#Best Solo Songs of Manna Dey

[shankarjaikishanfansassnintl]

Remembering screenplay writer/ lyricist Vrajendra Gaur on his death anniversary.

Shankar Jaikishan and Vrajendra Gaur, a Very Good Association

The extremely successful Shankar Jaikishan and the prolific dialogue and screenplay writer, lyricist, Vrajendra Gaur came together in 1960 and worked for seven movies in fifteen years. Everyone of the movies had very good screenplay and dialogues with excellent music.

Singapore (1960): Produced by F. C. Mehra, the movie was directed by Shakti Samanta. Vrajendra Gaur wrote the dialogues. Shammi Kapoor and Padmini acted in the lead with the title song filmed on the Malay Beauty Queen, Maria Menado. There are eight songs in the album. Shailendra and Hasrat wrote four songs each. Lata sang three solos and three duets with Rafi, with Mukesh singing one solo. The movie had a successful run.

Pyar Mohabbat (1966): The movie was produced and directed by Shankar Mukherjee. Vrajendra Gaur wrote the dialogues. Dev Anand was cast opposite Saira Banu. There are nine songs in the album. Shailendra wrote five songs and Hasrat four. Rafi sang two solos and two duets, one with Asha and the other with Manna Dey. Sharda sang two solos with Lata and Asha singing a solo each. The latter also sang two duets, one with Rafi and the other with Usha Mangeshkar. Although the music was very good, sadly, the movie did not fare well at the box office.

Duniya (1968): The romantic thriller was produced by Amarjeet. Vrajendra Gaur and K. A. Narayan wrote the screenplay. It was directed by T. Prakasa Rao. Dev Anand and Vyjayantimala were cast in the lead. There are six songs in the album. Hasrat wrote three songs while ashailendra, Neeraj and S. H. Bihari wrote a song each. Rafi sang three solos, Asha sang a solo and a duet with Kishore Kumar. Mukesh and Sharda sang a duet. It had a good run at the box office.

Lal Patthar (1971): F. C. Mehra produced the movie, a remake of a Bengali movie by the same name. The dialogues are by Vrajendra Gaur. It was directed by Sushil Majumdar. Raj Kumar, Hema Malini, Vinod Mehra and Raakhee played the key roles. There are six songs in the album. Neeraj wrote three songs, Hasrat two and Dev Kohli wrote one. Asha sang three solos and a duet with Manna Dey, with Rafi and Kishore Kumar singing one solo each.

Jaane Anjane (1971): The movie was produced and directed by Shakti Samanta. Vrajendra Gaur wrote the dialogues. Shammi Kapoor and Leena Chandavarkar are cast in the lead. There are seven songs in the album. There are seven songs in the album. Hasrat wrote four songs, S. H. Bihari two and Gulshan Bawra wrote one. Lata sang a solo and a duet with Rafi. Asha, Kishore Kumar and Sharda sang a solo each, while Suman Kalyanpur sang a duet with Manna Dey. The movie did reasonably well at the box office.

Jangal Mein Mangal (1972): The movie was produced and directed by Rajendra Bhatia. Vrajendra Gaur wrote the dialogues. Kiran Kumar and Reena Roy played the lead roles. There are seven songs in the album. Hasrat and Neeraj wrote all the songs together. Asha sang three solos and a duet with Usha.Kishore Kumar sang two solos and a duet with Rafi.

Resham Ki Dori (1974): T. C. Dhawan produced the movie and Atmaram directed it. The dialogues were by Vrajendra Gaur. Dharmendra was cast opposite Saira Banu. There are six songs in the album. Indivar wrote three songs, Neeraj two and Hasrat wrote one. Asha sang two songs, a solo and another with a chorus. Rafi, Manna Dey, Suman Kalyanpur and Kishore Kumar sang one solo each. Indivar, Shankar Jaikishan and Suman Kalyanpur received Filmfare Award nominations for Best Lyricist, Best Music Director/s and Best Female Playback Singer. The movie ran well at the box.

