishan (music directors)
Iktaara Bole Yaadgar (1970) Kaliyanji / Anandji (music directors)
Insaf Ka Mandir Hai, Yeh Bhagavan Ka Ghar Hai Amar (1954) Naushad (music director)
Is Bhari Duniyan Men Bharosa (1963) Ravi (music director)
Jab Dil Hi Tut Gaya Shahjehan (1946) Naushad (music director) sung by Saigal
Jaja Ki Ayegi Baraat Aah (1953) Shankar / Jaikishan (music directors)
Jare, Jare Ud Ja Re Panchhi Maaya
Jay Bolo Beiman Ki Beimaan (1972) Shankar / Jaikishan (music directors)
Ji Na Yahan Marna Yahan Mera Naam Joker (1970) Shankar / Jaikishan (music directors)
Jis Dil Me Basa Tha Pyaar Tera Saheli
Jiya Jale Jaan Jale Nainon Tale Dil Se (1998) A.R. Rahman (music director)
Jo Bhaje Hari Ko Sada (non-film song) bhajan
Jo Tum Todo Piya Jhanak Jhanak Paayal Baje (1955) Vasant Desai (music director)
Jyot Se Jyot Jagate Chalo Sant Gyaneshwar
Kabhi Neki Bhi Uske Ji Men Gar Aa Jaye Hai Mujhse (non-film song) a ghazal by Gulam Ali
Kaheta Hai Joker Mera Naam Joker (1970) Shankar / Jaikishan (music directors)
Kaise Jaun Jamunake Tir Devta (1978) R.D. Burman (music director)
Kaise Samjhaun Bade Nasamajh Ho Sooraj
Khamosh Hai Khevanahara Mera Amar (1954) Naushad (music director)
Laga, Chunari Mein Daag Dil Hi To Hai (1963) Roshan (music director) sung by Manna Dey
Lage Tose Naina Lage
Lal Chhadi Maidan Kadi Professor (1962) Shankar / Jaikishan (music directors)
Mai Chali Mai Chali Professor (1962) Shankar / Jaikishan (music directors)
Mai To Pyaar se Teri Piya Mang Sajaungi
Mata Saraswati Sharda Vidya Dayi Dayani Aalap bhajan
Mein Ashiq Hoon Ashiq
Mein Piya Teri Basant Bahar (1956) Shankar / Jaikishan (music directors)
Mera Desh Ki Darti Upkaar
Mera Juta Hai Japani Shri 420
Mere Ai Dil Bata Jhanak Jhanak Payel Baje (1955) Vasant Desai (music director)
Mera Naam Raju Jis Desh Me Ganga Baheti Hai (1960) Shankar / Jaikishan (music directors)
Mere Paas Aao, Nazar To Milao Mr Natwarlal sung by Amitabh Bachan
Mein Zindigi Men Hardam Barsaat (1949) Shankar / Jaikishan (music directors)
Meri Tanhaiyon Tum Hi Lagalo Mujhko Sinese (non-film song) a ghazal by Jagjit Singh
Mile Jo Kadi Kadi, Ek Zanjeer Bane Kasme Vade
Mile Sur Tera Hamara (non-film song) Doordarshan song
Mithe Bol Bole Kinara
Mitwa Re Mitwa Purab Na Jaio Jawab
Mohabbat Ki Dastan
Mora Rang De Basanti Chola Shahid
Mori Chhum Chhum Baje Payeliya Ghunghat
Mujhko Is Raat Ki Tanhai Main Dil Bhi Tera, Hum Bhi Tere
Mukund Madhav Hari Hari Bol
Na Bajayi Ho Shyam Alor Pipasa
Nache Man Mora Magan Dhik Dha Dhigi Dhigi Meri Surat Teri Aankhen (1963) S.D. Burman (music director)
Nas Nas Men Agan
O Gauri Tori Banki Aadi Raat ke Baad
O Shama Mujhe Funk De Ashiq
Pagadi Samhaal Jhatta Shahid
Phir Kisi Raah Guzar Par Shayad (non-film song) a ghazal by Jagjit Singh
Phool Gendava Na Maaro Dooj Ka Chaand
Piya Te Kaha Gayo Tufan aur Diya
Pyaar Hua Ikraar Hua Shri 420
Ramiya Vasta Vaiya Shri 420
Sab Kuch Sikha Hamne Anaadi
Sajna, Sajna Kahe Bhul Gaye Din Pyar Ke Chand Mere Aja
Sanvare Sanvare Anuradha (1940) Badri Prasad (music director) song composed by Ravi Shankar
Sarpe Kaddam Ki Chainya Bhakta Surdas
Sishaye Dil Itna Na Uchha Lo Dil Apna Aur Prit Paraiyi (1960) Shankar / Jaikishan (music directors)
Sun Le Bapu Ye Paigham Baalak
Sunai Deti Hai Jiski Dhadkan (Zihaal-E-Muskeen) Gulami
Suno Chhotisi Gudiya Ki Lambi Kahani Seema (1955) Shankar Jaikishan (music directors)
Sur Badle Kaise Kaise Dekho Barkha
Tera Jadu Na Chalega Guest House
Tera Jana Anadi
Teri Nigahon Pe Shabnam
Tu Gangaki Mauj Baiju Bawra (1952) Naushad (music director)
Tum Hi Ho Mata Me Chup Rahungi
Tumhare Sang Main Bhi Chalungi
Tumhe Aur Kya Dun Main Dil Ke Sivay Ayee Milan Ki Bela
Tute Na Dil Tute Na Andaaz (Old)
Waqt Se Din Aur Raat Waqt (1965) Ravi (music director)
Yaha Barakha Sautaniya Ke Dvar
Yahi Hai Woh Saanj Aur Savera Saanj Aur Savera (1964) Shankar / Jaikishan (music directors)
Ye Hariyali Aur Ye Raasta Hariyali Aur Raasta (1962) Shankar / Jaikishan (music directors)
Yeh Dil Yeh Paagal Dil Mera (Awaargi) (non-film song) a ghazal by Gulam Ali

Bhatiyar
SONG
Ek Ritu Aye Ek Ritu Jaye Gautam Govinda (1979) sung by Kishore Kumar

Bhimpalasi
SONG
Ae Ajnabi Tu Bhii Kahiin Aawaz De Kahiin Se Dil Se (1998) A.R. Rahman (music director)
Bansuri Bajaye Koi
Bhulya Na Gaya
Bina Madhur Madhur Kachhu Bol Ram Rajya (1943) sung by Saraswati Rane
Dil Ke Tukade Hue Aur Jigar Lut Gaya
Dilmen Tuze Bithake Puja Karungi Teri Fakira
Duniya Se Ji Ghabra Gaya
Eri Main To Premdivani Navbahar
Hai Chaand Sitaaron Men Chamak Tere Badan Ki (non-film song) a ghazal by Ahmed Hussain & Mohmad Hussain
Ham Giridharake Ghar Jaun (non-film song) Meera bhajan
Ja Door Kahin
Jhanakar Payalaki Tose Binati Kare Naag Devata
Kahan Chali A, Mera Lutake Jiya
Khiltey Hain Gul Yaha Sharmilee
Kismat Se Tum Ham Ko Mile Ho Pukar
Kuch Dil Ne Kaha Anupama
Maine Chand Aur Sitaronki Chandrakantaa
Manbhora Hua Matavala
Mein Garibon Ka Dil Hoon Vatanki Zuban Ab-e-Hayat
More Man Ka Bavara Panchhi
Naghma-O-Sher Ki Saughaat (non-film song) ghazal
Nainonmen Badra Chhaye Mera Saaya
O Beqarar Dil Khamoshi
O Nirdayi Pritam Stree (1961)
Samay Dire Chalo Rudaali
Tere Sadpe Balma
Tum Mile Dil Khile Criminal
Tum Suno Suno Ghanashyam
Ye Na Thi Hamri Kismat Mirza Ghalib
Yeh Aaine Se Akele Men Guftagu Kya Hai (non-film song) a ghazal from Hariharan's album 'Kaash'
Zindagi Men To Sabhi Pyar Kiya Karte Hai (non-film song) a ghazal by Mehdi Hassan

Bhupali
SONG
Achyutam Keshavam Ram Narayanam
Chanda Hai Tu, Mera Suraj Hai Tu Aradhana
Dekha Ek Khvab To Yeh Silsile Hue Silsila (1981) Shiv / Hari (music directors)
Dil Hun Hun Kare Rudaali
Ham Tum Hase Na Kuchh Kah Paaye, Tum Ham Se Na Kuchh Kah Paaaye Ziddi
He Govind, He Gopal, He Dayaal Lal (non-film song) bhajan by Jagjit Singh
In Ankhonki Mastike Mastane Hazaron Hai Umrao Jaan
Jab Nil Gagan Ki Chhaonmen Amrapali
Jaun Tore Charan Kamal Par Vari Sur Sangam (1985) Laxmikant / Pyarelal (music directors)
Jyoti Kalas Jalke Bhabhi Ki Chudiyaan
Mana Ke Musht-e-Khak Se Badhkar Nahin Hun Main (non-film song) a ghazal by Jagjit Singh
Om Namah Shivay Bhairavi
Panchhi Banu Udti Firun Mast Gagan Men Chori Chori (1956) Shankar / Jaikishan (music directors)
Pankh Hote To Ud Ati Re Sehraa
Sansaarki Har Shay Ka Dhoond
Sanvare Rang Rachi (non-film song) Meera bhajan
Sayonara, Sayonara Love In Tokyo
Yeh Hava...Yeh Phiza...Aa Bhi Jaa Gumraah

Bhupal Todi
SONG
O, Zindagi Ke Denevale Nagin

Bihag
SONG
Ai Dil Beqarar Jhum Shahjehan (1946) Naushad (music director)
Banke Chakori Gori, Jhum Jhum Nachegi
Bole Re Surili Boliyan Grih Pravesh
Chalenge Tir Jab Dil Par Kohinoor (1960) Naushad (music director)
Hamare Dil Se Na Jana, Dhokha Na Khana Udan Khatola (1955)
Koi Gata, Main So Jata Alaap
Meri Ladli Re, Meri Ladli Andaaz (Old)
Pal Bhar Ki Pahechan Aapse (non-film song) By Manna Dey
Tere Pyar Men Dildar Mere Mehboob (1963) Naushad (music director)
Tere Sur Aur Mere Geet Goonj Uthi Shahanai (1959) Vasant Desai (music director)
Tum Murli Madhur Bajao
Yeh Kya Jagah Hai Doston Umrao Jaan
Zindagi Ke Safar Men Gujar Jate Hain Jo Makam Aap Ki Kasam (1974) R.D. Burman (music director)

Bilaskhani Todi
SONG
Diya Na Bujhegi, Aaj Hamara
Jhoothay Naina Bolay Lekin

Brindavani Sarang
SONG
Zutimuti Batiya Avan Kahe Rudali

Chandrakauns
SONG
Majhi Re Himmat Na Har
San Sanna Sanna Sanna, Jao Re O Pavan
Tu Hi Tu Main Seva Karu

Charukesi
SONG
Aaj Dilpe Koi Jor Chalta Nahin Milan (1946) Anil Biswas (music director)
Aisa Lagta Hai Zindagi Tum Ho (non-film song) a ghazal by Chitra Singh
Akele Hain Chale Ao Raaz
Bainya Na Dharo Dastak (Old)
Bekhudimen Sanam
Chhod De Sari Duniya Kisike Liye Saraswati Chandra
Dukh Ki Laharne Cheda Hoga (non-film song) a ghazal by Ghulam Ali
Ek Tu Na Mila Himalay Ki Godmen
Jaan-E-Jaana...Jab Jab Teri Surat Dekhun Jaan Baaz
Kabhi Raat Din Hum Door The Aamne Saamne
Kisi Rahamen Kisi Modpar Mere Hamsafar
Megha Re Megha Re... Pyaasa Saawan
Mohabbatke Suhane Din, Javani Ki Hansi Raaten
Shyam Teri Bansi Pukare Radha Naam Geet Gata Chal
Teri Ummid Tera Intzaar Karte Hai Diwanaa

Chayanat
SONG
Baad Muddat Ki Yeh Ghadi Ayi Jahan Ara
Chaina Nahin Aye, Kahan Dil Jaye Samundar
Chanda Re, Ja Re Ja Re Ziddi
Ham Bekhudi Men Tumko Pukare Chale Gaye Kaala Paani
Jhan Jhan Jhan Jhan Payal Baje
Tere Naina Talash Kare Jise Talaash (1957) C. Ramchandra (music director)

Darbari Kanada
SONG
Aap Ki Nazaron Ne Samajha Anpadh (1962) Madan Mohan (music director)
Ab Kahan Jayen Ham Ujala
Ab Mori Vinti Suno Bhagwaan Taj
Agar Mujhse Muhobbat Hai, Mujhe Sab Apne Gam De Do
Basti Basti Parabat Parabat Baadal
Chandiki Divar Na Todi Vishvaas
Daiya Re Daiya Laj Mohe Lage Leader (1964) Naushad (music director)
Dekha Hai Pehli Baar Saajan
Dene Wale Mujhe Maujon Ki Rawani De De (non-film song) a ghazal by Jagjit Singh
Dil Jalta Hai To Jalne De Pahli Nazar
Dil Mujhe Aisi Jagah Le Chal Arzoo (Old)
Ghoonghat Ke Pat Khol Re Jaugan
Guzre Hai Aaj Ishqmen Dil Diya Dard Liya (1966) Naushad (music director)
Hangama Hai Kyon Barpa (non-film song) a ghazal by Ghulam Ali
He Ram Tumhari Ramyan Sampurna Ramayan
Hum Tujh Se Muhabbat Kar Ke Awara
Hum Tum Se Juda Ho Ke Ek Sapera Ek Lutera
Ishwar Satya Hai Satyam Shivam Sundaram (1978) Laxmikant / Pyarelal (music directors)
Jay Radha Madhav Jai Kunjbihari (non-film song) bhajan by Jagjit Singh
Jhanak Jhanak Tori Baje Payeliya Mere Huzur
Kabhi Dil Dil Se Takarata To Hoga
Kitna Hasin Hai Mausam Azad
Koi Matwala Ayaa More Dware Love In Tokyo
Mein Tere Darpe Ayaa Hun, Kuchh Karke Jaunga Laila Majnu
Mere Mehboob Na Jaa, Aaj Ki Raat Na Jaa Noor Mahal
Mere Mehboob Shayad Aaj Kuchh Kitne Paas Kitne Door
Meri Duniya Badal Gayi
Mitava Laut Ayo Re
Muhabbat Ki Jhuthi Kahani Pe Roye Mughal-e-Azam (1960) Naushad (music director)
Mujhe Tum Se Kuchh Bhi Na Kanahiya
Mujhe Tumse Kuch Bhi Na Chahie Kanhaiya
Nainheenko Raah Dikha Prabhu Bhakta Surdaas
O Duniyake Rakhavale Baiju Bawra (1952) Naushad (music director)
Pag Ghoongroo Bandh Meera Naachi Thi Namak Halal
Pyarki Aagmen Tanbadan Ziddi
Raha Gardishonmen Haradam Do Badan (1966) Ravi (music director)
Sanvare Mat Ja
Sarfaroshi Ki Tammana Shahid
Shayerana Se Hai Zindagi Ke Adaa Phir Teri Kahani Yaad Aye
Suhani Chaandni Raaten Hamen Sone Nahi Deti Mukti
Teri Duniya Mein Dil Lagta Nahin Baware Nain
Tora Man Darpan Kahalay Kaajal
Tu Pyarka Sagar Hai Seema (1955) Shankar Jaikishan (music directors)
Tumhe Zindagi Ke Ujale Mubarak Poornima
Tumse Hi Ghar Ghar Kahalaya Bhabhi Ki Chudiyan
Tuthe Hue Khvabonne Madhumati (1958) Salil Chowdhary (music director)
Ud Ja Bhanwar Maya Kamal Ka Rani Roopmati (1959) S.N. Tripathi (music director)
Yaad Mein Teri Jaag Jaag Ke Hum Mere Mehboob (1963) Naushad (music director)

Desh
SONG
Aji Ruthhkar Ab Kahan Jaiega Aarzu
Apko Pyar Chupaneki Buri Adat Hai Neela Akash
Bekasi Hadse Jab Guzar Jaye Kalpana
Chadariya Jhini Re Jhini (non-film song) a kabir bhajan by Anup Jalota
Chali Re Chali Re Mai To Des Paraye
Door Koi Gaaye Baiju Bawra (1952) Naushad (music director)
Dukhke Din Ab Bitat Nahi
Eri Ayi Barakha Ritu
Gori Tore Naina Kajar Bin Kare Kare Main Suhagan Hun
Kadam Chale Age Bhakta Surdas
Kyun Naye Lag Rahe 1942, A Love Story
Phir Kahin Koi Phul Khila Anubhav
Sainya Ja Ja Mose Na Bolo Kahe Ko Neha Lagaye Jhanak Jhanak Paayal Baaje (1955) Vasant Desai (music director)
Takdir Ka Fasaana Sehra
Vande Mataramh Anand Math

Desi
SONG
Aaj Gaavat Man Mero Jhumke Baiju Bawra (1952) Naushad (music director)

Devagandhari
SONG
Jab Dilko Satae Gam
Jhule Na Jhul

Dhani
SONG
Prabhu Tero Nam Jo Gae Phal Hum Dono

Durga
SONG
Chanda Re Mori Patiya Le Ja Miss Mary
Geet Gaya Pattharonne Geet Gaya Pattharonne

Gara
SONG
Aise To Na Dekho Teen Deviyan
Diwana Kahke Aaj Mujhe Phir Pukariye Muzlim
Hamsafar Saath Apna Chhod Chale
Jivanmen Piya Tera Sath Rahe Gunj Uthi Shehnai
Kabhi Khud Pe Kabhi Haalaath Pe Ronaa Aayaa Hum Dono
Mohe Panghatpe Nandalal Ched Gayo Re Mughal-e-Azam (1960) Naushad (music director)
Raghupati Raghav Raja Ram (non-film song) bhajan
Tere Mere Sapne Ab Ek Rang Hain Guide (1965) S.D. Burman (music director)
Unke Khayal Aye To Ate Chale Gaye Laal Pathar (1971) Shankar Jaikishan (music directors)

Gaur Malhar
SONG
Garajat Barsat Savan Ayo Re Barsaat Ki Raat (1960) Roshan (music director)
Jhir Jhir Barase Savani Ratiyan Ashirvad
Sharabi Sharabi Ye Savanka Mausam

Gaur Sarang
SONG
Allah Tero Naam Hum Dono

Gujari Todi
SONG
Ek Tha Bachapan Aashirwad
Jaa-Jaa Re Ai Pathikwa Lekin
Sanvaro Nand-Nandana (non-film song) Chala Vahi Desh

Hamir
SONG
Madhuban Men Radhika Nache Re Kohinoor (1960) Naushad (music director)
Surki Gati Main Kya Janun

Hamsadhwani
SONG
Ja Tose Nahin Bolun Kanhaiya Parivaar
Ranga De De Madhubanaki Hiraniya
Santo Karamki Gati Nyari Chala Vahi Desh

Hemant
SONG
Balma Anadi Man Bhaye Bahurani
Sudh Bisar Gai Aja
Tumbin Jeevan Kaise by Manna Dey
Udajare Ja Re Kaga Meera bhajan by Lata Mangeshkar
Yad Piyaki Aye (non-film song) a thumri by Ustaad Bade Ghulam Ali Khan

Jaijaivanti
SONG
Bairan Ho Gai Raina Dekh Kabir Roya (1957) Madan Mohan (music director)
Dost Bankar Bhi Nahin Saath Nibhanevala (non-film song) a ghazal by Ghulam Ali
Manmohana Bade Jhuthe Seema (1955) Shankar Jaikishan (music directors)
Suni Suni Saans Kay Sitaar Par Lal Patthar (1971) Shankar / Jaikishan (music directors)
Thumak Chalat Ramchandra, Baajat Paijaniya bhajan
Yeh Dil Ki Lagi Kam Kya Hogi Mughal-e-Azam (1960) Naushad (music director)
Zindagi Aaj Mere Namse Sharamati Hai

Jhinjhoti
SONG
Badli Badli Duniya Hai Meri
Chhup Gaya Koi Re Durase Pukarake Champakali
Chita Nandan Aage Nachungi
Ghungharuki Taraha, Bajtahi Raha Hun Main Chor Machaye Shor (2002) Anu Malik (music director)
Ja Ja Re Ja, Balmava Basant Bahar (1956) Shankar / Jaikishan (music directors)
Jaun Kahan Bata E Dil Chhoti Bahen (1959) Shankar / Jaikishan (music directors)
Koi Hamdam Na Raha, Koi Sahara Na Raha Jhumroo (1961) Kishor Kumar (music director)
Main To Sare Bandhan Tod Chali
Mere Maheboob Tujhe Meri Muhabbatki Qasam Mere Mehboob (1963) Naushad (music director)
Mose Chal Kiye Jaye Hai Re Hai Hai Dekho Saiyan Beiman Guide (1965) S.D. Burman (music director)
Teri Ankhoke Siva Duniyamen Chirag (1969) Madan Mohan (music director)
Tum Mujhe Yun Bhula Na Pao Ge Pagla Kahin Ka (1970) Shankar / Jaikishan (music directors)