Although their movies together did very well, Shankar Jaikishan and Vrajendra Gaur parted their ways.

Seen in the picture below are (L-R): Shankar, Shanker Mukherjee, Vrajendra Gaur and Shailendra at the recording of a song for Pyar Mohabbat.

Photo courtesy: Suneel Gaur

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Lyrics Sur Na Saje Kya Gaoon Main

Lyrics Sur Na Saje Kya Gaoon Main

Lyrics in English | Sur Na Saje Kya Gaoon Main | Basant Bahar (1956) | Manna Dey Sur Na SajeKya Gaoon MainSur Na SajeKya Gaoon MainSur Ke BinaJeewan SoonaSur Ke BinaJeewan SoonaSur Na SajeKya Gaoon MainSur Na Saje………. Dono JahaanMujhse RootheDono JahaanMujhse RootheTere BinaYe Geet Bhi JhootheTere BinaYe Geet Bhi JhootheSur Na SajeKya Gaoon MainSur Ke BinaJeewan SoonaSur Ke BinaJeewan SoonaSur…

[janiedean]

Hey Lavi vorrei farmi una cultura su Bruce Springsteen... cosa mi consigli per iniziare? Grazie in anticipo, il tuo blog è favoloso! :DD

salve anon SONO QUESTE LE DOMANDE CHE VOGLIO AVERE :D

DETTO CIO’ ECCO COSA CONSIGLIEREI IO AI WANNABE BRUCE FANS :

se non hai mai sentito niente di bruce prima ti consiglierei di sentirti il best of triplo che era uscito nel 2003 (questo qui per dire) che fondamentalmente ti fa un’ottima retrospettiva di tutta la carriera fino a quel punto e ha degli extra nel terzo cd che ti danno pure l’idea del fatto che pure la roba che non pubblica è centomila volte meglio di quello che pubblicano gli altri

DOPO CIO’ andando momentaneamente su dischi interi ti direi the river perché è tipo il riassunto delle trecento cose che fa di solito/del suo tipo di musica ed è oggettivamente l’ammore

dopo quello andrei di born to run e darkness on the edge of town

una volta metabolizzato tutti questi puoi sceglierti due coppie ovvero

o vai di greetings from asbury park/the wild the innocent and the e-street shuffle che sono i primi due e fondamentalmente si vede che il 2 è il seguito stilistico dell’1, oppure nebraska/bitusa che io assolutamente sentirei insieme perché fondamentalmente tre quarti delle canzoni di bitusa erano scritte per nebraska e se lo sai lo vedi in un’ottica totalmente diversa dalla media XD spoilers: nebraska NON è easy listening per niente ma è tipo la cosa oggettivamente meglio ever quindi sappilo XD

poi mi sentirei the rising che è fondamentalmente il river degli anni 2000 solo un cd unico XD

A QUESTO PUNTO CI SONO QUELLI MENO FONDAMENTALI COME INIZIO DEL SOTTOGENERE e puoi anda in che ordine ti pare, quindi ti dico sulla base di quello che ti è piaciuto di quelli di sopra:- se ti è piaciuto nebraska VAI IMMEDIATAMENTE DI THE GHOST OF TOM JOAD E DEVILS AND DUST nell’ordine, ps tom joad ha la mia fave song di bruce ever >__>- se ti garbavano le love songs in generale vai di tunnel of love che è il mio fave soggettivo E LO SO CHE E’ UN’OPINIONE POCO POPOLARE MA THAT’S ANOTHER PROBLEM - se ti garba la roba upbeat vai di lucky town, magic e wrecking ball - pure working on a dream ma è il più debole dei tre admittedly PER QUANTO SEMPRE A+spoilers: human touch è il disco peggio che ha fatto - che in realtà per la media della gente E’ COMUNQUE A+ ma diciamo che per la sua è piuttosto sottotono, fondamentalmente c’ha quattro canzoni a+++ (human touch, soul driver, 57 channels, with every wish), due a+ (man’s job, i wish i were blind) e pony boy è adorbs ma il resto so dimenticabili quindi recuperatelo quando ti pare ecco

se ti piace la roba folkeggiante vai di seeger sessions che sono principalmente cover ma fatte divinamente

dopo tutto il malloppo puoi anda di high hopes, wrecking ball e western stars che sono gli ultimi tre e sono l’ammore pure loro, ps western stars è meglio nella versione live del film ma comunque a+ su tutta la linea