Jaunpuri
SONG
Dil Ched Koi Aisa Nagma
Ghunghatke Pat Khol Jogan (1950) Bulo C. Rani (music director)kabir bhajan
Jaba Dilko Sataye Gam Tu Uuu Ched Sakhi Sargam Sargam (Old)
Jaye To Jayen Kahan Samjhe Ga Kaun Yahan Taxi Driver (1944) Khan Mastana (music director)
Piya Te Kahan Gayo
Vo Duniyako Yad Rahega

Jogiya
SONG
Dil Ek Mandir Hai Dil Ek Mandir (1963) Shankar / Jaikishan (music directors)
He Natraja Gangadhar Shambho
Keh Do Koi Na Kare Yahan Pyaar Goonj Uthi Shehnaai (1959) Vasant Desai (music director)
Piya Bina Suna Gita
Raat Bharka Hai Maheman Andhera Sone Ki Chidiya

Jogkauns
SONG
Baje Re Payela Baje

Kafi
SONG
Balma Aan Baso More Manmen
Biraj Me Holi Khelat Nand Lal Godaan (1963) Ravi Shankar (music director)
Gaironpe Karam Apnonpe Sitam Aankhen (1950) Madan Mohan (music director)
Ishqki Garmie Jajabta Kise Pesha Karun
Kali Ghodi Dwar Khadi Chashme Buddoor (1981) Rajkamal (music director)
Kase Kahun Manki Bata
Tum Nahin, Gam Nahin, Sharab Nahin (non-film song) a ghazal by Jagjit Singh

Kalavati
SONG
A Ja Re Mere Pyarke Sahi
Bhajan Bina Chain Naa Aye Ram Rafoo Chakkar (1975) Kalyanji / Anandji (music directors)
Dil Men Aur To Kya Rakha Hai (non-film song) a ghazal by Ghulam Ali
Hai Agar Dushman Jamana Hum Kisi Se Kum Nahin (1977) R.D. Burman (music director)
Hay Re Vo Din Kyun Na Aye Anuradha (1940) Badri Prasad (music director)
Kabhi To Miloge Jivansathi
Kahe Tarasae Jiyara Chitralekha (1941) Zinde Khan, A.S.Ghani (music directors)
Koi Sagar Dilko Bahalata Nahin Dil Diya Dard Liya (1966) Naushad (music director)
Maika Piya Bulave Sur Sangam (1985) Laxmikant / Pyarelal (music directors)
O Ghath Savari Thodi Thodi Bavari
Sanam Tu Bevafake Namse Khilona (1942) Khem Chand Prakash (music director)
Subah Aur Sham Kamhi Kam Uljhan (1975) Kalyanji / Anandji (music directors)

Kalyan
SONG
Aapke Anurodh Pe Anurodh
Aaye Ho Meri Zindagi Me Raja Hindusthaani
Abhi Na Jao Chhodkar Hum Dono
Ang Ang Rang Jhalakae Sankalp
Ansu Bhari Hai Ye Jivanki Rahe Parvarish
Ansu Samjhke Kyun Mujhe Chhaaya
Apke Anurodhpe Main Ye Geet Anurodh
Bada Dukh Dina Tere Lakhanne Ram Lakhan
Bade Bhole Ho
Bhuli Hui Yadon Sanjog
Biti Na Bitai Raina Parichay (1954) Shailesh (music director)
Chandansa Badan Chanchal Chitavan Saraswati Chandra
Chhodo Chhodo Chhodo Mori Bahiya
Chhupa Lo Yun Dil Men Pyar Mera Mamta (1966) Roshan (music director)
Dhadkate Dilka Payam Le Lo
Dil Diya Dard Liya Dil Diya Dard Liya (1966) Naushad (music director)
Dil E Betabko Sinese Palaki
Dil Jo Na Kahe Saka Bhigi Raat
Do Naina Matavale Tihare Choti Bahan
Ehasaan Tera Hoga Mujhapar Junglee Shankar / Jaikishan (music Directors)
Ghar Se Nikalte Hi Papa Kehte Hain.
Inhi Logone Le Lina Dupatta Mera Pakeezah (1971) Gulam Mohd / Naushad (music directors)
Intazaar Aur Abhi
Is Modse Jate Hai Aandhi
Ja Re Badra Bairi Ja Bahana
Jab Dip Jale Ana Chit Chor
Janevalese Mulakat Na Hone Payi Amar (1954) Naushad (music director)
Jara Si Ahat Hoti Hai...Kahin Yeh Woh To Nahin Haqeeqat (1964) Madan Mohan (music director)
Jay Jay He Jagadambe Mata
Jivan Dor Tumhi Sang Bandhi Satyavaan Savitri
Jiya Le Gayo Ji Mora Savariya Anpadh (1962) Madan Mohan (music director)
Kenu Sang Khelun Hori (non-film song) Chala Vahi Desh
Koi Jo Mila Tha Mujhe "Breathless" Breathless
Lagta Nahin Hai Dil Mera Laal Quila (1960) S.N. Tripathi (music director)
Lau Laga Ke Geet Gaa Ke Bhabi Ki Chudiyan (1961) Sudhir Phadke (music director)
Main Kya Janun Kya Jadu Hai
Man Re Tu Kahe Na Dhir Dhare Chitralekha (1941) Zinde Khan, A.S.Ghani (music directors)
Mausam Hai Ashikana Pakeezah (1971) Gulam Mohd / Naushad (music directors)
Mere Hamsafar Mere Hamsafar Mere Paas Aa Mere Paas Aa Refugee (2000) Anu Malik (music director)
Meri Duniyamen Tum Aaye Heer Ranjha (1970) Madan Mohan (music director)
Nigahen Milaneko Ji Chahata Hai Dil Hi To Hai (1963) Roshan (music director)

Panv Padun Tore Shyam (non-film song) Tere Bharose Nandalal
Phir Na Kije Meri Gustakh...Dekhiye Apne Phir Pyarse Phir Subah Hogi
Pritam Aan Milo
Pyar Mein Hota Hai Kya Jadoo Papa Kehte Hain.
Ranjish Hi Sahi, Dil Hi Dukhane Ke Liye Aa (non-film song) a ghazal by Mehdi Hasan
Re Man Surmen Ga
Roj Roj Dalidali Kya Likh Jaye Angoor
Sansarse Bhage Phirte Ho Chitralekha (1941) Zinde Khan, A.S.Ghani (music directors)
Saptasurana Teen Gram Tansen
Saranga Teri Yaadmen Saaranga
Savereka Suraj Tumhare Liye Ek Baar Muskuraa Do
Shola Hun Bhadakne Ki Gujarish Nahin Karta (non-film song) a ghazal by Jagjit Singh
Shreeramchandra Kripalu Bhajamana
Sine Men Sulagte Hain Arman Tarana
Sinemen Sulaghate Hai Arman Sangdil
Sochenge Tumhe Pyaar Kare Ki Nahi Deewana
Sochte Aur Jaagte Sansonka Ek Dariyaa Hun Mein a ghazal by Gulam Ali
Suni Jo Unke Aane Ki Aahat Satyam Shivam Sundaram (1978) Laxmikant / Pyarelal (music directors)
Tere Huns Ki Kya Tariph Karun Leader (1964) Naushad (music director)
Tum Agar Mujhko Dil Hi To Hai (1963)
Tum Bin Jivan Kaise Bita Anita
Tum Gaganke Chandrama Sati Savitri
Tum Mujhe Bhul Bhi Jao Didi
Woh Haske Mile Humse Baharen Phir Bhi Aayegi
Woh Jab Yaad Aye Bahut Yaad Aye Parasmani
Woh Sham Kuchh Ajib Thi Khamoshi (Old)
Yaad Rahega, Pyarka Yeh Rangin Zamanaa Yaad Rahega Umar Qaid
Ye Chaman Hamra Apna Hai
Zindagi-Bhar Nahin Bhulegi Barsaat Ki Raat (1960) Roshan (music director)

Kamod
SONG
Eri Jane Na Dungi Chitralekha (1941) Zinde Khan, A.S.Ghani (music directors)
Jao Re Jogi Tum Jao Re Amrapali
Tumko Dekha To Ye Khayal Aya Saath Saath

Kaushi Kanada
SONG
Ab To Madhava Mohe Ubar
Mai Jajyo Na Prabhuko Milna Kab
Sau Bar Janam Lenge Ustaadon Ke Ustaad

Khammaj
SONG
A Dil Se Dil Mila Le Navrang
Ab Kya Misal Dun
Ang Ang Dole Mera
Ayo Kahanse Ghanashyam Buddha Mil Gaya
Bada Natkhat Hai...Ka Kare Yashoda Maiya Amar Prem
Bata Do Sakhi Kaun Gali Gayo Shyam
Chunariya Katati Jae
Dhal Chuki Shame Gam Kohinoor (1960) Naushad (music director)
Khat Likha De Savariyake Nam Babu
Kuch To Log Kahenge Amar Prem
Mere To Giridharagopala Meera
Nazar Lagi Raja Tore Bungle Par Kaala Pani
O Sajna, Barkha Bahara Ayi Parakh
Sham Dhale Jamuna Kinare Pushpanjali
Tere Bina Sajna Lage Na Jiya Hamar Aarti
Vaishnav Jan To (non-film song) Narsingh bhajan
Vo Na Aenge Palatkar Devdaas

Kedar
SONG
Aap Yun Hi Agar Humse Milte Rahe Dekhiye Ek Din Pyaar Ho Jaayega Ek Musafir Ek Hasina (1962) O.P. Nayyar (music director)
Aapki Ankhonmen Kucch Ghar
Bekaspe Karam Kijie Mughal-e-Azam (1960) Naushad (music director)
Bole To Basuri Kahi Saawan Ko Aane Do
Darashan Do Ghanashyam Narsi Bhaghat
Hamko Manki Shakti Dena Guddi
Kanha Ja Ja Boot Polish / Tel Malish
Main Pagal mera Manawa Pagal Ashiaana
Mil Ja Mil Ja Janena
Pal Do Pal Ka Saath Hamara The Burning Train
Panchhi Bawra Chhand Se Prit Lagaye Bhakta Surdas
Uthaye Ja Unke Sitam Andaaz (Old)

Kirwani
SONG
Aayi Jhum Jhum Raat Ye Suhani Love Marriage
Anevala Pal Janevala Hai Golmaal (1979) R.D. Burman (music director)
Ankhonse Hai Utari Ye Dilmen Phir Wohi Dil Laaya Hoon (1963) O.P. Nayyar (music director)
Be-Sabab Baat Badhaneki Zaroorat Kya Hai (non-film song) a ghazal by Jagjit Singh
Beqaraar Dil Tu Gayeja Door Ka Raahi (1971) Kishore Kumar (music director)
E Hush-E-Beparvah Tujhe Shabnam Kahun, Shola Kahun (non-film song) a ghazal by Gulam Ali
Ek Radha Ek Meera Ram Teri Ganga Maili (1985) Ravindra Jain (music director)
Geet Gata Hun Mai Laal Pathhar (1971) Shankar Jaikishan (music directors)
Mai Pyarka Rahi Hun Ek Musafir Ek Hasina (1962) O.P. Nayyar (music director)
Mera Dil Yeh Pukare Aaja Nagin (Old)
Meri Bhigi-Bhigisi Palakonpe Anamika (1973) R.D. Burman (music director)
Nind Na Mujhako Ae Post Box No. 999 (1958) Kalyanji / Anandji (music directors)
Para Para Hua Pairahan-E-Jaan (non-film song) a ghazal by Gulam Ali
Pukarta Chala Hun Main Mere Sanam (1965) O.P. Nayyar (music director)
Shola Tha Jal Bujha Hun (non-film song) a ghazal by Mehdi Hassan
Tumhi Mere Mit Ho
Yad Na Jaye Bite Dinonki Dil Ek Mandir (1963) Shankar / Jaikishan (music directors)
Ye Raten Ye Mausam Nadika Kinara Delhi Ka Thug

Lalit
SONG
Ik Shahenshahne Banvake Hansi Leader (1964) Naushad (music director)
Kanhare Kanha Truck Driver
Koi Paas Aya Savere Savere (non-film song) a ghazal by Jagjit Singh
Pritam Daras Dikhao Chacha Zindabad
Raina Biti Jaye Amar Prem
Tu Hai Mera Prem Devta Kalpana
Tu Nahin To Mere Liye Tum Yaad Aaye

Madhumadhavi Sarang
SONG
A Lautke Aja Mere Meet Rani Roopmati (1959) S.N. Tripathi (music director)

Madhuvanti
SONG
Ko Birahini Ko Dukh Jane Chala Vahi Desh
Rasme Ulfatako Nibhae To Nibhae Kaise Dil Ki Rahen (1973) Madan Mohan (music director)

Malgunji
SONG
Ghar A Ja Ghir Aye Badra Chhote Nawab
Na Jiya Lage Na Anand (1970) Salil Chowdhary (music director)
Nainaso Nain Nahi Milo Jhanak Jhanak Payel Baaje (1955) Vasant Desai (music director)
Unko Yeh Shikayat Hai Adalat (1948) Datta Devajekar (music director)

Malkauns
SONG
Aaye Sur Ke Panchhi Aaye Sur Sangam (1985) Laxmikant / Pyarelal (music directors)
Adha Hai Chandrama Rat Adhi Navrang
Ai Man Tere Bachche Kai Karoda
Ankhiyana Sang Ankhiya Lagi Aaj Bada Aadami (1961) Chitragupta (music director)
Balma Manena
Dip Jalaye Jo Ggton Ke Maine Kalakaar (1983) Bappi Lahari (music director)
Man Tarapat Hari Darshanko Baiju Bawra (1952) Naushad (music director)
Mujhe Na Bula Suvarna Sundari (1958) Narayan Rao (music director)
O Pavanvegase Udanevale Ghode Jai Chaittaur
Paga Ghungharu Bole Chananana Chanh
Savanki Rat Kari Kari
Tu Chhupi Hai Kahan Navrang
Ye Kahani Hai Diyeki Aur Tufanaki Tufan Aur Diya
Zindagibhara Gam Judaika Mujhe

Mand
SONG
Ab To Hai Tumse Har Khushi Apni Abhimaan
Bachpan Ki Mohabbat Ko Baiju Baawara
Dheemo Re Chale Re Vaayariyo (non-film song) Sultan Khan / Chitra's Album Piya Basanti
Jo Me Jaanthi Bisarat Shabaab (1954) Naushad (music director)
Kesariya Balma Lekin
Piya Piya Bole Mora Kangana Swarg Nark
Tu Chanda Main Chandani Reshma Aur Shera

Manj Khammaj
SONG
Jane Kaise Sapano Me Kho Gai Ankhiyan Anuradha (1940) Badri Prasad (music director)
Kaanha Kanha Aan Padi Re Tere Dwar Aman
Kaise Dina Bite Kaise Biti Ratiyan Piya Jane Na Anuradha (1940) Badri Prasad (music director)

Maru Bihag
SONG
Jamunaa Kinare Aaja Chaliya Pukare Aaja Raadha Jaye Naa Mehbooba
Matavali Nar Thumak Thumak
Payelavali Dekha Na
Radha Jaye Na
Tum To Pyar Ho Sajna Sehra

Marwa
SONG
Payeliya Bavari Saaz Aur Aawaz

Megh
SONG
Kahan Se Aye Badra Chashme Buddoor (1981) Rajkamal (music director)
Konpalen Phir Fut Ayi (non-film song) a ghazal by Mehdi Hassan
Mahefil Men Baar Baar Kisi Par Nazar Gai (non-film song) a ghazal by Gulam Ali

Megh Malhar
SONG
Dukhabhare Din Bite Re Bhaiya Mother India
Ghanana Ghanana Ghana Baraso
Ghata Ghana Ghora Ghora Tansen
Kare Kare Badra
Tan Rangalo Ji Aaj Man Ranga Lo Baraso Re Tansen

Mian Ki Malhar
SONG
Baadal Umad Bhar Aaye Saaz
Bhaye Bhanjana...Darasa Tere Mange Main Tera Pujari Basant Bahar (1956) Shankar / Jaikishan (music directors)
Bole Re Papihara Guddi
Ek Bas Tu Hi Nain (non-film song) a ghazal by Mehdi Hassan
Karo Sab Nichhavar
Mammadshaha Rangile
Nach Mere Mora Jara Nach
Nacha Re Mayura

Mian Ki Todi
SONG
Bhini Bhini Bhor Aayi (non-film song) Asha Bhosle's Album 'Dil Padosi Hai'
Jhoothey Naina Bole Lekin

Multani
SONG
Daya Karo e Giridhar Gopala

Nand (Anandi Kalyan)
SONG
Tu Jahan Jahan Chalega Mera Saya

Nayaki Kanada
SONG
Chala Diye Deke Gam

Pahadi
SONG
Aaja Raja Leke Barat Aaja
Aaja Re, Aaja Re O Mere Dilvar Aaja Noori
Aajki Rat Mere Dil Ki Salami Raam Aur Shyam
Aajki Rat Piya Dil Na Todo
Aapko Dekhke Baadalko Pasinaa Aa Gayaa Hum Aapke Dilmen Rahte Hai
Age Bhi Jane Na Tu Waqt (1965) Ravi (music director)
Aja Re Tujhko Mera Pyar Pukare Waqt (1965) Ravi (music director)
Apna Bhi Koi Sathi Hota
Are Ja Re Hato Natakhat Navrang
Awaz Mein Na Dunga...Chahunga Main Tujhe Sanjh Savere Dosti (1946) C. Ramchandra (music director)
Baharon Mera Jivan Bhi Sanvaro Aakhiri Khat
Baharonki Manjhil Rahe
Chal Ud Ja Re Panchi Bhabhi (1957) A.A. Raj (music director)
Chalo Dildar Chalo Pakeezah (1971) Gulam Mohd / Naushad (music directors)
Chaudavika Chand Ho Chaudavika Chand
Chori Chori Koi Ae Noori
Dil Pukare A Re A Re Jewel Thief (1967) S.D. Burman
Dil Todanevale
Dilmen Ek Lahar Si Uthi Hai Abhi" (non-film song) a ghazal by Gulam Ali
Din Hai Baharke Tere Mere Waqt (1965) Ravi (music director)
Do Dil Dhadak Rahen Hain Aur Avaj Eka Hai
Do Dil Tute Do Dil Hare Heer Ranjha (1970) Madan Mohan (music director)
Do Sitaronka Jamin Par Hai Milan Kohinoor (1960) Naushad (music director)
Gaya Andhera Hua Ujala Subah Ka Tara (1954) C. Ramchandra (music director)
Gudiya Hamse Ruthi Rahogi Dosti (1946) C. Ramchandra (music director)
Hai Balma Teri Kasam
Ham Aaj Dil Jalae
Ham Jab Simatake Aapki Bahonmen Waqt (1965) Ravi (music director)
Hamne To Dilko Apke Kadmonpe
Hushn Pahadonka Ram Teri Ganga Maili (1985) Ravindra Jain (music director)
Isharon Isharon Mein Dil Lenewale Kashmir Ki Kali
Jane Kya Dhundti Rahati Hain
Jane Na Balma Pritaki Kasam
Janevalo Jara Mudke Dekho Mujhe Dosti (1946) C. Ramchandra (music director)
Jara Sun Hasina Ye Sajni
Javan Hai Muhabbat Anmol Ghadi (1946) Naushad (music director)
Jo Vada Kiya Vo Taj Mahal (1941) Madho Lal (music director)
Kabhi Kabhi Mere Dilmen Kabhi Kabhi (1976) Khayyam (music director)
Kahe Sataye Kaheko Rulaye Quyamat Se Quyamat Tak
Kaise Jiyunga Main Agar Tu Na Mili Sahibaan (1993) Shiv / Hari (music directors)
Karavate Badlate Rahe Sari Raat Ham Aap Ki Kasam (1974) R.D. Burman (music director)
Kaun Aya Hai Nigahonmen Chamak Jag Uthi Waqt (1965) Ravi (music director)
Koi Pyaraki Dekhe Jadugari Kohinoor (1960) Naushad (music director)
Lag Ja Gale Ke Phir Ye Hansi Rat Woh Kaun Thi? (1964)
Maine Dekha Hai Phulonse Ladi Shakhonmen
Mere Ankhomen Bas Gaya Koi Re Barsaat (1949) Shankar / Jaikishan (music directors)
Meri Ankhon Me Basagaya Koi Re Mohe Ninda Aye Barsaat (1949) Shankar / Jaikishan (music directors)
Mohe Jana Hai Pike Nagariya
Mora Nadan Balma
Mori Atariyape Kagan Bole
Mujhe Tumse Muhabbat Hai Magar
Mushkil Hai Bahut Mushkil Mahal (1949) Khem Chand Prakash (music director)
Nainka Chain Churakar Le Gayi Chandramukhi (1960) S.N. Tripathi (music director)
Neela Aasman So Gayaa Silsila (1981) Shiv / Hari (music directors)
Nile Parabtonki Dhara Aadmi Aur Insaan (1969) Ravi (music director)
O Durke Musaphir Hamko Bhi Sath Le Le Udan Khatola (1955)
Parbatonke Pedon Para Shamka Basera
Payo Ji Maine Ram Ratan Dhan Payo
Phulonke Rangse Prem Pujari
Prit Ye Kaisi Bol Duniya Daag(Old)
Rahe Na Rahe Ham Maheka Karenge Mamta (1966) Roshan (music director)
Ratka Samne Jhume Chandrama
Rulake Gaya Sapna Mera Jewel Thief (1967) S.D. Burman (music director)
Sab Kuch Lutake Hosh Men Aaye To Kya Kiya Ek Saal (1957) Ravi (music director)
Sab Kuchh Lutake Hoshamen Ae Ro
Sainya Bina Ghar Suna Lahu Ke Do Rang (1979) Bappi Lahari (music director)
Sajan Ki Galiyan Chod Chale Bazaar (1949) Shyam Sundar (music director)
Sakhi Ri Mera Man Umade Tana Dole Nagin
Salamat Raho
Sare Jahanse Achcha Apna Ghar (1960) Ravi (music director)
Savanka Mahina Pavan Kare Sor Milan (1946) Anil Biswas (music director)
Savanke Jhule Pade Jurmana (1947) Sajjad Husain (music director)
Sham Dhale Khidaki Tale Albala
Suhani Rat Dhal Chuki Dulari
Sun More Sajna
Sunri Sakhi Mohe Sajna Bulae Nagin
Tasvir Banata Hun Tasvir Nahin Banati Baradari
Tasvir Banata Hun Teri Khuna Jigarase
Tere Bharose He Nandalala (non-film song)
Tere Nainonne Chori Kiya Anmol Ghadi (1946) Naushad (music director)
Thukade Hai Mere Dilke
Tod Diya Dil Mera Tune Ai Bewafa Dulari
Tora Man Bada Papi Sanvariya Re Ganga Jamuna (1961) Naushad (music director)
Tujhko Pukare Mera Pyar Neel Kamal
Tum Apna Ranj O Gam, Apni Pareshani Mujhe De Do
Tum Ho Jo Mere Hamsaphar
Tum Mere Mai Teri
Usko Nahin Dekha Hamne Kabhi Dadi Maa
Vahan Kaun Hai Tera Musaphir Guide (1965) S.D. Burman (music director)
Vo Dil Kahanse Laun
Vrindavanka Krishna Kanhaiya Miss Mary
Yara Dildara Mera Dil Kahata Aadmi Aur Insaan (1969) Ravi (music director)
Ye Dil Aur Unki Prem Parbat
Ye Vadiyan Phijae Bula Rahi Aaj Aur Kal

Palasi
SONG
Gori Tera Gaanv Bada Pyara Chit Chor
Hamari Yad Aayegi, Kabhi Tanhaiyon Men Hamari Yaad Aaegi

Patdeep
SONG
Megha Chhaye Adhi Rat Sharmilee
Saaz Ho Tum Awaz Hun Main Saaz Aur Awaz

Pilu
SONG
Ab Ke Baras Bhejo Bhaiya Ko Babul Bandini
Abke Baras Bite
Ajahun Na Aye Balma Sanjh Aur Savera (1964) Shankar / Jaikishan (music directors)
Allah Megh De Pani De Guide (1965) S.D. Burman (music director)
Apni Kaho Kuch Meri Suno Parchhain
Apni Kaho Kuchh Meri Suno...Kya Dilka Lagana Bhul Gaye
Badi Der Bhai Kab Loge Khabar
Baharon Ne Mera Chaman Loot Kar Devar
Banwari Re Jeene Ka Sahara Ek Phool Char Kante
Chaahat Des Se Aane Waale Yeh To Bataa Ke Sanam Kaise Hain (non-film song) a ghazal by Pankaj Udhas
Chandanka Palna Reshamki Dori Shabab (1954) Naushad (music director)
Chura Liya Hai Tumne Jo Dil Ko Yaadon Ki Baraat
De De Pyar De Sharabi
Dhadakate Dil Ki Tamanna Shama
Dheere Se Aaja Ri Akhiyan Mein Nindiya Albela
Dhoondho Dhoondho Re Saajna Ganga Jamuna (1961) Naushad (music director)
Din Sara Guzara Tore Angana Junglee Shankar / Jaikishan (music Directors)
E Meri Joharajabi Waqt (1965) Ravi (music director)
Hai Hai Rasiya Tu Bada Bedardi
Jaiye Aap Kahan Jayenge Mere Sanam (1965) O.P. Nayyar (music director)
Jhulemen Pavanki Ayi Bahar Baiju Bawra (1952) Naushad (music director)
Kabhi Aar Kabhi Paar Aar Paar
Kali Ghata Chhaye Mora Jiya Ghabraye Sujata
Kaun Gali Gaye Shyam Pakeezah (1971) Gulam Mohd / Naushad (music directors)
Main Soya Akhian Meeche
Maine Rang Li Aaj Chunariya Sajana Tore Rang Me Dulhan Ek Raat Ki
Maine Shayad Tumhe Pahle Barsaat Ki Raat (1960) Roshan (music director)
Mainu Ishq Lag Gaya Rog Dil Hai Ke Maanta Nahin
Mat Maro Shyam Pichkari Durgesh Nandani
More Sainya Ji Utarenge Paar Nadiya Dhire Baho Udan Khatola (1955)
Murali Bairan Bhayi Re Kanhaiya Tori New Dilli
Na Jao Saiyan Chhuda Ke Baiyan Sahib Biwi Aur Ghulam
Na Jhatako Julphse Pani
Na Manu Na Manu...Dagabjaaz Tori Batiya Na Manu Re Ganga Jamuna (1961) Naushad (music director)
Nadiya Kinare Harayee Aayee Kangna Abhiman
Naina Divani Kuchh Nahin Mane
Pi Ke Ghar Aaj Pyari Dulhaniya Chali Babul Mother India
Piya Piya Na Lage Mora Jiya
Sach Kehti Hai Duniya Ishq Pe Jor Nahin
Sainya Tore Dvare Khade
Sur Na Saje Basant Bahar (1956) Shankar / Jaikishan (music directors)
Surmayi Akhiyonmen Nanha Munna Ek Sapna De Jaa Re Sadma
Tere Bin Soone Nayan Hamare Meri Soorat Teri Aankhein
Tu Jo Mere Sur Men Chitchor
Vapha Jinse Ki Bevapha Ho Gae
Vikal Mora Manva Mamta (1966) Roshan (music director)

Puria Dhanashri
SONG
Hai Rama Yeh Kya Hua Rangeela
Kitane Dino Ke Baad Ye Aai Sajana Rat Milan Ki
Koyaliya Ud Ja Yahan Nahi Koya
Labon Se Chumlo, Aankhon Se Thaamlo Mujh Ko Astha
Meri Sanson Ko Jo Mehaka Rahi Hai Badalte Rishtey
Rang Aur Nur Ki Baraat Kise Pesh Karun (non-film song) ghazal
Ruk Jao Banavasi Ram Sampurna Ramayan
Rut Aa Gayi Re, Rut Chha Gayi Re 1947
Tori Jay Jay Karatara
Tumne Kya Kya Kiya Hai Hamare Liye Prem Geet

Rageshri
SONG
Kaun Aya Mere Manke Dvare Dekh Kabir Roya (1957) Madan Mohan (music director)
Mere Sang Ga Gunguna Janwar
Mitava Bole Mithe Bain Parichay (1954) Shailesh (music director)
Muhabbat Aisi Dhadkan Hai Anarkali (1953) Anna Saheb Mayankar (music director)
Shubhadina Ayo Rajadulara

Sarang
SONG
Aa Laut Ke Aaja Mere Meet Rani Roopmati (1959) S.N. Tripathi (music director)
Aja Bhanvara Suni Dagar
Dair-O-Harammen Basne Waalon (non-film song) a ghazal by Jagjit Singh
Saawan Rut Aaye Dekho Balam (non-film song) Sultan Khan / Chitra's Album Piya Basanti
Savan Aye Ya Na Aye Dil Diya Dard Liya (1966) Naushad (music director)

Shankara
SONG
Bolo Bolo Kanha Bolo Chaliya Chhaliya (1960) Kalyanji - Anandji (music Directors)
Rumajhuma Rumajhuma Chala Tihari Tansen

Shivaranjani
SONG
Aavaz Deke Hamem Tum Bulao Professor (1962) Shankar / Jaikishan (music directors)
Baharon Phul Barsao Suraj
Banake Kyun Bigada Re Zanjeer
Bheega Bheega Mausam Aaya, Barse Ghata Ghanghor Bhayanak
Chuma Chuma...Mujhko Banale Priyatama Pataal Bhairavi
Dilke Jharokhemen Tujhko Bithakar Bramhachari
Jane Kahan Gaye Woh Din Mera Naam Joker (1970) Shankar / Jaikishan (music directors)
Jo Bhi Dukh Yaad Na Tha, Yaad Aya (non-film song) a ghazal by Ghulam Ali
Kahin Deep Jale Kahin Dil Bees Saal Baad
Kai Sadiyonse Kai Janmonse
Khabar Meri Naa Lini Re Bahut Din Bite Sant Gyaneshwar
Lage Na Mora Jiya, Sajna Nahin Aye Haye
Laj Rakho Giridhari
Maji Re...Na Jaiyo Pardes Karma
Mere Naina Savan Bhado Vidyapati
Mujhe Kuch Kahna Hai Mujhe Kuch Kahna Hai
Na Kisiki Ankhka Nur Hun
O Mere Sanam Sangam (1964) Shankar / Jaikishan (music Directors)
Piya Milan Ki Aasre Piya Milan Ki Aasre
Pyar Ke Palchin Kumwari
Rimjhimke Geet Savan Gaye Anjaana
Saajan A Jao
Sansar Hai Ek Nadiya Raftaar
Tere Mere Bichmen Ek Duje Ke Liye (1981) Laxmikant / Pyarelal (music directors)
Tod Diya Dil Mera
Tumhe Dekhti Hun To Lagta Hai Aise Tumhare Liye
Tumse Milkar, Na Jane Kyun, Aur Bhi Kuchh Yaad Aata Hai Pyar Jhukta Nahin
Yaad Teri Aayegi Ek Jaan Hai Hum

Shuddha Kalyan
SONG
Chand Phir Nikala Paying Guest (1957) S.D. Burman (music director)
Jahaan Daal Daal Par Sone Ki Cheediyaan Sikandar-e-Azam (1941) Mir Sahib, Hafeez Khan (music directors)
Meri Muhabbat Javan Rahegi Jaanvar
Rasik Balma Chori Chori (1956) Shankar / Jaikishan (music directors)
Ye Shamki Tanahaiyan

Shuddha Sarang
SONG
O Savare Aja Pyar Liye

Sindhu Bhairavi
SONG
Ajahun Na Aye Balma Sanjh Aur Savera Shankar / Jaikishan (music directors)
Chhod Gaye Balam Barsaat (1949) Shankar / Jaikishan (music directors)
Mehendi Lagi Mere Hathme
Sakiya Aaj Mujhe Nind Nahi

Sohani
SONG
Jhumati Chali Hava Sangeet Samrat Tansen (1962) S.N. Tripathi (music director)
Jivan Jyot Jale Grahasthi (1963) Ravi (music director)
Kanha Re Kanha
Kuhu Kuhu Bole Koyaliya Swarna Sundari (starts with Sohani but shifts to other rags)
Prem Jogan Ban Ke Moghal-e-Azam (1960) Naushad (music director)
Paayal Jham Jham Baaje Basant (1942) Pannalal Ghosh

Sur Malhar
SONG
Dar Lage Garaje Badariya Ram Rajya (1943) Shankar Rao Vyas (music director)

Tilak Kamod
SONG
Jalta Rahata Din Raina
Tumhare Bin Ji Na Lage Gharmen Bhumika (1977) Vanraj Bhatia

Tilang
SONG
Chhup Gaye Tare Nazare Do Raaste (1969) Laxmikant / Pyarelal (music directors)
Choota Sa Baalama Ankhiyan Neend Udaye Le Gayo Raagini (1958) O.P. Nayyar
Itna To Yaad Hai Mujhe Mehboob Ki Mehndi (1971) Laxmikant / Pyarelal (music directors)
Lagan Tose Lagi Balma Dekh Kabir Roya (1957) Madan Mohan (music director)
Meri Kahani Bhulnevale Deedar (1951) Naushad (music director)
Mujhe E Jindagi Divana Kar De
Sajna Sang Kahe Neha Lagae Main Nashe Me Hun (1959) Shankar / Jaikishan (music directors)
Yahi Arman Lekar Aaj Apne Shabab (1954) Naushad (music director)

Todi
SONG
Duniya Na Bhaye Mohe, Ab To Bulale Basant Bahar (1965) Shankar / Jaikishan (music directors)
Insan Bano Baiju Bawra (1952) Naushad (music director)
Jagmen Sunder Hai Do Naam, Chahe Krishna Kaho Ya Ram (non-film song) a bhajan By Anup Jalota
Jago Re Jago Prabhat Aya
Khuda E Baratara Teri Jaminpar Taj Mahal (1941) Madho Lal (music director)
Mai To Ek Khvab Hun Himalaya Ki God Me (1965) Kalyanji / Anandji (music directors)
Tori Jai Jai Kartaar Baiju Bawra (1952) Naushad (music director)

Vibhas
SONG
Sanjh Dhale Gagan Tale Hum Kitane Ekaki Utsav Laxmikant / Pyarelal (music directors)
Neelam Ke Nabh Chhayi Utsav Laxmikant / Pyarelal (music directors)

Yaman Kalyan
Dil Jo Bhi Kahega Manenge Dil Hi To Hai (1963) Roshan (music director)
Jiyo To Aise Jiyo Bahu / Beti (1965) Ravi (music director)
Lagta Nahin Hai Dil Mera Laal Kila (1960) S.N. Tripathi (music director)
Man Re Tu Ka hena Dhir Dhare Chitralekha (1941) Zinde Khan, A.S.Ghani (music directors)
Na To Karavan ki Taalash Hai Barsaat Ki Raat (1960) Roshan (music director)
Sapt Suran Teen Gram Sangeet Samraat Tansen (1962) S.N. Tripathi (music director)
Tum Gagan Ke Chandrama Sathi Savitri
Zarasi Ahat Hothi Hai Haqeeqat (1964) Madan Mohan (music director)
Zindigi Bhar Nahin Bhulegi Barsaat Ki Raat

Posted by: anurag Aug 10 2004, 08:46 AM

Unni, this is an interesting article, though I'd have liked to see more discussion on why raga Yaman (or, for that matter any raga) is the most chosen one and how do composers choose - I don't suppose time of the day decides that, at least not now.

I have read somewhere that some of melodic HFM is based on a medley of ragas, not just one single raga. How true is that and if that is the case then how do ragas blend into each other. Are there set combinations?

anurag

Posted by: extenok Aug 10 2004, 04:22 PM

I also see a lot of Darbari Kannada being used in the songs.
The article already has mentioned the other extensively used ragas, Bhairavi, Yaman & Pahadi.

What I fail to understand is the excessive usage of one Raga by Music Directors as compared to another. Is there something special about the aforementioned ragas that makes songs rendered in them better than any song done under some other raga?

If someone with knowledge regarding classical music could join the discussion, it would be great.

Posted by: unni Aug 10 2004, 06:35 PM

The appeal of a film song is based on how it sounds and not on intricacy or its distinctive features in terms of use of 'swaras'. In fact, the simplicity of the tune is a distinct plus point for popular appeal. The other key factor is the mood it conveys. Hence, certain ragas are better suited for creation of film tunes. Even when classical artistes perform, there are certain "popular" ragas, e.g. Darbari, Bhairavi, Malkauns, which lay listeners can identify with, appreciate and enjoy. Certain other ragas, particularly rare ragas, some of which sound "non-commital" in terms of expressing any mood, do not appeal to the untrained ear, whereas those proficient in classical music would rave over their intricacy and unique features. Film songs are usually of a "romantic" nature, whether happy or sad. A raag like Bhairavi is eminently suitable to convey romance. It can also be meditative and soulful. Darbari is a "grand", "royal", "heavy-weight" raaga, conveying a sense of "seriousness". Malkauns is a very evocative raag, again suitable for sad and devotional songs. The reverse also happens! A film song introduces a lesser-known raag to the lay listener. An apt example of this is Asha-ji's 'Jhootay naina boley" from "LEKIN", which was based on the rarely-used "Bilaskhani Todi".

Certain songs are set in not just one raag, but a blend of several raagas, to create a "Raaga-maalika". Depending upon the nature of the song, on how it will be picturized, the distinct raagas can either stand out clearly or they can blend into each other. Early in her career Lata-ji had rendered some excellent songs in this genre. A very good example of the former is a song rendered by Yesudas for an unreleased film, the very lyrics and the music intended to showcase various classical ragas.

Posted by: anurag Aug 11 2004, 12:54 AM

Posted by: unni Aug 11 2004, 01:56 AM

Posted by: extenok Aug 11 2004, 05:26 AM

I can seem to grasp the idea that Unni is presenting here. The appeal really is in just how the end product sounds. I'm relating an instance which actually clicked in my mind after reading the first sentence of Unni's response.

I recall watching this children's music show that Pakistan Television was showing a re-run of a few days back. In it, a young Adnan Sami Khan, when he still used to be a little less over-weight & unmarried, was trying to make songs while getting help from the children.
The whole process was interesting as he would ask the children to come up with the 'bol', which could be as simple as ...

Mere bhi aankhein do, Teri bhi aankhein do
Kabhi yeh dekhein sab nazaaray, Kabhi yeh jaayein so

And would then choose a 'Raag' for it. During the course of the programme, he went over Pahadi, Darbari and a few others, which I can't recall now. In doing so, he would sing the song and ask the children how the song sounded.
And what was amazing was, that it really didn't sound good when done in Pahadi raag, and just upon changing to Darbari, miraculously, it sounded better to the ear.

I'm not sure if I've mentioned my affinity for Raag Darbari Kannada on this board. It was actually brought to my attention by our resident hawaldaar Madam C, when I was relating some of my favourites to her. That day, I did find out that I had a certain liking for this raaga, what I did not find, was 'Why?'.

I have yet to reach the cause for my liking the 'grand'eur, 'royal'ty or 'heavy-weight' nature of this raaga. I am sure that there are technical reasons or certain intricacies/distinctive features, as Unni put it, that make this raaga stand out for me. As advanced as we might be technologically, I don't believe we've reached the stage where we can decipher, categorize and rationalize the reason for likes/dislikes of a certain person. Till then, I guess, I'll just have to listen to each and every song and see if I like it or not.

Happy listening to all of you.

Posted by: Chitralekha Aug 16 2004, 04:17 AM

Nice discussion. Ever since I learned about raagas, they have always amazed me. Learning about what film song is based on what raaga is always exciting.

Like this one I just uploaded. I think it is Shivranjani. But I could be mistaken.
http://www.hamaraforums.com/index.php?showtopic=3786

Another nice song which is not listed on previous page, based on Raaga Bhimpalasi is http://www.hamaraforums.com/index.php?showtopic=1834 Very beautiful song IMO.

I am sure there are tons of songs like this that arent listed on the list available at Sudeep Audio or the list below.

Posted by: unni Aug 16 2004, 09:02 AM

FUNDAMENTALS OF RAGA:

The rag is the most important concept that any student of Indian music should understand. The Hindi/Urdu word "rag" is derived from the Sanskrit "raga" which means "colour, or passion" (Apte 1987). It is linked to the Sanskrit word "ranj" which means "to colour" (Apte 1987). Therefore rag may be thought of as an acoustic method of colouring the mind of the listener with an emotion. This is fine as a general concept but what is it musically? It is not a tune, melody, scale, mode, or any concept for which an English word exists. It is instead a combination of different characteristics. It is these characteristics which define the rag. Here are the characteristics.

There must be the notes of the rag. They are called the swar.

There must also be a modal structure. This is called 'that' in North Indian music and 'mela' in Carnatic music.

There is also the Jati. Jati is the number of notes used in the rag.