DETTO CIO’ fermi tutti perché non ho finito e ci sta il discorso tracks + i live ufficiali XDDDDD

dunque: fondamentalmente tutto ^^^ va bene ma finché n’hai sentito i live n’hai sentito il 100% di quello che può darti bruce QUINDI puoi sentirteli quando ti pare post recupero di nebraska/bitusa imvho. RIGUARDO L’ORDINE:- per me il più accessibile immediato è london calling perché è un disco solo e non ha arrangiamenti alternativi e soprattutto ha la no surrender con brian fallon che è il mio nirvana MA il live in nyc è anche un’eccellente scelta (IT WAS MY FIRST!!) e ha american skin/land of hope and dreams che sono meglio live che dal vivo; detto ciò, il live 75-85 è il must dei must solo che sono tre cd/equivalente di cinque vinili che copre quegli anni lì con cover e non cover e roba mai messa su cd fino a quel momento (BECAUSE THE NIGHT) quindi vai di quello asap ma ecco se non vuoi metterti dietro a cinque vinili di live gli altri due so n’attimo più accessibili XD poi c’è live in dublin che però è quello della seeger band quindi non se inizia da quello uu

DISCORSO TRACKS: una volta che hai metabolizzato il resto pls recuperatelo perché sono quattro cd di outtakes che so meglio del 90% dei dischi del resto del mondo non outtakes XDD

BONUS: il canale ufficiale youtube di bruce è gestito da santi e hanno su intero il live in barcelona del 2002 che è tipo LA PERFEZIONE COSMICA quando si tratta di introduzione a bruce - per me è il top solo che c’è solo video non audio -, il new orleans jazz festival del 2007 che è con la seeger sessions ed è pure top notch, più ci sta tutto quello a tampa dell’80 che avevano messo nel box set quattro cd di the river che era uscito nel 2015 CHE E’ PURE TOP NOTCH e huston 78 che giuro è l’apoteosi (iL TOUR DI DARKNEEESSS) più tutte le chicche migliori degli ultimi tour (le cover dei bee gees in australia per dire XDD) quindi già solo andare lì e vedere che ci sta ti funziona benissimo come inizio perché ci sta fondamentalmente la qualunque oltre ai video ufficiali XD quindi io ti direi che intanto che ti trovi i dischi di cui sopra vai lì e ti vedi tutto il live in barcelona che tra l’altro aveva una scelta di canzoni veramente perfetta come introduzione e capisci con chi hai a che fare XDDDD giuro quel concerto è la manna divina li odio perché ora che posso vederlo quando mi pare ci passo le ore sopra lmao ma ecco se ti vedi barcelona, tampa 80 e huston 78 in ordine già fondamentalmente hai un’ottima idea di com’è dal vivo sto uomo XDDD ma comincia da quello di barcellona >_> CREDO abbiano anche tutto il live in nyc che pure quello è la manna del signore ma per me barcelona aveva la setlist migliore XD

detto ciò feel free to gestirtela come vuoi nel senso che boh se te senti nyc o london callng e decidi che youngstown è la meglio canzone ever quindi vuoi sentirti tom joad prima di nebraska perché sta lì vai con dio non c’è l’ordine fisso, ma godspeed e sappi che non c’è niente come sentire bruce la prima volta con cognizione di causa quindi enjoy perché c’è tanta roba ;) 

SE POI TRA UN MESE SEI DEI NOSTRI e vuoi sapere dove trovare i bootleg e le outtakes chiedi pure che ne ho quanti ne vuoi. ;)

[bollywoodirect]

Remembering legendary music composer Madan Mohan on his 94th birth anniversary.

Madan Mohan Kohli (25 June 1924 – 14 July 1975), better known as Madan Mohan, was a music director of the 1950s, 1960s, and 1970s.

He scored his first big break with the film Aankhen (1950 film) in 1950. His next film was "Adaa" which saw the beginning of a long lasting collaboration with Lata Mangeshkar; who would go on to sing for many of his films. Two of his composed songs from "Sharabi" "Sawan ke maheeney mein" and the classic song "Kabhi na Kabhi koi na koi toh aayega", both filmed for Dev Anand are among the most well known renditions of the renowned singer Mohammad Rafi. In addition, his other compositions like Wo Chup Rahen To from the film Jahan Ara (1964) and Maine Rang Li Aaj Chunariya from Dulhan Ek Raat Ki (1966) are two similar examples. Madan was also able to write songs for male singers such as Talat Mahmood (Phir wahi Sham, wahi dil, wahi tanhayee hai, Main Teri Nazar Ka Suroor Hoon and Teri Aankh Ke Aansoo from Jahan Ara, and Meri Yaad Mein Tum Na from Madhosh) and Mohammad Rafi (Ek Haseen Shaam Ko from Dulhan Ek Raat Ki, Kisi Ki Yaad Mein from Jahan Ara, Main Nigahen Tere Chehere Se from Aap Ki Parchaiyian, Aap Ke Pehlun Mein Aakar Ro Diye from Mera Saaya, the all-time haunting Meri Awaaz Suno and Tumhare Zulf Ke Sayen from Naunihal, Teri Aankhon Ke Siva Duniya Mein from Chiraag as well. Madan did not usually employ Kishore Kumar. Nonetheless their partnership created songs as well; in this category fall songs such as Simti Si, Sharmai Si from Parwana, Zaroorat Hai, Zaroorat Hai from Manmauji, the title song from Ek Muthi Aasman, Mera Naam Abdul Rehman from Bhai Bhai, and Aai Hasino, Naazanino from Chacha Zindabad. Madan often collaborated with lyricists Raja Mehdi Ali Khan, Kaifi Azmi, and Rajinder Krishan, Sahir Ludhianvi and Majrooh Sultanpuri for his movies.

In 1957 he came out with a film named Dekh Kabira Roya in which the legendary singer Manna Dey gave his voice to the melodious Kaun Aaya Mere Man Ke Dwaare and unforgettable numbers like Tum Bin Jeevan Kaisa Jeevan in the film Bawarchi. In addition to that, he had Lata sing Tu Pyaar Kare Ya Thukraaye and Meri Veena Tum Bin Roye numbers, and he used Talat Mahmood for the song Hum Se Aaya Na Gaya in the same movie. Once in an interview Manna Dey recalled that Madan Mohan asked him to take special care when singing Kaun Aaya Mere Man Ke Dwaare.

A film scored by Madan was Chetan Anand's Haqeeqat (1964), starring Balraj Sahni and Dharmendra and based on the Sino-Indian War of 1962. In it, he used Rafi, who sang numbers like Kar Chale Hum Fida, Main Yeh Soch Kar. Lata was used for the song Zara Si Aahat Hoti Hai and the unscreened " Khelo na mere dilse". And the same film saw Rafi, Talat, Manna Dey, and Bhupendra singing Hoke Majboor Mujhe Usne Bhulaya Hoga. Bhupendra appeared on the screen as well for the first time, much before he established himself as a playback singer. This song is also the only song in which four top-rated male playback singers have put voices together in a song. In 1966, he again paired with Lata Mangeshkar for Mera Saaya.

Madan Mohan's venture was Raj Khosla's version of "Woman in White", titled "Woh Kaun Thi?". This film has three Lata solos ('Naina barse rim jhim rim jhim', 'Lag ja gale' and 'Jo humne daastaan apni sunayee') and a Lata duet.