There must also be the ascending and descending structure. This is called arohana /avarohana.

Another characteristic is that the various notes do not have the same level of significance. Some are important and others less so. The important notes are called vadi and samavadi

There are often characteristic movements to the rag. This is called either pakad or swarup.

In addition to the main characteristics of rag, there are some other less important ones. For instance rags have traditionally been attributed to particular times of the day. They have also been anthropomorphize into families of male and female rags (raga, ragini, putra raga, etc.). There is a tendency to downgrade the importance of these aspects due to their irrational and unscientific nature.

A raga is basically a set of Vedic-rooted rules for how to build a melody. It specifies rules for movements up (aarohanam [आरोहणम्]) and down (avarohanam [अवरोहणम्]) the scale, which notes should figure more and which notes should be used more sparingly, which notes may be sung with gamaka, phrases to be used, phrases to be avoided, and so on. The result is a framework that can be used to compose or improvise melodies, allowing for endless variation within the set of notes. The underlying scale is a five, six or seven tone-scale, made up of swaras

The notes, or swaras, of Indian music are Shadjamam, Rishabham, Gandharam, Madhyamam, Panchamam, Dhaivatam and Nishadam. Collectively these notes are known as the sargam, the Indian solfege. In singing, these become Sa, Ri(Carnatic) or Re(Hindustani), Ga, Ma, Pa, Da(Carnatic) or Dha(Hindustani), and Ni. ("Sargam" stands for "Sa-R(i,e)-Ga-M(a)"). Only these syllables are sung, and further designations are never vocalized. When writing these become, S, R, G, M, P, D, N. A dot above a letter indicates that the note is sung one octave higher, a dot below indicates a note one octave lower. This provides one method of classifying ragas. Ragas that have five swaras are called audava (औडव) ragas; those with six, shaadava (षाडव); and with seven, sampoorna (संपूर्ण) (Sanskrit

In the seven tone-scale the second, third, fourth, sixth, and seventh notes can be sharp or flat, making up the twelve notes in the Western scale. However, ragas can specify microtonal changes to this scale: a flatter second, a sharper seventh, and so forth. Furthermore, such variations can occur between styles, performers or simply follow the mood of the performer. There is no absolute pitch; instead, each performance simply picks a ground note, and the other scale degrees follow relative to the ground note.

Every time of the day, morning, afternoon, evening and night, has its specific ragas. This distinction is strictly followed in Hindustani music Hindustani (हिन्‍दुस्‍थानी) classical music is a classical music tradition originating from regions in South Asia, extending east from Bangladesh through northern India into Pakistan and as far as Afghanistan in the west. In contrast to Carnatic music, another classical music tradition originating from South India, Hindustani music was influenced by, in addition to the Vedic philosophy and understanding of sound, by Afghan, Mughal and Persian performance practice.

Indian classical music is always set in raga, but all raga music is not necessarily classical. Many popular Indian film songs are themselves based on ragas.

Posted by: anurag Aug 16 2004, 12:08 PM

Posted by: extenok Aug 16 2004, 06:39 PM

Posted by: unni Aug 16 2004, 08:11 PM

Extenok:

Only minor inconveniences, e.g. physical deformity, mental disorder and spiritual darkness. The 'kaafir' listener will undergo acute torment induced through all the senses and writhe in sheer agony while consigned to 'jahannum' having to listen interminably to that 'untimely' raag.

Have fun.

Posted by: extenok Aug 16 2004, 08:22 PM

Posted by: unni Aug 16 2004, 11:14 PM

The way this discussion is progressing, it really belongs in Raag Rang. But since we started it here, I am continuing with the thread. Maybe one of our moderators can help and move it to the appropriate forum. My immediate concern is to rescue extenok from musical perdition.

The term Raga refers to both the musical melody and the abstract personification of the spirit of a raga. The two must and do merge so as to allow the individual characteristics of a raga to emerge through the notes.

Certain technicalities impart to the raga form its complex harmony. Four kinds of melodic movements (varna) are recognized: Sthayi (stable): the continuous holding of one note; Aroha: ascending notes, from Sa to Ni; Avaroha: descending.

Certain qualifying features for a raga: For one, a raga needs to be composed of at least five notes, one of which needs necessarily be Shadja (Sa. Either pancham or madhyam must also be present. Further, the ascending scale (aroha) or the descending scale (avaroha) cannot carry both the sharp/pure and altered forms of the same note; however, different forms of a note can be present on different scales within a raga.

Sa must be the tonic (or sonant) for all ragas and the latter must use the full range of an octave and be aesthetically pleasing. Also, that madhyam or pancham be one of the other notes.

In practical terms however, the dominant note or sonant (vadi) can vary and the consonant (samavadi) is always the fifth note from the vadi. The consonant works to complement the vadi. Other notes, insignificant, are known as anuvadi, and those that do not belong to the raga or have been positioned in violation of rules, maybe for purposes of contrast, are known as vivadi. The process of shifting the sonant and therefore the consonant to create new melodies is known as murchhana. The key lies in maintaining the sonant - consonant ratio.

The names of ragas are determined by a host of factors. Many are named after the deities associated with their origin, for instance Kedar, Shankara, Bhairav, Duraga, and Saraswati. Tribal names abound because their melodies have provided the basis for ragas like Asavari, Ahiri, and Gurjari. Ragas like the Malwa, Jaunpuri, Pahari are so named because of the association with the melodies of those places. Composers often lend their names to ragas such as Miyan-ki-Malhar (named after Tansen, the great musician of the Mughal emperor Akbar's court), and Miyan-ki-Todi (named after Vilaskhani Todi). Some raga names reflect their mixed origins - Bhupali-Todi, Ahir-Bhairav.

Whatever the reasons for their nomenclature, a famous and intrinsic part of ragas is the mood they seek to express and evoke. The skills and dedication required may lead to an unusual experience as well, as in the case of raga Dipak. This raga is believed capable of lighting up lamps and of setting the singer aflame! Legend has it that Gopala Naik, a renowned musician, immersed himself in water before commencing on the raga, but nonetheless could not save himself from being consumed by fire. Tansen was more fortunate during his rendition of the raga because his wife began singing raga Malhar (to bring down the rains).

The ragas have their seasons and times of day as well. Summer is regarded as the corresponding season for raga Dipak, Monsoon for raga Megh, Autumn for raga Bhairav, Winter for raga Malkauns, and the Spring for raga Hindol. In Carnatic music, however, there is no such connection of season or time, although some ragas are considered appropriate to certain hours.

The correct time of day and night for a few ragas:

6-9 a.m.
Ragas of Bilawal thăt, such as Alahya Bilawal, Shuddh Bilawal, Devgiri Bilawal, Shukla Bilawal, Kukubh Bilawal; Gunakali and Sarpada;

Ragas of Bhairav thăt, such as Ahir-Bhairav; Ramkali, Jogiya Bhairav-Bahar;

Ragas of Bhairavi thăt, such as Bhairavi, Bhupali-Todi, Bilaskhani Todi;

Ragas of Kalyan thăt, such as Hindol;

9 a.m. - 12 noon.
Ragas of Todi thăt, such as Gurjari Todi, Miyan-ki-Todi; Asavari thăt: ragas such as Asavari, Komal Re Asavari, Sindh Bhairavi;

Ragas of Kafi thăt, such as Sugharai, Sur Malhar;

Ragas of Bilawal thăt, such as Deshkar.

Noon - 3 p.m.
Ragas of Kafi thăt, such as Bridabani Sarang, Shuddh Sarang, Bhimpalasi, Pilu;

Ragas of Kalyan thăt, such as Gaud-Sarang.


3 - 6 p.m.
Ragas of Purvi thăt, such as Purvi, Purya-Dhanashri, Shri, Triveni;

Ragas of Marwa thăt, such as Marwa, Purya;

Ragas of Todi thăt, such as Multani; of Kafi thăt, such as Pat-Manjari.


6-9 p.m.
Ragas of Kalyan thăt, such as Yaman, Bhupali, Hamir, Shuddh Kalyan, Chhay-Nata;

Ragas of Bilawal thăt, such as Hansadhwani.


9 p.m. - midnight.
Ragas of Bilawal thăt, such as Shankara, Durga, Nand, Maluha Kedar, Bihag and its forms;

Ragas of Khamaj thăt, such as Khamaj, Jaijaiwanti, Regeshwari, Bhainna Shadja, Gara;

Ragas of Kafi thăt, such as Kafi, Malhar and its forms, Bageshwari.


Midnight - a.m.
Ragas of Kafi thăt, such as Bahar, Nayaki Kanada;

Ragas of Asavari thăt, such as Darbari Kanada, Shahana Kanada;

Ragas of Bhairavi thăt, such as Malkauns.


3-6 a.m.
Ragas of Purvi thăt, such as Basant, Paraj;

Ragas of Marwa thăt, such as Sohoni, Lalit;

Ragas of Bhairav thăt, such as Kalingda.

Those ragas that are meant to be played at sunset or sunrise are called Sandhiprakash. There are others that can be played at any and all times, for instance ragas Mand (regarded also as an evening raga), Sindhura, and Dhani.

These stipulations of time are governed by the notes and their pitch. Ragas performed at night or at sunset should contain the tivra madhyam (Mâ), whereas daytime ragas must not contain the tivra madhyam. Ragas which emphasize the lower pitch are to be performed during the evening or early night; ragas emphasizing the higher pitch are appropriate for late night and early morning. Undoubtedly, there are exceptions to these stringent guidelines.

Posted by: unni Aug 17 2004, 12:00 AM

extenok: "...does listening or singing songs sung in this raga during the time which is not suitable for this raga, change anything for a normal listener?"

Now that we have had our usual humorous interlude, let us address your very pertinent question.

The word 'raag" is closely associated with the word 'rang'. Combining the two words would not result in redundancy, for "raag-rang" is perhaps the closest term in which we can express the "mood" aspect --- I don't know if the term "bhav" is used to express the mood of a raag (as used in the context of dance it denotes "expression", and there are 9 expressions, each conveying a mood).

Since a raag evokes a mood, each raag is appropriate for a particular time of the day or night.

An early morning raag would convey the mood of spirituality and meditation, e.g. Bhairavi. Whereas an evening raag would be more "romantic" in nature, e.g. Yaman or Hamsadhwani, and a late night raag e.g. Darbari Kanada comes across as "gambhir" --- soulful, melancholy, grand....

Having said that, isn't the the "mood" aspect aspect subjective to the listener? For the longest time I assumed that "Hamsadhwani" is an early-morning raag and "Bilaskhani Todi" is an evening raag! It was not merely an issue of 'assumption' --- it was the mood the raag created in my mind.

I look forward to your input on these aspects.

Posted by: billu Aug 17 2004, 12:07 AM

Unni Ji let me upload a graphical file which illustrates what you have written.

Billu Bharaj


Attached image(s)

Posted by: unni Aug 18 2004, 09:20 PM

FAREWELL KANCHAN

(Excerpted from "SCREEN' on-line)

She had a low-profile career, singing songs in the ‘70s and ‘80s only for Kalyanji-Anandji and in the ‘80s also for their brother Babla, whom she later married. When Kanchan passed away last month, there was hardly a ripple in the press, with even trade magazines unaware of the news. How ironical that when the remix of ‘Laila o Laila...’ (Qurbani) could make news and rock the pubs, the singer of the original mega-hit would die an anonymous death, reported only by a minute section of the same media!

In the ‘80s, with the active support of her husband (under whom she also sang in films like BR Ishara’s Khara Khota, Raveekant Nagaich’s Govinda starrer Duty and Ketan Mehta’s Hero Hiralal) Kanchan decided to concentrate on non-film singing and was active till the end.

Says her grieving husband Babla, “She sang for over 15 non-film albums, including the hit Kaise Bani in the late ‘90s and the recent Kuch Kuch Baby with me. Most of our albums were on Calypso and other forms of European and Western music and did extremely well in New York and other places abroad. At the other extreme, she even sang a song in Marathi for none other than V. Shantaram in his film Zunj.”

Hindi film music lovers however equate Kanchan with Babla’s elder brothers (whom he also assisted), Kalyanji-Anandji in a hit parade that began with Paap Aur Punya, in which Kanchan’s duet with Mukesh, ‘Tere mere pyar ki bandh gayi....’, filmed on Sharmila Tagore and Shashi Kapoor, was a big hit. In the same film, she also sang the solo ‘O rang rasiya re...’.

Over the next ten years, Kanchan was to sing for stars like Neetu Singh, Hema Malini, Zeenat Aman, Padmini Kolhapure and others in films as varied as Uljhan, Kasam Khoon Ki, Khel Khilari Ka, Darinda, Besharam, Sau Din Saas Ke and many more. And since she sang in the days of live recordings, she had the privilege of sharing the mike with giant co-singers like Asha Bhosle, Mohammed Rafi, Mukesh, Manna Dey and Kishore Kumar.

Posted by: anurag Aug 19 2004, 10:15 AM

My Goodness! Until I just read this I was n't even aware of this sad news. Kanchan, sure had a sweet voice and I distinctly remember "kaise bani" series of songs in my childhood.
I did n't know then that there was even a singer called Kanchan but I was always in love with her songs - hum tumhe chahte hain aise from Qurbani used to by one of my favorites for its unusual change in tempo and very melodic music.

Although I am unaware of any of her other songs mentioned in this article, this is a very sorry state of affairs that our rags fail to give her any coverage even on her death.

anurag

Posted by: unni Aug 19 2004, 10:31 PM

Posted by: anurag Aug 20 2004, 09:48 AM

Posted by: unni Aug 26 2004, 07:46 PM

I have posted in the Mohd. Rafi forum a news item which I obtained from the web. It was derived from the following site and contains several little snippets of news pertaining to HFM artistes. You may want to check it out:

http://www.shayaranamusic.com/times/smtimes.htm

Posted by: anurag Sep 3 2004, 03:37 AM

Unni

I'd like you to hear this fusion track. I hope you like it:

Parijat - Ruparahi

Posted by: unni Sep 12 2004, 05:17 AM

"Parwaney jo khud aakey jaley, meri khata kya?
Kya shamma ke sholon mein sharaarey nahin hothay?"

U/L: "Saahil se khafa yoon merey pyaarey nahin hotay" (Shobha Gurtu / Non-film Ghazal / 10:58 minutes / win.rar of mp3 / 128 kbps)

[attachmentid=7295]

Posted by: anurag Sep 12 2004, 04:53 PM

Unni

I remember you had posted a ghazal of Mitalee some time back here. Do you have some more by her? I have about 4-5 from her:

1. bahut haseen hai din
2. hun ajeeb kashmakash
3. raat gulabi
4. yeh nahin gham
5. zubaan dee hai

I already posted main khushaboon see before - the one I like a lot.

Here is another good one - bahut haseen hai din.

Posted by: unni Sep 12 2004, 05:02 PM

Anurag:

I have a few albums of Bhupinder/Mitalee from which I can upload her solos.

Posted by: anurag Sep 12 2004, 05:34 PM

Unni

I also have their "Best of Bhupinder and Mitalee" which has its first song listed as aaj ki raat.

Ghazals from any other album would be much appreciated.

Posted by: unni Sep 12 2004, 05:40 PM

The ones I have are:

1) "MOHABBAT" Vols. 1 & 2
2) "EK HASEEN SHAAM" Vols 1 & 2
3) "GULMOHAR"
4) "DARD BHARI GHAZLEN"
5) Selections from "NASHEMAN"
6) "SAAHIL" - Ghazals by Mitalee

Posted by: anurag Sep 12 2004, 05:47 PM

Unni

Other than Dard bhare one, I dont think I have even heard the names of those albums so just upload the ones you like. I have these ghazals on the one album I have:

I can upload these

AAJ KI RAAT
ALLAH HI ALLAH
DEKHA hAI zINDGI MEIN
DHUNDHLAE HUYE WADE
KAHAN TAK NASHE KA HAI JADOO
MUJHSE PARDA HAI TO PHIR
SACH KAHTE HAIN
SAJAN YEH KHOYA KHOYA MAN
SHAMA JALAYE RAKHNA

Actually, if we begin a thread on Bhupinder and Mitalee, I'd upload some anyway for everyone.

Posted by: unni Sep 12 2004, 05:54 PM

Other than "Allah hi Allah" which I had uploaded in SKS, the rest would be welcome.

Thanks.

Posted by: anurag Sep 12 2004, 06:49 PM

ok, then I'd start a new thread in Ghazals section. Let's take it from here.

Posted by: Bawra Jay Sep 13 2004, 04:34 AM

Let me know when you starting this new thread.... I have lots of her ghazal except some I saw from Anu's list....

One of my My all time fav of her is "kuch na kisi bolenge" :-

kuch pyar jahan mein aise hain....
ashqon mein jo palte dekhe hain....
dushman tau na badle apne kabhi....
humdum hi badalte dekhe hain.....

kuch na kisi bolenge...tanhai mein rau lenge...
kuch na kisi bolenge...tanhai mein rau lenge...

Posted by: anurag Sep 13 2004, 07:14 AM

BJ/Unni

The thread is opened now at Ghazals forum.

anurag

Posted by: unni Sep 15 2004, 10:53 AM

In the 40's, gramaphone-records identified the singer by the name of the character in the film who sang it. If reports are to be believed, that practice ended at Lata-ji's insistence after "MAHAL" which featured her first classic "Aayega aaneywaala" but was not credited to her.

Now here is a song credited to "Manju" from a 1944 film "CHAND" with music by Husnlal-Bhagatram.

If some knowledgeable music fan can positively identity the voice (Juthika Roy? Kanan Devi?), it would be appreciated.

Or should this be posted in Games & Puzzles?

[attachmentid=7397]

Posted by: unni Oct 10 2004, 12:02 AM

Hemant-da never disappoints. Here's a rarely heard, beautiful number from "US RAAT KE BAAD" (1970) with music by the maestro himself:

[attachmentid=8348]

Posted by: unni Oct 13 2004, 09:04 AM

[attachmentid=8590] (Hemant Kumar & Lata Mangeshkar / Film: 'TANGEWALI" / Music: Salil Chowdhury)

Posted by: mohd2004 Oct 13 2004, 10:52 AM

Thanks Unniji for Halke halke chalo -Tangewali, a great duet which I was looking for a long time.

Mohd.

Posted by: unni Oct 13 2004, 07:44 PM

Here's another rare old Hemant/Lata duet, this one from "PARIVAR" (1956), music by Salil Chowdhury.

[attachmentid=8621]

Posted by: Lata Oct 13 2004, 09:09 PM

Unniji,

Do u also have jaa tose nahin bolun kanhaiya. Please upload that

Posted by: unni Oct 13 2004, 09:27 PM

Although the song is in the Library, I have just "captured" the song from the VCD and I believe we now have a better version. Shall upload it in the Lata forum.

Posted by: unni Oct 14 2004, 11:54 PM

Where I live, some the most intelligent programing on American television appears on Public Television stations. These stations are not supported by advertising revenue or government funds, just by membership support.

Hence, from time to time, these stations have to appeal to the viewers for their support. The stations present particularly appealing programs on those special occasions when they conduct fund-raisers, to ensure they attract maximum viewing.

Whereas at HF, on a daily basis, we try to offer what appeals to our entire membership, with discussions, educational information, news articles, humour, art, music, photographs, etc.

Please take a moment of your time to access:
http://www.hamaraforums.com/index.php?showtopic=4855

It is sincerly requested and hoped that you will respond favourably.

Posted by: unni Oct 16 2004, 08:10 PM

[attachmentid=8857]
(Hemant Kumar & Geeta Dutt / Music: Hemant Kumar)

[attachmentid=8858]
(Subir Sen / Music: Kalyanji-Anandji)

Posted by: unni Oct 20 2004, 09:19 AM

Genre: Bhajan

Artiste: Juthika Roy

Song: "Ghunghat ka pat khol re" (Written by Sant Kabirdas)

[attachmentid=9159]

Posted by: unni Oct 25 2004, 08:01 PM

[attachmentid=9479] (Bhupinder / Film: "WOHI BAAT" / Music: Jaidev)

Posted by: unni Oct 27 2004, 09:33 PM

This song has already featured in HF. Hopefully this is a better recording:

[attachmentid=9621] (Mahendra Kapoor / Film: "SAGAAI" / Music: Ravi)

Posted by: unni Oct 29 2004, 06:50 PM

Does someone know the name of the movie in which Mahendra Kapoor sings "'Dhoonde Tujhko Nain Deewane, aaja aaja re" ?

Posted by: cinemaniac2 Oct 29 2004, 08:59 PM

Dhoonde tujhko nain diwane-Jab yaad kisiki aati hai

duet- mahendra kapoor and Lata

Posted by: Talaikya Oct 29 2004, 09:13 PM

1967, Madan Mohan, Raja Mehdi Ali Khan

Posted by: unni Oct 29 2004, 09:14 PM

Thanks, CM. I have the album, but the recording is terrible and not worth uploading.