The late fifties, sixties and the early seventies were the most productive period in Madan Mohan's career. His songs from those decades include compositions for films like Adalat, Anpadh, Dulhan ek raat ki, Mera Saya, Dastak, Hanste Zakhm, Heer Raanjha, Maharaja, and Mausam, among many others. His second last bow was for a film released five years after his death, Chalbaaz. In 1970, during the changing times of western music he gave music based on ragas for Rajinder Singh Bedi's Dastak and won his only 1971 National Film Award for Best Music Direction. Its songs sung by Lata Mangeshkar are still considered her finest.

His legacy wouldn't be complete without mentioning the ghazal he composed for the movie "Dil Ki Rahein" - "Rasm-e-ulfat ko nibhaein to nibhaein kaise". The shayar(lyricist) for the ghazal was Naqsh Lallayalpuri and it was sung by Lata Mangeshkar. It is considered as one of the best songs sung by Lata Mangeshkar, ever.

Madan Mohan's son Sanjeev Kohli recreated 11 of his late father's unused compositions for the soundtrack of the 2004 Yash Chopra film Veer-Zaara. Later on, Kohli brought out an album "Tere Baghair" which contains some of Madan Mohan's songs.

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Lyrics Aye Bhai Zara Dekh Ke Chalo

Lyrics Aye Bhai Zara Dekh Ke Chalo

Aye Bhai Zara Dekh Ke Chalo – Song contents: Lyrics in EnglishHindi LyricsYouTube VideoSong TriviaMore Lyrics in English | Aye Bhai Zara Dekh Ke Chalo | Mera Naam Joker-1970 | Raj Kapoor | Manna Dey Aye BhaiZara Dekh Ke ChaloAage Hi NahinPeechhe BhiDaayen Hi NahinBaayen BhiUpar Hi NahinNeeche BhiAye Bhai Aye BhaiZara Dekh Ke ChaloAage Hi NahinPeechhe BhiDaayen Hi NahinBaayen BhiUpar Hi…

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Lyrics Kaal Ka Pahiya

Lyrics Kaal Ka Pahiya

Kaal Ka Pahiya – Song contents: Lyrics in EnglishHindi LyricsYouTube VideoSong TriviaMore Lyrics in English | Kaal Ka Pahiya | Chanda Aur Bijli-1969 | Manna Dey Kaal Ka PahiyaGhoome BhaiyyaLakh TarahInsaan ChaleLe Ke ChaleBaarat Kabhi ToKabhi BinaSaamaan ChaleRam Krishna Hari (2) Kaal Ka PahiyaGhoome BhaiyyaLakh TarahInsaan ChaleLe Ke ChaleBaarat Kabhi ToKabhi BinaSaamaan ChaleRam Krishna…

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Lyrics Raam Krishna Hari

Lyrics Raam Krishna Hari

Raam Krishna Hari – Song contents: Lyrics in EnglishHindi LyricsYouTube VideoSong TriviaMore Lyrics in English | Raam Krishna Hari | Chanda Aur Bijli-1969 | Manna Dey Kaal Ka PahiyaGhoome BhaiyyaLakh TarahInsaan ChaleLe Ke ChaleBaarat Kabhi ToKabhi BinaSaamaan ChaleRam Krishna Hari (2) Kaal Ka PahiyaGhoome BhaiyyaLakh TarahInsaan ChaleLe Ke ChaleBaarat Kabhi ToKabhi BinaSaamaan ChaleRam…

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Lyrics Nirbal Se Ladaayi Balwaan Ki

Lyrics Nirbal Se Ladaayi Balwaan Ki

English and Hindi Lyrics of song Nirbal Se Ladaayi Balwaan Ki from Toofan Aur Deeya (1956). Lyrics in English | Nirbal Se Ladaayi Balwaan Ki | Toofan Aur Deeya-1956 | Manna Dey Nirbal Se LadaayiBalwaan KiNirbal Se LadaayiBalwan KiYe Kahaani HaiDiye Ki Aur Toofan KiYe Kahaani HaiDiye Ki Aur Toofan Ki……… Ik Raat AdhiyaariThi Dishaayen Kaari KaariMand Mand PawanTha Chal Raha Andhiyaare Ko…