Posted by: cinemaniac2 Oct 29 2004, 09:21 PM

i have cd quality -but pls wait

Posted by: unni Oct 29 2004, 09:25 PM

CM:

No hurry. Take your time. But if you have the CD of the movie, would you please also U/L 3 other songs from the movie?

Jab Yaad Kisi Ki Aati Hai (Lata Mangeshkar)
Ari O Shokh Kaliyon (Mahendra Kapoor)
Tere Bin Sawan (Lata Mangeshkar)

Posted by: Chitralekha Oct 29 2004, 10:46 PM

I have dhoondhte tujhko nain and arri o shokh. 128 kbps



[attachmentid=9771]
[attachmentid=9773]

MK tries to sing like Rafi sahab.

Posted by: unni Oct 29 2004, 10:56 PM

Thanks, C-ji.

Two down, two to go.

Posted by: unni Oct 30 2004, 06:12 PM

man123:

Here's your request:

[attachmentid=9836] (Mahendra Kapoor / Film: "HARIYALI AUR RAASTA" / Music: S-J)

Posted by: catch22 Nov 1 2004, 08:06 PM

Hi,
when all are on the subject of Mahendra Kapoor, could I request a few songs of his. Since there is no forum for Mahendra kapoor, I have to post it here or maybe you would like it to be posted at SKS
meraa pyaar vo hai ke, mar kar bhii tum ko -Ye Raat Phir Na Aayegi
andhere mein jo baiThe hain, nazar un par bhii kuchh Daalo - Sambandh
chho.D kar tere pyaar kaa daaman - Woh Kaun Thi
dil lagaakar ham ye samajhe, zi.ndagii kyaa chiiz hai -Zindagi Aur Maut
kaun ho tum, kaun ho - Stree
tere pyaar kaa aasaraa chaahataa huu.N, vafaa kar rahaa huu.N - Dhool Ka Phool
Thanks,
Catch22

Posted by: unni Nov 1 2004, 08:46 PM

"Chhod kar tere pyaar ka daman" is at:
http://www.hamaraforums.com/index.php?showtopic=2029

"Dil lagakar hum yeh samjhe" is at :
http://www.hamaraforums.com/index.php?showtopic=2275&hl=dil+lagakar

and also at:
http://www.hamaraforums.com/index.php?showtopic=4246&st=10

"Tere pyar ka aasra chahta hun" is at:
http://www.hamaraforums.com/index.php?showtopic=2888&b=1&st=0&p=18551&#entry18551

"Mera pyar woh hai ke" is one of the three songs in one upload at:
http://www.hamaraforums.com/index.php?showtopic=5117&st=0&p=38751&#entry38751

U/L:
[attachmentid=9960]

Posted by: unni Nov 2 2004, 07:10 PM

catch22:

There are two versions of this song, 'milan' and 'viraha'. The sound quality of the recordings being poor, I've tried to improve one version as much as I could:

[attachmentid=9983] (Mahendra Kapoor / Film : "STREE" / Music: C. Ramachandra)

Posted by: Talaikya Nov 6 2004, 03:51 AM

Unni ji,

HCD doesn't have the viraha version of this song, could I have a copy, however unacceptable, for my tandem tunes?

T

Posted by: unni Nov 6 2004, 06:34 AM

[attachmentid=10114]

[attachmentid=10116]

Posted by: unni Nov 8 2004, 02:46 PM

[attachmentid=10281]

Posted by: Bawra Jay Nov 11 2004, 11:06 PM

Unni bhai , kya hua ...... this is a repeat u/l naa ????

Already uploaded by Anu bhai... --> http://www.hamaraforums.com/index.php?showtopic=4022&view=findpost&p=27756

BTW , where is our Annu bhai , long time not heard from him ??? Can anyone convey him ke I am missing him a lot

Posted by: anurag Nov 12 2004, 10:56 AM

Yaar BJ, main to yahee hoon. Tum mujhe kahan khoj rahe ho?

Posted by: Bawra Jay Nov 12 2004, 09:24 PM

Arre yahi ho lekin kaafi shaant shaant se lagg rahein ho .... meine tau ghazal section mei bhi kuch dekha nahi tere se ... yaar kuch dhamake daar postings karo yaar... ke maja aa jaye

Posted by: unni Nov 13 2004, 05:28 PM

Mahendra Kapoor / Film: "SHAKTI" / Music: RDB)

[attachmentid=10562]

[attachmentid=10561]

Posted by: unni Nov 15 2004, 09:42 PM

[attachmentid=10642] (Suman Kalyanpur / Film: "DIL EK MANDIR / Music: S-J)

Posted by: Chitralekha Nov 16 2004, 02:25 AM

Dekho na jaao aye jaan-e-man, Boy Friend (Subir Sen)
[attachmentid=10663]

Posted by: unni Nov 16 2004, 06:45 PM

[attachmentid=10714] (Mahendra Kapoor / Film: SHAHEED" (1965) / Music: Prem Dhawan)

Posted by: unni Nov 22 2004, 09:02 PM

This is being floated as a "trial baloon"!

Here is an instrumental version of Lata-ji's famous song from "ANPADH", "Aap ki nazron ne samjha" performed on sitar by the classical artiste Sunil Dass.

If this track appeals to our members, we can share more such pieces.

[attachmentid=11086]

Posted by: extenok Nov 23 2004, 05:10 AM

Unni, is Sunil Dass a famous artist? I tried searching on google, but wasn't satisfied with the results. Do you have any other such 'trial ghubbara' renditions of famous film tracks done on sitar or other instruments that would appeal to the freshly broken-in ear?

The instrumental did appeal to me somewhat. Still, I would like to hear it without the added sounds that bring it more closer to the original. If it were just the sitar, it would be more pleasing to my ears & more unique.
Thats just an opinion I hold, maybe I'm just a delusional music-listener. Anyone else out there thinking 'extenok'ishly?

Posted by: unni Nov 23 2004, 07:33 PM

Imran:

Sunil Das is among the younger artistes and has done collaborative work in New Age and Fusion Music with leading artistes of the present generation.

The track I uploaded was from a CD featuring his sitar renditions of famous songs of Lata-ji.

I shall upload similar instrumental versions of film tunes performed on traditional instruments, including collaborative works of the kind mentioned above.

Posted by: unni Nov 23 2004, 08:05 PM

An article on the best songs of Lakshmikant-Pyarelal is featured in the SCREEN online edition at:

http://www.screenindia.com/fullstory.php?content_id=9434

Posted by: man123 Nov 23 2004, 08:20 PM

Unnni Ji,
When are you uploading Film tunes on Traditional Instruments ???

eagerly waiting
- Man

Posted by: unni Nov 23 2004, 10:48 PM

Lo! Shuru kartey hain.

No pretences to being great music. Just for the sake of variety. And keeping to only traditional instruments.

[attachmentid=11120]

[attachmentid=11121]

[attachmentid=11122]

Posted by: unni Nov 23 2004, 11:02 PM

Continuing with the instrumental renditions of famous film songs:

[attachmentid=11123]

[attachmentid=11124]

[attachmentid=11127]

Posted by: man123 Nov 23 2004, 11:11 PM

Thnaks Unni Bro,
It's signing off time for me ... but I started downloading the renditions.I think I am the first one who started downloading these pieces.

Thanks again Unni Badshah
- Man

Posted by: unni Nov 23 2004, 11:22 PM

Three more instrumental versions of famous film songs:

[attachmentid=11128]

[attachmentid=11129]

[attachmentid=11131]

Posted by: unni Nov 23 2004, 11:32 PM

Here's the last batch, for now:

[attachmentid=11132]

[attachmentid=11133]

[attachmentid=11134]

Posted by: unni Nov 24 2004, 10:29 AM

Song recorded for "PAKEEZAH" and not included in the movie:

[attachmentid=11162] (Verses recited by Meena Kumari / Song by Suman Kalyanpur / Music: Ghulam Mohammad/Naushad)

Posted by: unni Nov 25 2004, 11:05 PM

Two classics from yesteryears:

[attachmentid=11290]

[attachmentid=11291]

The correct spelling of the singer of the second song is Saraswati "Rane".

Posted by: Chitralekha Nov 26 2004, 03:11 AM

Thank you so much Unni ji
I had the "beena madhur madhur kachhu bol" but never knew who the singer was. Its lovely song.

Oh btw, is this same person named Jagmohan Mitra? aka 'Sursagar' Jagmohan? If yes, I wonder how he is doing these days. He was in very unhealthy condition last yr in July. Actually I read about him for the very first time when one of the Gujarati newspapers had an article of him and Rafi sahab together for July 30th in 2003. Part of which I had translated in English, if you came across it. There are quite a few other songs of him.

Posted by: unni Nov 28 2004, 08:47 AM

Orchestral version of "Jyoti Kalash Chhalke" (originally sung by Lata Mangeshkar for the movie "BHABHI KI CHOODIYAN", music by Sudhir Phadke):

Featured artistes, among others, are:

Rakesh Chaurasia (flute)
Sunil Das (sitar)
Ulhas Bapat (santoor)


[attachmentid=11408]

Posted by: unni Dec 5 2004, 11:27 AM

This song from "MUGHAL-E-AZAM" is uploaded in response to the request from "theonlyq":

[attachmentid=11891]

Posted by: kamalaakarsh Dec 6 2004, 12:49 AM

Unniji,

that was a wonderful post....nostalgic tunes on traditional instruments..just wanted to ask you, if you have more songs like these..i mean..more instrumentals like these(santoor..sitar..infact..anything..)...if you do, can you post them? they are absolutely for relaxing hours..i love collecting instrumental versions(not remixes..but very mellow-like instrumentals which can fill a dim evening with melodious delight). take this as my sincere request, to post more (i would request for all of instrumentals you have infact) of them....please!

regards

Posted by: Chitralekha Dec 6 2004, 12:59 AM

Do you guys like Brian Silas? He plays the songs on piano and I do have a small collection for myself. Mostly golden oldies is what he plays. Let me know. I also like the instrumental songs a lot. Infact, I also have some new ones too but I will upload Brian Silas' old ones if anyone's interested.

Posted by: unni Dec 6 2004, 01:05 AM

Delighted that you liked them. Sure, shall post more of them.

Posted by: Devdas Dec 6 2004, 05:49 AM

Do you have this one in a better quality rip?

Thanks,
Devdas

Posted by: unni Dec 6 2004, 06:33 AM

Devdas-ji:

Check this out:

[attachmentid=11963]

Posted by: Bhirgu Dec 6 2004, 06:38 AM

Unni Ji


Have you got anything by Van Shipley on electric guitar?



Anil

Posted by: unni Dec 6 2004, 06:49 AM

The Van Shipley ones were on old 78's that have become unusable --- the sound quality is terrible after lots of playing initially and dust-collection later.

But I shall upload more recent recordings of film-tunes on electric Hawaiian guitar.

Posted by: unni Dec 6 2004, 08:06 AM

Here are a few more instrumentals of good-old favourites.

The previous uploads featured traditional instruments. Here, we go in for a bit of variety.

Since Anil had mentioned Electric Guitar, I chose a tune Van Shipley would have played long ago. I have a bit of nostalgia about "Hai apna dil tau aawara" played on the Mouth Organ. The third piece features traditional instruments, flute and shehnai.

[attachmentid=11972]

[attachmentid=11973]

[attachmentid=11974]

Posted by: kamalaakarsh Dec 7 2004, 12:37 AM

this is what i call as coincidence..i actually tried to upload a brian silas track as an attachment in the message i sent last, asking unniji if he had more. but i donno why it didnt get uploaded(it took 45mins and still didnt work out..i went wild )...and here you are chitraji, adding a reply to the same thread, talking about brian silas. ha ha...

Posted by: unni Dec 7 2004, 01:29 AM

I have a lot of Brian Silas. But we need to check if they can be uploaded.

Posted by: Chitralekha Dec 7 2004, 01:36 AM

Jaisi aap ki aagya, Prabhu.

Posted by: unni Dec 7 2004, 01:42 AM

C-ji:

We'll check into it and then do the needful.

Posted by: unni Dec 13 2004, 11:26 PM

..........for the sake of nostalgia..........

Sourced from 78rpm:

[attachmentid=12420]

Posted by: Akhtar Dec 14 2004, 01:48 AM

Unni, Do you have 'Dard Minnet Kashe' By the Great Mohd Rafi from DHOLAK ?

Posted by: unni Dec 14 2004, 11:12 PM

....for the sake of nostalgia...

We are familiar with Lata-ji's well-known song "Sansar se bhage phirte ho, Bhagwan ko tum ky paaoge" in "CHITRALEKHA" released in 1964.

There was a movie by the same name released in 1941, and it had this song "Tum Jaao Jaao Bhagwan Baney" sung by artiste by the name of Ram Dulari, lyrics by the well-known Kidar Sharma, music by Jhande Khan.

It is presumable that the 1964 movie had the same story as the one of 1941, and that Sahir Ludhianvi's idea for the lyrics of Lata-ji's song had its origin in the older version.

Sourced from 78rpm:

[attachmentid=12557]

Posted by: unni Dec 15 2004, 08:18 AM

...for the sake of nostalgia...

From "SCREEN" online edition:
http://www.screenindia.com/fullstory.php?content_id=9528

Meet The Originals

Lalitha Suhasini
Posted online: Friday, December 10, 2004 at 0000 hours IST

Every time you hear a remix hit from the ’50s and ’60s, you become a part of their world.

When producer Mehboob Khan wanted to bring 23-year-old Shamshad Begum from Lahore to Mumbai in 1942, he had to promise her father that she would be treated like a princess.

[attachmentid=12592]

Today, seated in her luxurious sixth floor apartment in lush Powai (it took one week and several telephonic chats to get past her protective shield, daughter Usha), the 85-year-old Begum knows that the rest of the world is still fixated on Leke Pehla Pehla Pyaar.

But no one could have guessed what’s playing in her mind: “Tu Cheez Badi Hai Mast Mast,” she adds after a long pause and a toothy smile. “I’ve liked many new generation songs and this is one.”

Usha, her only child, is her universe. “Yehi mere aage aur peeche hai (She’s the only one).” Begum goes through the day with a list of things to remember on paper. There are other must-haves-cotton plugs to protect her sensitive ears and a walker for support.

But don’t be deceived by the infirmities. Step into an era thinking you’ll find broken crowns and dismantled thrones, and you look into laughing eyes. Mocking, wise eyes that never miss a thing.

“Abhi tak haseen aur jawan hain woh galiyan, jahan hamne apni jawani luta di (Evergreen are those pastures where I lost my youth),” says 84-year-old composer Naushad Ali, whose phone hasn’t stopped ringing since the stereophonic release of Mughal-E-Azam.

But Naushad’s always worked overtime. He heads the Cine Society that was founded by Devika Rani and holds regular screenings of classics for its members. He also finds time to chair the Indian Performing Rights Society. A doting grandfather, Naushad lives with six granddaughters in his sea-facing suburban Mumbai bungalow. The disciplinarian begins each day with a half hour of yoga plus a workout on the exercycle.

And when he says, “Main hamesha mashroof rahta hoon (I always keep busy),” it sounds like he’s been plotting to recapture his lost kingdom. Naushad has just finished composing for Akbar Khan release, Taj Mahal-An Eternal Love Story, which includes two songs by lyricist friend Naqsh Lyallpuri.

Omkar Prasad Nayyar, his 79-year-old counterpart and the current remix icon, who spent most of his life composing “feelings” in Guru Dutt’s words instead of music, reveals that he fought his battles using just one game plan- “Sharab, shabab, kabab aur rabab (Wine, women, kababs and music).’’

Nayyar proudly recalls, “Right from 1954 to ’67, distributors would ask for the name of the composer, not the producer or director, and if they heard the name OP Nayyar they would declare that the film would be sold out.” Then his shoulders droop. “There was never a time like that again,” he adds.

[attachmentid=12593]

The good times have translated into royalties in the remix era and these legends now earn between Rs 40,000 to Rs 1 lakh annually. Nayyar, who is estranged from family and lives in Thane, on the outskirts of Mumbai, recalls sitting on Shamshad Begum’s lap as a child at the All India Radio Studio in Lahore. “I get gooseflesh when I think of her first Hindi film Khazanchi,” he says about the 1941 classic. “She had originality. Hers was a voice that sounded like a jingling silver coin, while Geeta Dutt was the black beauty with the velvet voice.”

Nayyar says he doesn’t harbour any regrets and even likes some of remix producer Harry Anand’s versions. He spends Sundays watching back-to-back VCDs of films that he composed for, along with his favourite Hollywood westerns.

Another composer who’s completely content with his modest repertoire of 53 films including Footpath, Phir Subah Hogi, Kabhi Kabhie, and Umrao Jaan is Mohammed Zahoor Khayyam Ashami. Khayyam will soon be back for his 54th film, Benares-1918-A Love Story, based on Munshi Premchand’s novel by the same name, and Mehmood Sipla’s Sooraj Ek Dastak.

[attachmentid=12594]

“I’m very moody and choosy about the films I compose for,” says the Jalandhar native, looking extremely serious before breaking into a laugh. “Yeh badi nuksaan di cheez hai because this temperament brings in financial difficulties.” In his day, Khayyam pitted notes against those created by three other stalwarts - Roshan, Jaidev and Madan Mohan. “The plus point was that all of us knew both Urdu and Hindi, unlike other great musicians like RD Burman.”

The four were thick friends, but Khayyam was closest to the late ghazal king Madan Mohan, whose never before released compositions were recently used to create “an old world charm”, according to Yash Chopra in his latest release Veer-Zaara. “Madan Mohan used to come home often, and we would drink whisky for relaxation,” he cackles. “He’d usually start singing and lose pitch - kitna apnapan tha (There was so much camaraderie).”

Khayyam is a typical Punjabi ‘family man’ who dotes on singer-wife Jagjit Kaur and his only son. The living room in his Mumbai apartment is filled with well-polished awards and statuettes. The National Award for Umrao Jaan and the Dinanath Mangeshkar award for excellence in music are most special, he says. But Khayyam struggles when asked to name his pals in the industry. “I don’t know,” he laughs, “everything’s changed including the culture. There wasn’t so much running around, and musicians even sat down with the film’s stars and producer to listen to the dialogues of a film before they composed.”

(Naqsh) Lyallpuri, who began his career with a stage play he wrote to entertain friends, soon turned into a wordsmith penning verses for films like Khandaan and Noorie. He’s captured the era in his Banarasi paan wrapped in a scrap of Urdu newspaper. The 76-year-old, who has just finished a book of verse titled Teri Gali Ki Taraf, is also slated to write the lyrics for a Sahara film titled Hum Jo Keh Na Paaye.

When Bollywood slipped, he gracefully made his exit and turned to television in the late ’80s, writing lyrics for the Farouque Shaikh serial Shrikant. He won a TV Lyricist Of The Year award last year for the title track of Doordarshan’s Shikwah.
“That was the time when good songs competed for air time, the difference now is that the worst songs are vying to be heard,” he says. But Lyallpuri takes solace in Friday evening nisheshts (poetry gatherings), which include the likes of Los Angeles-based poet Farhat Shahzad who wrote the lyrics for three of Mehdi Hassan’s albums and Ibrahim Ashq, the songwriter for Kaho Naa Pyaar Hai.

But there’s someone who sees no point in a comeback. “I’d rather enjoy life now with family and friends,” says 85-year-old singer Manna Dey. Does that mean one will never hear Dey render ‘Aye Mere Zohra Zabeen...’ or ‘Laaga Chunri Mein Daag...’ again? “I sing very rarely for a close circle of friends but that’s it,” says the singer who does a two-hour riyaz every day.

But perhaps paradise will be regained. “Woh subah kabhi toh aayegi, inn kaali sadiyon ke sar se jab raat ka aanchal dhalkega (We will see that dawn again, when the veil will be lifted away from these dark ages),” says Khayyam, rendering lyricist Sahir Ludhianvi’s famous lines from the Raj Kapoor starrer Phir Subah Hogi.

“Duniya saari badlegi, dhulke saaf hoke phir chamkegi (The world will change, it will shine again),” says Begum, rubbing her petite hands together like a fairy godmother casting a spell. We will hear sweet music again, they promise.

Posted by: unni Dec 15 2004, 08:58 PM

[attachmentid=12631]

Posted by: kamalaakarsh Dec 16 2004, 12:45 AM

some of the best posts in HF are by you, unniji...thanks for that interesting article.

regards

Posted by: mohd2004 Dec 16 2004, 01:54 PM

Thanks Unniji for a very popular song of yester years-Tam tamse na jhnko by Shamshad Begum. However long back I had seen the movie on Zee TV and in that there was an extra stanza in the movie and runs around 4.5 minutes. I also have the shorter version - 78 rpm and the same as you have uploaded.
BTW if you happen to get the film version from VCD, please upload.

Mohd.

Posted by: unni Dec 16 2004, 05:40 PM

theonlyq:

Here is Sharda's solo from "SURAJ":

[attachmentid=12707]

Posted by: unni Dec 17 2004, 08:19 AM

...for the sake of nostalgia...

[attachmentid=12738]

Posted by: Bawra Jay Dec 17 2004, 09:12 AM

Oh my God ! ... You won't believe I am too excited to see this upload.... a totally forgotten song... when growing up as kids.... was so familiar with this song , often used to sing during whenever we played Antakshari , etc....

Thanks a BUNCH Unni bro

Posted by: unni Dec 18 2004, 04:40 AM

[attachmentid=12807]

Posted by: unni Dec 18 2004, 09:10 PM

MANNA DEY: Non-filmi Ghazal/Geet

[attachmentid=12870]

[attachmentid=12871]

[attachmentid=12872]

Posted by: unni Dec 18 2004, 09:20 PM

MANNA DEY: GEET/GHAZAL (continued)

[attachmentid=12873]

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[attachmentid=12875]

Posted by: unni Dec 18 2004, 09:34 PM

MANNA DEY: GEET/GHAZAL (continued)

[attachmentid=12877]

[attachmentid=12876]

[attachmentid=12878]

Posted by: unni Dec 18 2004, 09:45 PM

MANNA DEY: GEET/GHAZAL (continued)

[attachmentid=12879]

[attachmentid=12880]

[attachmentid=12881]

Posted by: unni Dec 18 2004, 09:54 PM

MANNA DEY: GEET/GHAZAL (continued)

[attachmentid=12883]

[attachmentid=12886]

[attachmentid=12884]

Posted by: unni Dec 18 2004, 09:57 PM

MANNA DEY: GEET/GHAZAL (conclusion)

[attachmentid=12887]

Posted by: mohd2004 Dec 19 2004, 12:01 PM

Thanks Unniji for these great numbers by Manna-da.

Mohd.

Posted by: unni Dec 19 2004, 09:14 PM

...for the sake of nostalgia...

[attachmentid=12914]

Posted by: unni Dec 20 2004, 07:06 PM

[attachmentid=12988]

Posted by: Talaikya Dec 22 2004, 01:14 AM

Indeed a lovely duet - 3:36 @128kbps.

Posted by: unni Dec 28 2004, 08:16 AM

[attachmentid=13706]

Posted by: abhayp Dec 28 2004, 07:08 PM

Does anyone have Suman's "katile katile nasheele nasheele kaise jhonke aaye" from the same film? Wonderful song that I have not been able to hear in ages!

Warm regards,
Abhay

Posted by: unni Dec 31 2004, 07:30 AM

[attachmentid=13945] (Manna Dey / "ISHQ PAR ZOR NAHIN" / S. D. Burman)

Posted by: Jay Dec 31 2004, 11:26 AM

Can someone u/l the song Mera pyaar mujhe lauta do by Talat Mehmood. thnx

Jay

Posted by: extenok Dec 31 2004, 11:56 AM

I wrote a long post, but the post-monster ate it up. Not to mention, when I tried going back and checking where my long post had disappeared, before I had clicked the Add post button, I lost the attachment.

Ah well, some other time. If no one has uploaded the song till tonight, I'll try again.

Posted by: extenok Dec 31 2004, 11:57 AM

Great! The post monster spared the upload, but not my ramblings about Talat sahab.
I hate Maamu Pepko's PhP & my internet connection!

Posted by: Jay Dec 31 2004, 11:58 AM

shukriya for this song bhai!

Posted by: unni Jan 1 2005, 07:39 PM

[attachmentid=14074]

Posted by: hari108 Jan 9 2005, 12:12 AM

[FONT=Courier]

Unni ji,

You have really floored me with this number and I shall be very grateful if you can include other tunes from this album. Absolutely A CLASS TOP RATED A GRADE NO DOUBT

Posted by: unni Jan 12 2005, 12:12 AM

Hari-ji:

Glad you enjoyed it. Shall upload more tracks from the same album.

Posted by: unni Jan 12 2005, 12:15 AM

[attachmentid=14967]

Posted by: unni Jan 12 2005, 04:49 AM

Hari-ji:

Here's another track from the same album, an instrumental version of "Allah Tero Naam, Ishwar Tero Naam'' (originally sung by Lata Mangeshkar for the movie "HUM DONO", music by Jaidev).

[attachmentid=14981]

Posted by: anurag Jan 12 2005, 07:14 AM

Unni, I just downloaded some of these ghazals by Manna Dey. I am listening to them as I write now. They are absoutely mesmerizing. Thanks.

Posted by: unni Jan 13 2005, 06:39 AM

The third track from the instrumentals album:

Orchestral version of "Tere Sur Aur Mere Geet"

(originally sung by Lata Mangeshkar for the movie "GOONJ UTHI SHEHNAI", music by Vasant Desai)

[attachmentid=15067]

Posted by: unni Jan 14 2005, 06:43 AM

S. D. Burman, composer as singer:

[attachmentid=15156]

Posted by: unni Jan 19 2005, 07:33 PM

[attachmentid=15538]

Posted by: orbitor13 Jan 20 2005, 01:16 AM

hi..

any one have song from film EK JALAK (i guess)


hemantkumar and ashaji

YE HASTA HUA KARWAN ZINDAGI KA NA PUCHO CHALA HAI KIDHAR



TAHNKS...irfan..

Posted by: unni Jan 20 2005, 01:38 AM

Mohd.-bhai had uploaded it, so he has it. Priya-ji has it also. If either of them don't upload it, I shall dig it out.

Posted by: sangeetbhakt Jan 20 2005, 04:06 AM

Here you go. A lovely duet, well not quite a duet since Asha does
not really sing in this one.

Posted by: orbitor13 Jan 20 2005, 04:32 AM

indeed this is a lovely duet..one of my favorite...anyway thanks for ur help sangeetbhaktji...



irfan...

Posted by: unni Jan 20 2005, 08:48 PM

...for the sake of nostalgia...

Sourced from radio program:

[attachmentid=15666]

Posted by: unni Jan 30 2005, 10:28 AM

Copy of a 1987 article reproduced on the internet:

Fame, Fortune and Frustration in Music

By Nalin Shah

Art is the cruelest of all professions and no one knows it better than musicians fallen on bad days. These melody makers have reason to feel disenchanted when, in the evening of their lives, fame, fortune and adulation become a faint memory and the struggle for survival assumes primary importance. They often wish to trade their life's work for the basic means of survival.

The fraternity, if any, amongst the artistes often ends when misfortune begins. The industry which has pledged its allegiance to the box-office discards them without a qualm. The millions who were enthralled by music often remain blissfully unaware or tragically unconcerned about the fate of its maker.

[attachmentid=16453]

Anil Biswas, the doyen of film music, even after withdrawing from the gilded world of cinema is pursued by memories of it. Once a letter in Screen caught his letter in Screen caught his eye, The writer, a school teacher, had described the pathetic plight of the wife of music director Khemchand Prakash (Tansen', 'Bhartruhari', 'Mahal') living as a destitute on the streets of a Bombay suburb. Anill Biswas 'heart revolted. He wrote in a letter, "I wonder if the people in the industry know about it. If they do then we should blacken our faces with the soots of shame. There must be man more. Raj Kumari is a case in point, who served the industry the industry at its advent He further added, "I shed bitter tears all by myself at night. I also had a tremendous sense of shame - that I belonged to this industry - and was a colleague of Khemchand's. See if you can find out the truth about the report in Screen.' After investigating the matter I replied to him that the woman, though not Khemchandji's wife, was closely associated with him. (His wife had died much earlier). She was his inspiration and a close confidante. They had a daughter who had died earlier and the 'widow' without any means of support lived on the streets. Anil Biswas reacted by saying that "the marriage-seal was not a criterion and if she had served him in his time of need that was all that mattered." He offered to send money and further advised me to approach a renow ned singer and a well-known music director whose careers were shaped by Khemchandji. I realised the futility of approaching anyone in the industry when the same music director who was one time assistant to Khemchandji and later a celebrated composer himself - told me with a proper show of sympathy that the matter was being considered by the music directors' association. The matter was subsequently shelved or forgotten. One really wonders whether it One really wonders whether it was a cruel profession' or a destiny that compelled the irrepressible stage and film actor Master Nisar, ('Shirin Farhad'- 1931) who captured a million hearts with his sweet voice, to end his life begging, for a loaf of bread! was a 'cruel profession' or a destiny that compelled the irrepressible stage and film actor Master Nisar, ('Shinn Farhad'- 1931) who captured a million hearts with his sweet voice, to end his life begging for a loaf of bread!

Singer G M Durrani (Neend haman khwab tumhare'-'Nai Kahani'), too was disillusioned with his own colleagues when he had to be operated upon for a serious ailment three years back.

Singer Zohrajan Ambalewali ('Ankhiyan milake' - 'Rattan'), who retired in the '50s, had her long comfortable retirement ensured by her daughter Roshan Kumari's successful career in Kathak. Similarly, sound investment'of her earnings could enable Suraiya to refuse to sing for the other artistes, after retiring as an actr- ess. Singer Lalita Dewoolkar ('Hum ko tumhara hi aasra' -with Rafi -'Sajan') has a successful singer/music director husband Sudhir Phadke to look after her and Sudha Malhotra (Awaz de raha hai koi' Gauhar') fortunately has a wealthy husband. Shamshad Begum ('Ek tera sahara' - 'Shama') who had set innumerable hearts aflame with her sharp and full throated voice felt hurt when her favourite music director invited her to sing in chorus. She preferred to retire under the care of her happily married daughter rather than suffer the humilialtion.

[attachmentid=16455]

But fortune does not favour all. Singer Rajkumari ('Ghabhara ke jo hum sarko' -'Mahal', 'Sun bairi balam such bol -'Bawre Nain') who started her career in the early '30s had the world at her feet when she was sitting on the pinnacle of success. Her career nose-dived in the '50s and that was the beginning of her struggle for survival. If destiny was unkind to her, nature favoured her. The years could not age her voice nor adversity break her spirit and that saved her from the ultimate degradation of her contemporaries had fallen. Rajkurnari still remembers with a pang in her heart the attractive singer/actress Ratan Bai ('Tere pujan ko Bhagwan bana man mandir aalishan' - 'Bharat Ki Beti' - Anil Biswas - 1935) in her later years begging at the Haji Ali Durgah. The well-known music director and singer Khan Mastana (Watan ki rah men watan ke naujawan shaheed ho' with Rafi -'Shaheed') died as a beggar near the Mahim Durgah.

When some well-wisher collected a fund for Khan Mastana, a comfortably retired playback singer donated one hundred rupees. Whenever Khan Mastana is referred to, she proudly recalls her act of charity as a big sacrifice on her part.

When a gay young boy Master Parshurarn sang 'Man saaf tera hai ya nahin poochh le dil se' as a beggar in 'Duniya Na Mane'(1 937) he could never have dreamt that his career would end as a roadside beggar in his real life too. Helplessness had driven him to liquor as in most cases. When Tabassum picked him up and presented him on her popular 'Phool Khile' show on TV, his story moved the viewers. Donations poured in from all quarters. The viewers who were accustomed to paying heavy entertainment tax for a film show in a theatre did not mind paying a little more by way of a donation to show their gratitude to a needy artiste. But for the film industry to which he belonged Master Parshuram was a creature of no consequence.

V K Dubey of HMV seriously contemplated starting the artistes benevolent fund. With all his sincerity of purpose he could not succeed when HMV was considered a monolithic monopolist. With HMV in troubled waters, Dubey has less chance of succeeding now but he has not forsaken his dream. A few years back when a popular singer of the '30s died on the streets of Calcutta as a destitute, HMV took possession of the body. Final rites were performed with dignity on the instructions of Dubey from Bombay. Now R V Pandit of CBS is seized with the thought of lending a helping hand to the old artistes in dire circumstances though, ironically, these artistes never had any occasion to share their success with CBS.

The former Director-General of Doordarshan, Gijubhai Vyas, wistfully remembers his days with AIR Bombay when the renowned singers Sunderabai and Faiyaz Khan were retained as staff artistes in their later years, only to allow them the privilege of drawing their monthly remuneration. This gesture to acknowledge their contribution to music was highly appreciated by the artistes.

[attachmentid=16457]

Sunderabai ('Man papi bhula' -'Aadmi'- 1939) in her last illness in 1952 was admitted in Bombay. Hospital at the expense of, AIR Bombay by the Station Director Z A Bukhari who did not wait to consult the Government before spending.
Similarly, music director Jaidev did not have even a house of his own and had to depend on music lovers like Ajit Sheth of the Pankaj Mullick Music Foundation, during his last illness.

Music director Ghulam Mohammed ('Mirza Ghalib','Pakeezah') was another composer who gave a noteworthy contribution to film music as a composer and a rhythmist. He suffered a severe set-back when 'Pakeezah' was held up for eight years as a result of a personal dispute between Meena Kumari and her producer husband Kamal Amrohi.

During this difficult time Ghulam Mohammed lived mainly on hopes. Proud that he was, he never discussed his personal problems, but once out of sheer desperation he talked about it to this writer while referring to the high hopes he was nursing about his prospects after the completion of the magnum opus 'Paakizah'.

Destiny had willed otherwise. Ghulam Mohammed died before the release of 'Pakeezah'. The composer with 30 years of notable work died in obscurity. His death found mention in just a two-inch column in a widely circulated English film ' weekly. What is significant to note, is that Ghulam Mohammed's family did not get any royalty for his life's best work in 'Paakizah'. Only the producer Kamal Amrohi can explain the reasons, if any for depriving the music director of his rightful share.

Ghulam Mohammed is not an isolated example of a creative composer dying in disillusionment. Husnalal-Bhagatram, who rose to fame with 'Chand (1944), became an indomitable force with musical hits like'Pyar Ki Jeet', 'Badi Bahen', 'Chhoti Bhabhi' and 'Shama Parwana'. After the sudden death of Husnalal in 1968, Bhagatram just drifted. Though their protege Shanker (Jaikishanj did try to help his guru, to most of those in the industry Bhagatram had ceased to exist.

[attachmentid=16456]

Similarly, Saraswati Devi, the classicist composer of the early era, was conveniently forgotten when she gracefully retired from films to live in the seclusion of the Theosophical Society near Juhu beach. When she fell down from a bus and fractured her hip, the neighbours, collected a donation for her treatment in a hospital. She was too generous to complain about the neglect of the people who used to take pride in her belonging to an institution called Bombay Talkies. She died soon after at 68, still clinging to the memories of her precious past.

There comes a moment in the life of an artiste when his creative instinct deserts him or the changing values in art make him redundant. But fond memories of his precious past keep on recurring when he is in a 'vacant or pensive mood'. It is said 'that 'God has given us memories so that we can have roses in December. But the pleasant memories of the blooming roses alone are not enough to fill a lonely heart. Artistes, too, suffer from the 'last infirmity of a noble mind'. They too want their past achievements to be acknowledged especially when the spot-light is no longer on them. It is another matter that sometimes while struggling to survive they themselves want to forget their own achievements, because of their sufferings and a firm conviction that society has played truant.

Sushila Tembe probably sang in just one film but her 'forte' has been classical music. She cut innumerable discs of khayal, thumri and dadra. Stark poverty stares you in the face as you enter her house, in which, at 70, she lives alone. She still sings on weekends in a temple just to keep the home fires burning. She has preserved many of her still unplayed 78 RPM records in the hope that some day the record company will use them to produce a LP record. It is a far-fetched hope. But hope and pride, apart from the records, are her only possessions in life.

Some old and forgotten artistes live in a vacuum whereas a few others are still hopeful of staging a comeback.

Comfortably placed Surendra, for instance, said a year back that, though nearing 80, he had not retired but was just passing through a period. Whatever the fact, his spirit was commendable.

[attachmentid=16454]

Singer Mubarak Begum, in her fifties, is still confident of her ability to sing well. Day after day she waits for her small dreams to come true. It is an endless wait in a small room where she lives with her family. Ruefully she watches the time passing by and when her own melody 'Kabhi tanhaiyon men hamari yaad ayegi' rings in her ears she feels sad and neglected.

On the other hand, singer Kalyani has left her past far behind. Nearing 70, she lives in a dilapidated house where every- thing seems to have outlived its usefulness. She feels she has a reasonably good voice, yet she refuses to sing even in concerts. Probably she does not want to spoil the impression people carry about her songs such as 'Sharabi soch na kar matwale '(with Pankaj Mullick 'Mukti' - 1937) and 'Aahen na bhari shiqawe na kiye' (with Zohra and Noorjehan 'Zeenat'- 1945).

There have also been artistes who felt proud of their achievements though fortune never favoured them. Music director Jamal Sen who created enchanting melodies like'Sapna ban sajan aye' (Lata - 'Shokhiyan' - 1951) and 'Devta turn ho mera sahara'(Rafi, Mubarak Begum - 'Daera' - 1953) never compromised on nor did he get the recognition he deser- nor did he get the recognition he deser- ved. Yet he felt proud that he was never tempted by the lure of money. The Cultural Department of the Government of India is slowly waking up to the need of the aged artistes. Consequently, the music directors Timir Baran ('Devdas' 1935, 'Baadbaan' - 1954) and Madhavlal Master ('Khuda Dost' 1932, 'Parivartan'- 1949) and the vocalist Hirabai Barodekar have started receiving Rs 600 as a monthly stipend.

Madhavlal Master, 84, a pioneer composer of the early era who in his later life earned international fame as a puppeteer, lives on memories and faith in God. The film industry, he knows, has no time for anyone like him whose future is bleak.

The pioneer sound recordist Minoo Katrak who beautified other people's voices lost his own in a throat cancer in 197 7. Even today at 84, he has sound hearing and perfect judgement. A few years back when his services were requisition ed by a music director, the singer doubted his ability to record a voice when he himself did not have any. It was the 'unkindest cut of all' that bled him from within. He chose to retire rather than suffer humiliation. He has become a part of history, though according to the renowned recordist Kaushik, Minoo Katrak is still the best. But the musical scene has changed and along with it the definition of quality.

Maestro Anil Biswas, who consistently refused film offers, shuns the madding crowd. A year back when he came to Bombay from Delhi to record bhajans by his wife, singer Meena Kapoor, he had no desire to renew his old acqaintances in the industry which he had renounced in 1965. It is an industry he has known closely. It is an industry 0 P Nayyar, during a talk, described in unprintable language. It is an industry that does not suffer the prick of conscience.

Posted by: unni Jan 30 2005, 07:20 PM

QUOTE FROM THE NOOR JEHAN FORUM:

How very true! And rarely do we think of it when we hear the songs.

The time and effort that used to go into the "making" of a song is little realized. For we have moved on to an age of "music banks" and techno-compositions. When duets are recorded without the artistes even meeting each other. When live instrumentalists have to be carted from another part of the country for dearth of such poorly-remunerated artistes in a gizmo-oriented recording industry which has little need/demand for them.

It was reported that A. R. Rahman composes his music with computer-generated sounds, but records the track with live musicians and actual instruments. I wonder how many other music directors still use actual musicians instead of a keyboard!

Even a reputed publication like "INDIA TODAY" casually and unquestioningly prints a phenomenal number of songs attributed to a singer. Praise/Admiration is just fine --- to be believable, it has to be tempered with reality. For a large number of that artiste's renditions were exquisite pieces, recorded over decades, meticulously crafted in verse as well as tune and painstakingly rendered. Today's style is to dish out a 'completed' song even before the instant-coffee is ready!

It is the quality of the compositions/renderings of the past that makes us take delight in them with wonderment --- long after the movies and its stars have been forgotten. Numerous great songs of the past were composed for virtually unknown films with no-name actors.

It was not as if a set of lyrics were summarily handed over to a music director, or a pre-set tune delivered to a lyricist, and lo-and-behold a song was born. In the early days of HFM, even the film-director and the star and the singer would be part of the creative process. The song sequence would be discussed. The lyrics would be tweaked and improved, sometimes even rejected and calling for a re-write. The tune would be experimented with and even altered. The singer would be made to try several variant renderings during the rehearsals. The music arrangers would have to create the background and interludes. Between the MD and the arrangers they would decide on the choice of instruments, then the orchestra would need to go through rehearsals. All this before the recording date!

At the recording itself, it was not a matter of a one-shot deal. Rehearsals with the full orchestra and singer/s would be required before commencement of the actual 'take'. Mistakes would be made. Re-recording would commence. Perhaps several re-takes would be necessitated before the recording was wrapped up.

The time taken for a recording by Shankar-Jaikishen using a large orchestra would naturally differ from one by C. Ramchandra usually with a small select band of musicians. Jaikishen's tunes were created in a room at his home, just as Shankar's were first played by him on his piano. Whereas, the genius of C. Ramachandra could create a tune off-the-cuff, right then and there in the recording room! He was capable of recording more than one song during a "shift", since Lata-ji came all prepared. It was a matter of conjecture when the two of them found time for rehearsals! According to Lakshmikant, the tune of the phenomenally popular "Sawan Ka Mahina" miraculously popped up in his mind as he was waiting outside a 'paan' shop! The collaboration between Naushad and Shakeel and their toil in creating what became memorable songs needs no re-telling.

A song tells a tale, but there are tales behind the creation of so many songs.

It is no wonder that a legend like Manna Dey holds contempt for present-day singers' claims of the several songs they recorded in a day. For, in his hey-days, in the heydays of HFM, it was considered creditable if one song was satisfactorily completed in a day.

With advancement in professionalism and recording techniques it did become possible to achieve a larger output. But, with fame and success and the resultant increase in demand, quality came to be compromised. Even then, six or seven songs a day was the exception, not the rule. One celebrated music-composing duo of the 60's/70's attributed their decline to having signed up too many films. Naturally, their quality suffered.

Sure, it is speedy now. But is it melodious?

"Jaaney Kahan Gayey Woh Din?"

Posted by: mohd2004 Feb 3 2005, 03:23 PM

Thanks Unni-ji for the Info on recording of songs. Very true, present day songs are not sung with heart but with throat for maximum output - to make more money.

Mohd.

Posted by: iqbal Feb 3 2005, 04:53 PM

Thanks Unniji,

It’s really sad to learn the fate of the renowned personalities of HFM.


Quote:

The well-known music director and singer Khan Mastana (Watan ki rah men watan ke naujawan shaheed ho' with Rafi -'Shaheed') died as a beggar near the Mahim Durgah.

Similarly, music director Jaidev did not have even a house of his own and had to depend on music lovers like Ajit Sheth of the Pankaj Mullick Music Foundation, during his last illness.


Ye Mehlon ye takto ye taajon ki duniya
Ye insaan ke dushman samaajo ki duniya
Ye daulat ke bhooke rawaajo ki duniya
Ye duniya agar mil bhi jaaye to kya hai
Ye duniya agar mil bhi jaaye to kya hai


Jalaado Ise Phook Daalo Ye Duniya

Posted by: vikram Feb 3 2005, 05:07 PM

Indeed very sad ending !!

Posted by: rom Feb 3 2005, 05:22 PM

Very true, Unni ji!
A few days ago, I heard one singer boast that he's sung 26 songs a day, and 1100 songs in one year! "I've got a world record," he happily declared. He also said that like Ashaji and Lataji, he has no competition.
Had heard this singer live a few years ago. He was panting between lines and took three breaks to rest, and sang about 10 songs. (Manna De, over 80 now, gives concerts of five hours even now.)

Two days ago, heard Pyarelal of the L-P duo on radio. He said once Rafisaab recorded five songs a day, because he had to go abroad the next day. He said the recordings began early morning and went till very late in the night. And that Rafisaab retained his freshness and strength of voice till the last song!
They don't make men like that any more!

Posted by: unni Feb 7 2005, 11:19 PM

I need help with info on this song. Mohd.-bhai and Hits come to mind!

Can you identify the singers in this catchy, fun number which seems familiar yet nostalgic?

[attachmentid=17252]

Posted by: cinemaniac2 Feb 7 2005, 11:51 PM

It is Afzal Hussein with Asha Bhosle

Posted by: unni Feb 8 2005, 12:19 AM

Thanks! Now I'm waiting for someone to disagree!

Posted by: sangeetbhakt Feb 8 2005, 12:35 AM

In that case, is it okay if I agree with cinemaniac2? Atleast the Geet Kosh
seems to agree.
On a related note, the duet between Kishore/Manna Dey from the same film
that you posted in the KK forum (or SKS) is actually a triplet that also has
Arun Kumar along with the other two.

Posted by: sangeetbhakt Feb 8 2005, 12:38 AM

In that case, is it okay if I agree with cinemaniac2? Atleast the Geet Kosh
seems to agree.
On a related note, the duet between Kishore/Manna Dey from the same film
that you posted in the KK forum (or SKS) is actually a triplet that also has
Arun Kumar along with the other two.

Posted by: unni Feb 8 2005, 01:26 AM

Thanks guys! Neither Afzal Hussein or Arun Kumar ring a bell. Need to listen again to make out the voice of Asha Bhosle.

Posted by: Talaikya Feb 8 2005, 05:55 AM

You want disagreement??? Okay... you have it... I disagree, very forcefully!

Posted by: hits Feb 8 2005, 07:21 AM

Both of the above quotes (by cinemaniac2 and sangeetbhakt) are accurate to the best of my knowledge. So,

Sach Keh Den Gar Bura Na Maano - Afzal Hussain, Asha, Chorus - Maa - 1952 - Nazir Hussain, Shyama, Kumud

O Jiyo Jiyo Mere Laal - Arun Kumar, Manna Dey, Kishore, Chorus - Maa - 1952 - Nazir Hussain, Paul Mahendra, Bharat Bhushan

Posted by: mohd2004 Feb 8 2005, 06:09 PM

Thanks Unniji for such rare tracks of MAA, just heard these ones.

Track-I am not familiar with Afzal Hussain's voice, but for sure its Ashaji's young voice. So no disagreement, Geetkosh should be true. In fact Afzal Hussain later migrated to Pak in 50's and sang some songs in PAK films , I am sure Inam Bhai can identify his voice.

Track2-Sure could make out Kishore Kumar & Mannadey ,but for Arun Kumar ( not much familiar with his voice) and Geetkosh should be Ok. So here also no disagreement.

Mohd.

Posted by: priya Feb 9 2005, 12:40 AM

Unni U cannot recognise the voice of Asha???? After listening to HFM for 50 yrs!!!! Sacrilege!!!!!! Tauba tauba
I was dying to disagree but the info in the VN bk is the same.
Lyrics by Bharat Vyas.

Posted by: priya Feb 9 2005, 01:03 AM

Ayyo I am being watched!!! Unni skulking in the NJ forum--yeh kya ho raha hai?
WONDERFUL post Unni!!!!!!!!
One also has to remember that these singers did not start out rich--life was more difficult those days--the long tiring journeys by train to reach studios--the rehearsals that never ended--then going home and managing families in the little time left.
I remember a Lata interview in Filmfare where she talks of an experience recording with a new male singer (this was in abt 1990)--the MD called them for rehearsals and the singer could not get a nuance right--he was corrected abt 5 times and then said in a huff--this is all I can do--if u do not like it take someone else--Lata says tho the MD was half her age she could not dream saying such a thing--it was unthinkable--contrast this with the attitude of the older era singers--the same controversial song (composed by Shammi Kapoor ) Asha says RDB told her if U are not confident I will change the tune and that challenged her--if someone has to change a tune for me then how can I call myself a singer????
That shows in the songs they sang. Today do we really remember who sang what?
Yes jaane kahan gaye woh din but on the other hand very grateful that woh din the and we could be a part of that greatness if only as humble and contented listeners.

Posted by: unni Feb 10 2005, 07:22 AM

[attachmentid=17469]

Posted by: unni Feb 13 2005, 07:07 AM

I am deliberately uploading this in SKS since this song features 3 singers.

The song "Chhod Babul Ka Ghar" from "BABUL" , with music by Naushad, is associated with Shamshad Begum.

But this track from the movie features three voices, starting with Talat Mahmood and ending with Shamshad Begum & chorus.

The voice in the middle piece, is it Mohd. Rafi? Based on the high pitch of the voice, that's what I thought.

Any input?

[attachmentid=17852]

Posted by: Sharad Feb 13 2005, 07:15 AM

yes mohammed rafi's voice!

Posted by: Sharad Feb 13 2005, 07:15 AM

oh i do have babul cd

let me double check

Posted by: Sharad Feb 13 2005, 07:18 AM

damn my cd doesn't list it either

but it gots to be rafi no

Posted by: mohd2004 Feb 13 2005, 05:55 PM

Very true Unni-ji, such high pitch voice -Rafi Saheb ki hi hai. I have seen this movie very long back and also this song is not available in RPG albums -LP,casette or CD. Its only in the film .

BTW, I read some where in the internet long back that there are two songs were deleted from the film ANDAZ (1949- Music by Naushad) and were issued on 78 rpm only . Aslo dont remember who are the singers.


Mohd.

Posted by: priya Feb 15 2005, 02:34 AM

Thanks so much for this rare number Unni--one of my fav songs. Strange when U hear Talatsaab it does not sound like such an old song--when Shamshad Begum begins to sing it acquires that old world quality. But U have got me ino a Shamshad mood now--I do not listen to her always but when i do i get hooked.
P

Posted by: Shahrukh3000 Feb 15 2005, 11:48 PM

Film: Ek Jhalak
Year: 1957
Song: Aaja Zara Mere Dil Ke Sahare Dilruba (Part 1 & 2)
Singer: Geeta Dutt (Part 1)
Singers: Hemant Kumar & Geeta Dutt (Part 2)

Posted by: Shahrukh3000 Feb 16 2005, 03:38 AM

anyone??? need the song from EK JHALAK it's a very rare song

Posted by: Bawra Jay Feb 16 2005, 10:27 PM

Take out the word "RARE" and I would upload it for you ... After seeing how people use this terms in other forums.... I kinda started hating this word "RARE" .....

Posted by: Bawra Jay Feb 16 2005, 10:30 PM

Sorry about the delay , my ID3 listed it as Tere Liye.....

Here is your "RARE" song in excellent CD quality, what a magic it creates as Hemant Da and Geeta ji both sounding so Nashila.....

Tere Liye Mere Dil Mein - Hemant & Geeta Dutt ALSO KNOWN AS "Aaja Zara Mere Dil Ke Sahare Dilruba"

Posted by: unni Feb 16 2005, 11:08 PM

But when you hear Rafi-sahab, it's Yesterday, Today, and Tomorrow! Hai na?

Posted by: sangeetbhakt Feb 16 2005, 11:10 PM

I agree. I know that the term means different things to different
people (perhaps depending on where they live geographically and
their ease of access to Hindi music). But a song like this one from
"Ek jhalak" is available in several collections put out by EMI. So
I don't think it really qualifies as rare. Just my $0.02 on the topic.

Posted by: Shahrukh3000 Feb 16 2005, 11:18 PM

thnx bawra jay
i've also heard the solo version of geeta dutt do you have it:D pls upload

Posted by: Bawra Jay Feb 16 2005, 11:31 PM

Sorry buddy , dont have it as solo version ... as never found a CD album for Ek Jhalak , as Sangeetbhakt have mentioned , got this song in 2 different collection CDs ...

I have other duet from same movie Ek Jhalak , this time Hemant ji pairing with Asha ji(she is not singing , just talking) ...a lovely number ...Yeh Hansta Hua Carvan......

Want another number from same duo- Hemant & Geeta ji ???? Ulhaaj gaye do naina..... excellent number from movie Ek Saal....

Posted by: Shahrukh3000 Feb 17 2005, 12:04 AM

Bawra Jay, pls can u uplaod this song for me in the MOHD RAFI area
Dil To Kisi Ko Doge - Ek Saal
And do you have the songs from Jaali Note? pls upload all the songs
i've request it yesterday in Kaccha Dhaaga, but someone deleted it

Posted by: Bawra Jay Feb 17 2005, 12:54 AM

I dont have any song listed for Ek Saal as Dil To Kisi Ko Doge... the only Rafi song I remember I might have is Ye Waqt ja rahan hai....Kiske liye ruka hai... kiske liye rukeyga......, will look for Jaali Note....

Now how come your request was deleted ? No one can delete it other's users postings. ?

Posted by: unni Feb 17 2005, 02:53 AM

You sure it was in "Kachha Dhaaga"? I see it as Post # 5 and # 6 at:
http://www.hamaraforums.com/index.php?showtopic=8408&st=0&p=65730&#entry65730

Posted by: vasu_m_r Feb 17 2005, 09:58 AM

I remember a movie called Meri Soorat Teri Aankhen (?) which had some very fine classical numbers. I remember seeing this decades ago when there was only Doordarshan (the really old old days). Can anyone enlighten me on the songs, singers of this movie ?

Posted by: mmuk2004 Feb 17 2005, 11:43 AM

Off the top of my head

Nache man mora (Rafi)
Poocho na kaise maine(Mannadey)
md: SDB

Posted by: Talaikya Feb 17 2005, 11:58 AM

Great songs: (Hamaracd)
NACHE MAN MORA MAGAN MOHD. RAFI 6:04
POOCHHO NA KAISE MANNA DEY 3:19
POOCHHO NA KAISE S.D.BATISH,MANNA DEY,CHORUS 2:14
TERE BIN SOONE NAIN LATA MANGESHKAR,MOHD. RAFI 5:26
TERE KHAYALON MEIN LATA MANGESHKAR 4:22
TUJHSE NAZAR MILANE ASHA BHOSLE 4:08
YEH KISNE GEET CHHEDA SUMAN KALYANPUR,MUKESH 4:39

Sorry about the Caps, I know it's very irritating... but HCD lists them like that and I was too lazy to retype the whole lot.
The Music is indeed S.D. Burman and lyrics are Shailendra ji's. Wonderful music. I don't know if I know the song by Asha ji, must give HCD's clip a listen.

Posted by: unni Feb 21 2005, 09:51 AM

There are times when a song appeals to us though we have no idea who is singing.

Featured here is an artiste with few recordings, about whom we know nothing. Listening to these songs, I wondered why he made no headway in the field of playback singing.

The first two songs were picturized on Raj Kapoor. The third is an appealing qawwali.

DVD rips:

[attachmentid=18529]

[attachmentid=18528]

[attachmentid=18530]

Posted by: unni Feb 22 2005, 07:03 AM

Here are some rare voices.

A song had been recorded in Raj Kapoor's voice and picturized on him. The second version of the song is sung by Geeta Dutt and an unidentified male singer. Any info?

The third song is in the voice of Shyam Sunder, and the fourth by Anil Biswas himself for a movie for which he had composed.

DVD rips:

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Posted by: hits Feb 22 2005, 07:27 AM

My info is that song no. 2 above is a duet between Geeta Dutt and Shyam Sunder, picturized on Madhubala and Shyam Sunder.

Song No. 3 is also apparently by Shyam Sunder. That doesn't sound right. Song 3 seems to be sung by a female singer in the Zohrabai / Zeenat Beghum genre. Unni, do you know who this is picturized on?

Posted by: unni Feb 22 2005, 07:31 AM

The song is picturized on a male artiste who is singing it to Madhubala. I don't know if it is Shyam Sunder, since I can't recognize him and the DVD mentions only RK and Madhubala. I watched the sequence as I was recording it, and it struck me that the voice sounded feminine! But Earthmusic credits it to Shyam Sunder.

Posted by: unni Feb 22 2005, 07:38 AM

Correction: The DVD cover lists Raj Kapoor, Madhubala, Shyam Sunder and Badri Prasad.

Posted by: hits Feb 22 2005, 07:40 AM

If you have the movie DVD, Shyam Sunder's the guy who plays the character of "Baanke Bihari".

My guess is that either the Earthmusic credit is in error, or else this Shyam Sunder fella was awfully talented.

Posted by: unni Feb 22 2005, 07:54 AM

I haven't watched the movie. In fact I haven't watched any of the movies from which I've been ripping the songs!

Posted by: unni Feb 22 2005, 09:12 PM

In 1945, when a 16 year-old Nargis stepped on the sound-stage to play the role of Hamida Bano for Mehboob Khan’s “HUMAYUN”, neither would have envisaged that one day in the future they would collaborate to create Indian Cinema’s equivalent of Hollywood’s “GONE WITH THE WIND”. In fact, our memories of the film-maker and the star are epitomized in their memorable “MOTHER INDIA” .

But 12 years prior to their 1957 classic, Mehboob Khan had, with “HUMAYUN”, created a film that was as significant for the times as “SHOLAY” in 1975 or ‘BLACK” in 2005.

According to the back of the DVD case, Cecille B.DeMille called “HUMAYUN” a "masterpiece of lighting composition”. Viewers may not be off the mark if they infer that the sets of “MUGHAL-E-AZAM” were apparently inspired by that film made 15 years earlier.

Mehboob Khan (real name - Ramjan Khan) began his career as an extra at the Imperial Film Company, then graduated to acting. At the Sagar Film Company he got the first opportunity to direct a film. In 1942 he launched Mehboob Productions with a significant film “ROTI”, considered second only to “MOTHER INDIA” among his films. It featured Akhtari Faizalbadi (Begum Akhtar, the legendary ghazal singer) who excelled in the pivotal role.

Mehboob introduced Fatima Rashid (then known as Baby Rani) as a heroine at the age of 15, opposite Motilal in his film “TAQDEER”. Mehboob also changed her name because he believed that a star should have the kind of name that would immediately click with fans. He had a particular fondness for names beginning with 'N' which he considered lucky, so he chose for his new heroine the name ‘Nargis’.

Mehboob Khan and Nargis parted ways during the shooting of “AAN” in 1952, only to come together five years later for ‘MOTHER INDIA”.

It is curious to note that when K. Asif conceptualized “MUGHAL-E-AZAM”, his first choice for the role of Prince Salim was the “HUMAYUN” star Chandramohan. But the actor’s demise brought the entire project to a grinding halt. Reportedly, Nargis had been cast in the role of Anarkali, but Dilip Kumar’s entry into the film prompted her exit.

Lahore-based composer Ghulam Haider used Shamshad Begum’s voice skillfully in some of his earlier films, mostly in Punjabi. When he shifted to Bombay in 1944, Shamshad Begum went with him as a member of his team. When Mehboob Khan launched “HUMAYUN”, Master Ghulam Haider used Shamshad Begum's voice in the film. The song "Naina Bhar Aaye Neer" is said to have captured the imagination of the country.

Another singer for “HUMAYUN” was Rajkumari. She sang in an era when gasoline cost 6 annas a gallon and she was paid the princely sum of Rs 50 a song! But her name did not appear on the discs of the songs, for, in those days the disc bore the name of the film's character on whom the song was picturized! It was only in the late 1940s that playback singers got their credits on discs. And it would still be a while before they were given screen credit for their work as well.

With that background, here are the songs of “HUMAYUN”.

In this instance, “ripped from DVD” means little, for the DVD had been made of an old celluloid print with “nostalgic sound quality”!

Song credits are incomplete and subject to correction. Additional information would be appreciated.

The first 5 songs are attached. Three more with the next post.

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(Information sourced from the internet)

Posted by: unni Feb 22 2005, 09:19 PM

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Posted by: Bawra Jay Feb 22 2005, 09:29 PM

So what's wrong with this EMI / HMV .. why dont they come up with digital remastered copies of such lovely songs..... Was impatient to have good copy of Rasm - E Ulfat song... am surprised they didnt even remastered the DVD .... ??

Well something better than nothing your DVD version still sounds much better than old tape version I had ... Thanks Unni bro

Posted by: unni Feb 25 2005, 05:32 AM

DVD rip:

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Posted by: mohd2004 Feb 28 2005, 05:21 PM

Thanks Unni-ji for such great uploads and info.

Mohd.

Posted by: unni Mar 1 2005, 11:38 PM

From: MUSIC INDIA ONLINE

Interview : I cannot digest today's film music: Manna Dey

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Ever since the great maestros faded away from the film music scene there has been no one who makes quality music, laments legendary playback singer Manna Dey.

"Film music is losing its purity and its foundation in Indian heritage. Now all it consists of is heavy rhythm, glossy picturisation and bone breaking dance," 84-year-old Dey, whose last song was for the film "Prahaar" (1991), told us in an interview here.

"After working with great maestros like Anil Biswas, Roshan and others I cannot digest current day music. But then I have to move on and accept the change," said Dey, ruing the lack of depth and soul in current day film music.

Dey, who was this year awarded the Padma Bhushan, one of India's highest civilian awards, for his contribution to music, was in Delhi for a concert "Golden Era Revisited", organised in aid of tsunami victims by the Prayas Institute of Juvenile Justice.

Dey was of the opinion that artificial sounds and synthetic instruments had deteriorated the quality of music.

"Where is the involvement of the musicians? Nowadays, the male and female singers hardly meet for duet recordings, thanks to computer-generated track recordings and readymade tunes," Dey said.

He should know. His song "Ritu aye ritu jaye", which he sang with Lata Mangeshkar, under music director Anil Biswas, reportedly took close to three weeks of rehearsals.

Born as Prabhodhchandra Dey, he was named "Manna" by uncle and legendary musician K.C. Dey of Kolkata's New Theatres.

Dey began his singing career with "Tyag Mayi Gayi Tu Sita" ("Ram Rajya", 1941) at the age of 22. His big break came with the smash hit "Upar Gagan Vishaal" ("Mashaal", 1950).

He sang classics like "Kaun aya mere man ke dware" in "Dekh Kabira Roya" (1957) and "Aayo kahan se ghanshyam" in "Buddha Mil Gaya" (1971).

Although he is associated with a range of evergreen songs - qawwalis such as "Ae meri zohra zabin" ("Waqt", 1965), romantic numbers such as "Yeh raat bheegi bheegi" ("Chori Chori", 1956) and the comic but irreplaceable "Ek chatur naar" ("Padosan", 1968) - many say he was typecast as a singer of religious hymns.

Recognition was hard to come by, for his voice was rarely considered suitable for the conventional Bollywood hero.

"I used to feel sad initially. But I am very content now after having been a contemporary of singers like Mohammad Rafi, Lata Mangeshkar and Talat Mehmood on one side and several great music directors on the other," Dey said.

"I have sung for heroes, villains, comedians and side role characters. Not everybody gets that opportunity," he said.

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For Dey, there have never been other singers like Mohammad Rafi and Lata Mangeshkar.

"People may disagree with me, but I know for a fact that Rafi was not that well versed with classical music. Few know that he has worked under me as a chorus singer when I was an assistant director," Dey said. "But that was his greatness. His voice was god's gift, which not everybody gets.

"Even filmmakers were of a different quality then. Kapoor Saab (Raj Kapoor) used to sit with us during the rehearsals and understand the songs. That showed in the filming too."

Incidentally, Dey won his first Filmfare Award in 1971 - 25 years into his career - for the Raj Kapoor song "Aye bhai zara dekh ke chalo" composed by Shankar Jaikishen for the film "Mera Naam Joker".

"Awards no more interest me. If I get them I will only ask 'why not?'"

"All I can do is sing. I will sing till the last breath of my life," Dey said, condensing in his wish the spirit of that immortal line he sang "Sur Ke Bina Jeevan Soona" (Life is empty without music).

Posted by: unni Mar 2 2005, 05:55 AM

DVD rip of a Manna Dey gem which the wizards of RPG never include in their compilations.

The first version accompanies the titles and is preceded by a brief stanza by Mukesh.

In the second version, after the song ends there is an appealing musical overture which I've retained in the recording.

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Posted by: sangeetbhakt Mar 2 2005, 06:13 AM

Thanx for this upload. I had looked for the CD of this film but had been
unsuccessful. So it is quite a treat to get such clear recordings of the songs
from this film. There is a lovely 2 part song, a happy duet by Lata/Mukesh
which goes "Hum chal rahe thhe tum chal rahe thhe" and a sad solo by Mukesh
"Hum chal rahe thhe woh chal rahe thhe".
If the DVD has these songs in good quality, can you upload these at some
point?

Posted by: unni Mar 2 2005, 06:15 AM

Have uploaded them in the Mukesh forum.

Posted by: unni Mar 4 2005, 07:23 AM

DVD rip:

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Posted by: extenok Mar 4 2005, 06:00 PM

A pertinent & appropriate post Unni.
A comment from the current crop of promising singers, Sonu Nigam, comes to mind while reading Manna Dey's disdain for today's music. Reminscing the old times, the music & the people of that era is no crime. What Nigam said, if I dare to capture the gist in my own words, was that there were low-quality songs made, even in those days. Its just that we've passed that time & we dare not challenge anything of that era. Everything from those years seems like unquestionably classic & worth praising.

I think that even the less-worthy songs, we just listen to for the sake that they are by our favourite artists. I believe Nigam's point is somewhat on the mark. But, I think the frequency of such low-grade songs was much less than what it is today. Also, the boundaries of crass music were not well-defined as they are today, thanks to the music geniuses of the our generation.

Posted by: unni Mar 4 2005, 08:44 PM

Imran:

Sure, there were low-quality songs made, even in those days. But they were deemed of lower quality in the light of the high standard of compositions prevailing then.

Yet, by the yardstick of today's cacophany, many of those those "lower-quality" songs sound so appealing. They are heard with real appreciation, not merely for the sake of nostalgia.

Case in point: "Jaaney Mera Dil Kisey Dhoond Raha Hai", by Rafi-sahab for "LATT SAHEB". In the midst of various other songs of greater merit in "those days", this bouncy number did not catch our attention, nor receive its deserved appreciation. Decades later, when I heard the song again, it came as a breath of fresh air!

I am not suggesting that all songs of the earlier decades were good, let alone great. Numerous songs served merely as "fillers", and just about every composer is "guilty" or creating them. Just that the overall standard of music was superior.

Unfortunately, whether then or now, some songs of superior quality are sacrificed at the altar of "popularity". An instance was the divine duet "Masoom Chehra Yeh Qaatil Adayen" from "DIL TERA DIWANA". For whatever reason, this classical-based gem did not receive radio time, whereas the raucous title song was heard in every street corner. In recent times, the soulful "Har Taraf" sung by Shreya Ghoshal for "SAAYA" is relegated to collect dust, while "item-numbers", remixes of 50's Geeta Dutt, hog the idiot-box!

Why do I get the feeling that HF members are mostly a bunch of young people who are prematurely old?

At least, in the sense of music appreciation.

Posted by: unni Mar 5 2005, 04:35 AM

DVD rip:

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Posted by: VikasB Mar 5 2005, 04:58 AM

Unni-Ji, Since u mentioned "Masoom Chehra Yeh Qaatil Adayen" .. who has sung it? And could you upload this please? I have never heard this song ... but from the way you describe it, it should be nice.

Thanks - Vikas

Posted by: unni Mar 5 2005, 05:09 AM

CD rip:

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Posted by: VikasB Mar 5 2005, 05:16 AM

MAN !!! That was quick !!

And very worth it - what a melodious number. Wonder how I missed it ...

Thanx a million.

Vikas

Posted by: unni Mar 5 2005, 06:17 PM

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Posted by: unni Mar 5 2005, 11:25 PM

This song is being uploaded for the sake of nostalgia. Although it has been ripped from DVD, the sound quality is no better.

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Posted by: ravijpyadav Mar 6 2005, 01:01 AM

thank u Unni ji ,u r great .thanks a lot

Posted by: ravijpyadav Mar 6 2005, 01:09 AM

hi Unni ji thanks a lot for providing the song u r doing gret job please upload title sons of movie geet gata chal' i have heard this song somewhere i think this is a interesting one.

Posted by: unni Mar 6 2005, 05:42 AM

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Posted by: hits Mar 6 2005, 07:41 AM

A couple of random mulesque observations -

1) The foundations of Hindi film music as we know it have been in the magical lilt of the basic ragas. These ragas are the embodiment of all of time. Deepak, Megh, Hindol, Shri, Bhairav and Malkauns have not been formed in a couple of decades or even a couple of centuries. They have been refined over eons and are the purest form of connection between man and nature. These ragas and their offshoots capture the moods of man at various points of time in a day. In some primal way, these are man's means for communicating with nature.

2) So, it is no coincidence, dear HFers, that the sense of mystery that a song like "O Hansini" conveys is at its zenith when listened to at night; or that "Khilte Hain Gul Yahan" sounds most resplendent on a bright morning. Ever listened to "Aisa Sama Na Hota" while driving down a long rain drenched stretch of road on an autumn afternoon? It's no coincidence, that these songs enrapture you ever so subtly at unguarded moments. Wanna know why? Well, you are communicating with nature....in the purest way. That was what the creators of the ragas had intended.

3) Western Music as we know it has many shades to it. What was once the brilliance of jazz in New Orleans has now become the craziness of today's rap. What Cleveland and Seattle once produced in terms of pure rock has now given way to unrhythmic rock. Loud.....yes. Is it music?.....Hell no! Remember folks, this is the country which has no musical history to draw upon. This music is yet to discover how to communicate with nature. This music is yet to break down and give way to something better. Western music has produced a Ray Charles once in a while. It will find its way someday.

4) Now what happens when we, Indians, chuck away our divine musical gifts and imitate the craziness of showbiz? Wanna know what happens? You get today's Hindi film music. Folks, what is dished out today in the name of music is actually a collection of sounds thrown together with voices to match.

5) Fifth and final point. Pleasing combinations of sounds produce music that is short lived. You enjoy the sights, you seemingly even enjoy the sounds. But do the sounds ever last in your mind? Ever wonder why you forget today's fare so quickly? Well, our ragas had simplified music for us. We, in our eagerness to go Western, have complicated our music. We, who should be marketing our music have fallen prey to the marketing of showbiz. That would have been fine...as long as we had realized that what we were imbibing in earnest, was showbiz....not music.

Like I said...random thoughts from a mule....

Posted by: ravijpyadav Mar 6 2005, 02:32 PM

thank u Unni ji ,really great song

Posted by: unni Mar 6 2005, 06:47 PM

Another nice number by Usha Mangeshkar.

CD rip:

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Posted by: ravijpyadav Mar 7 2005, 01:02 AM

hi , thanks for the song ,its interesting one

Posted by: unni Mar 7 2005, 07:32 AM

Thanks, hits, for a very pertinent and expressive post. One criterion for the quality of the music is whether it creates, sans visuals, an "MTV of the mind". I don't mean it in the sense of pounding beats and risque dance moves. But whether the music evokes feelings -- of serenity or meditation or devotion or rumination or sorrow or joy or even the involuntary response of foot-tapping to the rhythm. Just this evening I was listening to an alaapana in Raga Kalyani by L. Subramaniam on violin, a soulful, blissful piece which one enjoys as pure music without any frills or emotional baggage. Western classical music inspires images of the mind -- ranging from the joy and colour of Spring-time festivity to the dark and cold of a witch's lair. Just as our Raag Pahadi brings with it the "feel" of the mountains. Especially when Pt. Shivkumar Sharma paints in sound a picture of green meadows and tranquil lakes, drawing the colours from the strings of his santoor, to dab them across the canvas of the listener's mind .

Posted by: anurag Mar 7 2005, 11:08 AM

I think it's a little too harsh to brand the English Rock of modern era as devoid of good music. David Gilmour playing a long prelude in "Shine on You Crazy Diamond" on "Wish You Were Here" is as good as any alap ever made by any of our Indian Classical Music player. Even if that, to purists is not modern but Classic Rock, the point remains that there will always be bad music and good music, no matter which culture it comes from and what time period it is. There may not be a concept of raga in English music but melody is still there, and especially so in Jazz. The ultimate example of melody can be heard in The Pink Panther theme by Henry Mancini.

The concept of melody may be a little lost on the new century rock bands, but RadioHead is there!

I also don't think that Hindi Film Music today is bad any more than it was 10 or 20 or 30 years ago, the cycles of good and bad music notwithstanding. In fact, if you ask me, I'd say in late 80s, a small budget and rather unsuccessful movie at box-office brought melody back to Hindi Music that was missing at least from early 80s. It was a Gulshan Kumar production called "Lal Dupatta Malmal Ka"; the music of the movie was superhit and extremely melodic. Aashiqui, which released later was a confirmation to this onset.

Ten years from now, all that is produced today will be glorified by us would be "oldies" and the then production would be labeled "uninspiring". That's the filter, we'd always carry with us.

Posted by: hits Mar 7 2005, 11:35 PM

Anurag brings to fore a couple of germane points. I absolutely agree with him on the Radioheads and Mancinis of the world. In fact, I have more personal favorites in Western music today than in the Hindi film industry.

Now, sweeping observations are usually inaccurate, and so, there's always two sides to the music vs. culture discussion. I would point out that a few Hindi film songs in the 70s, 60s and 50s are quite crass and insipid, inspite of the presence of great singers who rendered them.

My observation is based on an overall trend I have FELT in the past few years, and LEARNT ABOUT the past few decades. It is not necessarily colored by the "young vs. old generation gap", as I am a member of the "young" generation (as many of you are too).

One can possibly go on arguing/discussing the various finer aspects of this matter for eternity. My most central point, nevertheless, is this - What is the purpose of Music? Is it fodder for the soul? Or does it have no "purpose" at all? Personally, I seek to break things down, simplify and elucidate. I look for that in my music. I find that fodder in talents as diverse as Zepplin, Eminem (sometimes), Ustad Bade Ghulam Ali, Pt. Jasraj, Rafi sahab, Kishoreda, Yesudas etc.

I still find fodder for my mule. It's just that these days, I'm having to search deeper to fish out that nugget. Used to be available in plenty in the past.

Posted by: unni Mar 8 2005, 04:26 AM

RAGA JAZZ STYLE
Shankar-Jaikishen
Full Album
11 tracks ripped from CD

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Posted by: unni Mar 8 2005, 04:37 AM

RAGA JAZZ STYLE

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Posted by: unni Mar 8 2005, 04:43 AM

RAGA JAZZ STYLE

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Posted by: princeali Mar 8 2005, 06:19 AM

Many Thanks Unni ji for posting such a great album !

Many people believe that this album is Jaikishan alone, where he is experimenting with western music and fusing Indian tradition with it. RDB also loved Jazz alot and was influenced by Jaikishan.

Around this time, the musicians of the industry were on strike and no song recordings were happening. So Jaikishan and a group of friends along with the All India Radio musicians decided to make this album, and what a gem it was.

RDB has also made a non-film album 'Pentara' with a Latin American composer Jose Flores which was also a gem.

Posted by: runnyc Mar 8 2005, 06:54 AM

Wow, all I can say is wow! This is an excellent fusion of western sound with traditional tunes. Each track in Raga Jazz Style is a brilliant piece of music! Many thanks to you, unni ji!

Posted by: anurag Mar 8 2005, 11:54 AM

Although I have yet to listen to the whole album, yet from what I heard this sounds very melodic. Some tunes seem similar to a few Hindi Film songs.

Thanks, Unni.

However, the only Jazz in these pieces seems to be Trumpet and Sax. Pretty much like the superficial 60s Sitar craze in English pop.

Posted by: unni Mar 8 2005, 10:08 PM

DVD rip:

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Posted by: Jay Mar 13 2005, 07:40 AM

Mohd. bhai, sorry for the late reply, can u u/l this song in SKS plz?
thnx ji

Jay

Posted by: unni Mar 13 2005, 07:48 AM

A number of years ago, I had heard Pancham-da singing live a few lines of this song during a radio broadcast. It is the Bengali version of the glorious Kishore/Lata duet "Tere Bina Zindagi Se Shiqwa Tau Nahin", in the voice of R. D. Burman:

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Posted by: kamalaakarsh Mar 13 2005, 03:25 PM

princealiji, do you have this album "Pantera"?i never listened to this one and never even found it anywhere..

Posted by: extenok Mar 13 2005, 05:01 PM

Very melodius & appealing.
Thank you for adding this to our listening experience.

Posted by: Talaikya Mar 14 2005, 01:00 PM

On request -a lovely romantic one from Balika Badhu (1976). Bade achhe lagte hain. Sadhna sargam, Amit Kumar. Rejoice RDB fans . Lyrics: Anand Bakshi.
5:08mins @ 128kbps. Again, thank you www for this one (not from streaming audio!!). I have had this one on Loop play for a couple of days now.

Posted by: sanjays Mar 15 2005, 12:44 AM

T, Do you other songs from the same movie (Balike Badhu), I have the cassette but no unable to convert.

Thanks

...Sanjaya

Posted by: Bawra Jay Mar 15 2005, 12:49 AM

Which one you are particularly interested in ? I think I might have all of the songs from this movie

Posted by: VikasB Mar 15 2005, 09:24 AM

Thanks a lot for this awesome number.

Vikas

Posted by: unni Mar 15 2005, 09:38 AM

DVD rip:

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Posted by: unni Mar 15 2005, 11:21 PM

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Posted by: Flex001 Mar 16 2005, 08:18 AM

Yesudas.

You'll love this Unniji, me thinks!

Posted by: Flex001 Mar 16 2005, 08:28 AM

Manna Dey.

Does anyone have the complete song? Unniji?

Posted by: unni Mar 16 2005, 09:00 AM

Thanks! But I have a problem with Yesudas's Hindi/Urdu accent. Mallu fans of HFM are perhaps the biggest critics of his pronounciation. No doubt, he's outta the world in Malayalam.

Posted by: Flex001 Mar 16 2005, 11:33 PM

Really?

I thought you were a KJY fan. I like this song more for the words than anything else.

I catch your drift though, I have the same problem with a couple of female singers and their urdu diction; many times it completely ruins the song for me.

Posted by: unni Mar 17 2005, 12:27 AM

It's like this:

I won't rave about an artiste just because he/she happens to have something in common with my personal background.

In music, these petty aspects go out of the window. My outlook is underlined by Ustad Allah Rakha invoking the Goddess of Music, Saraswathi, before a concert-performance.

Having grown up listening to HFM, and discovering much later the film music of South India, I admit I am biased.

The yardstick of pronounciation, at least to me, are Talat-sahab and Rafi-sahab. All credit to Lata-ji for taking the trouble to overcome the, in the words of Dilip Kumar, "bu of daalbhaat"!

Whereas Rafi-sahab sounds unquestionably "correct", there is a certain grace and tenderness in Talat-sahab's rendering that bring out the exquisite beauty of the Urdu language. Talat sahab 'caresses' the words. It is perhaps undescribable. Something to do with his soft voice and his Luckhnowi background.

I know I'll receive flack for this from the ghazal-devotees, but in this respect even the immortal Begum Akhtar's diction comes across as 'coarse'. In terms of correct pronounciation/intonation, I am inclined to think that Talat-sahab was a pioneer. Compare the diction of Saigal-sahab with those of the next generation and we can detect the difference. For the longest time I heard it as "Jab Dil Hi Toota Gaya". Rafi-sahab and Lata-ji brought a 'sophistication" in the articulation of words in film-singing. To me at least, one of the remarkable things about Rafi-sahab's singing is the equal emphasis he imparts to the articulation of each word of the song.

The reverse is also true: Manna Dey's Malayalam accent was 'amusing'. Lata-ji was atrocious! Asha-ji did just fine!

In another post, friends in SKS have very kindly uploaded the Telugu and Tamil versions of "Kuhu Kuhu Boley Kolyaliya". Despite being familiar with the Tamil version, my identification of the tune is with the Rafi/Lata duet.

Yesudas is divine in Malayalam. Sorry, but in HFM, he is (to me) just a curiosity, never convincing. Native Bengali-speaking singers like Hemant-da did a better job in grasping the accent. Kishore-da does not figure in this equation. He was an exception; although he was a Bengali, he hailed from Central India. Whereas Subir Sen had problems with Hindi. Though listeners don't find anything 'wrong' about Manna Dey's accent, his co-singers had disdain for his knowledge of Hindi.

It gives me goose-pimples when South Indian classical vocalists pull out of their repertoire a Hindi composition.

Stick to Sanskrit or Arabic. Few of us understand them!

Posted by: unni Mar 17 2005, 09:08 PM

DVD rip:

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Posted by: Flex001 Mar 18 2005, 01:24 AM

I'm sure many would agree with this point. For me, it's one of the qualities which stands Rafiji out amongst his contemporaries.





I don't know much about Sanskrit, but I'm sure there are enough people here who know the difference between a kaaf and a qaaf as well an alif and an a'in to highlight mistakes, if someone should choose to sing in Arabic.

In this case I'd say stick with Urdu, Arabic is way more complicated.

PS Don't mind me uploading songs in your thread, it saves opening up a new thread each time.

Posted by: Flex001 Mar 18 2005, 01:36 AM

Does anyone have the following song please:

Guzri Jo Zindagi Teri Parchhaiyon Mein Hum
Mehfil Mein Rehke Bhi Rahe Tanhaiyon Mein Hum

Apologies, I don't have anymore details as I heard this a long time back. I think it was sung by Bhupinder Singh and the film starred Anil Dhawan and Rajeshwari if that helps.

Someone, anyone, please help, many many thanks.

Posted by: unni Mar 18 2005, 01:41 AM

Most welcome, but on one condition: That you name the singer!

That will solve the dilemna, "To download or not to download"?

Posted by: Flex001 Mar 18 2005, 01:44 AM

Lolz, apologies, no probs.

The above one is Suresh Wadkar.

Nice words!

Posted by: Flex001 Mar 18 2005, 02:10 AM

Manna Dey.

Good stuff.

Posted by: Flex001 Mar 18 2005, 02:17 AM

Manna Dey & Mahendra Kapoor.

Does anyone have a clearer version?

Do the honours please.

Posted by: Flex001 Mar 18 2005, 02:20 AM

Manna Dey.

This makes me feel like wanting to be a toddler again!

Posted by: Flex001 Mar 18 2005, 02:23 AM

Manna Dey & Mahendra Kapoor.

Again a clearer/better version is being sought.

Posted by: unni Mar 18 2005, 02:45 AM

Lovely song: "Muskura Laadle Muskura". But you may want to correct your tag. It's from a movie called "ZINDAGI", music by S-J. It had that lovely Rafi-sahab number, "Hamney Jafa Na Seekhi, Unko Vafa Na Aayi", apart from some other good songs.

Posted by: Flex001 Mar 18 2005, 03:24 AM

Done.

What would we do without you; I don't even wanna think about it!!!