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Lyrics Abhi To Haath Me Jaam Hai

Lyrics Abhi To Haath Me Jaam Hai

Lyrics in English| Abhi To Haath Me Jaam Hai | Seeta Aur Geeta (1972) | Dharmendra, Hema Malini Abhi To Haath Me Jaam HaiTauba Kitna Kaam HaiAbhi To Haath Me Jaam HaiTauba Kitna Kaam HaiKabhi Mili Fursat To BhaiDekha JaayegaDuniya Ke Baare Me HaaSocha JaayegaAbhi To Haath Me Jaam Hai……….. Jeene Se Pehle Kaun MareFikra Subah Ki Kaun KareJeene Se Pehle Kaun MareFikra Subah Ki Kaun KareGham Ki…

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Lyrics Yaari Hai Imaan Mera

Lyrics Yaari Hai Imaan Mera

Lyrics in English | Yaari Hai Imaan Mera | Zanjeer (1973) | Pran, Amitabh Bachchan Gar Khuda Muj Se Kahe (2)Kuchh Maang Ae Bande MereMain Ye Maangoon (2Mehefilon Ke Daur Yoon Chalte RaheHam Peyaala Ham NivaalaHamsafar Hamraaz HoTa Qayaamat (2)Jo Chiraago Ki Tarha Jalte RaheYaari Hai Imaan MeraYaar Meri ZindgiAre Yaari Hai Imaan MeraYaar Meri ZindgiPyar Ho Bandon Se Ye (2)Sab Se Badi Hai…

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Lyrics Jis Ka Koi Nahi Us Ka To Khuda-Manna Dey

Lyrics Jis Ka Koi Nahi Us Ka To Khuda-Manna Dey

Lyrics in English | Jis Ka Koi Nahi Us Ka To Khuda Hai Yaaro | Laawaris (1981) | Manna Dey Jis Ka Koyee NahiUs Ka To Khuda Hai YaaroJis Ka Koyee NahiUs Ka To Khuda Hai YaaroJis Ka Koyee NahiUs Ka To Khuda Hai YaaroHaan Khuda Hai YaaronMain Nahi Kehta (2)Kitabon Me Likha Hai YaaroJis Ka Koyee NahiUs Ka To Khuda Hai YaaroHaan Khuda Hai Yaaro (2)……… Songs starting from “J” Jis Ne Paida Kiya…

[shankarjaikishanfansassnintl]

The brief but magical association of KISHORE KUMAR & SHANKAR-JAIKISHEN…

Feature courtesy

https://myviewsonbollywood.wordpress.com/2018/06/12/the-brief-but-magical-association-of-kishore-kumar-shankar-jaikishen/

By

Sharada Iyer

The very mention of their names immediately brings to our mind the evergreen super-hit song ‘Zindagi ek safar hai suhana…’ from the film ANDAZ. From the opening prelude to the yodelling to the fast-paced beats – everything about the song became unforgettable! Added to that superstar Rajesh Khanna’s charismatic screen presence turned this song not only into one of the most loved songs of Hindi cinema but also became one of the biggest hits of the careers of  Rajesh Khanna, Kishore Kumar and Shankar-Jaikishen.

ANDAZ (1971): ‘Zindagi ek safar hai suhana…’

Shankar-Jaikishen (SJ): The music director duo who revolutionized the very definition of Hindi film music with their path-breaking music and tunes…

Kishore Kumar: The genius actor-singer who created his own path and carved a place in the Hindi film music scene which people cannot even dream of achieving…  

Both the singer as well as the music director duo reached dizzying heights of popularity during the years they were active. And yet when we look back it is sad that three of the most loved and cherished musical geniuses of our industry hardly got much opportunity to work together during their long and illustrious careers …

Interestingly they even made their debut around the same time –

Shankar-Jaikishen’s debut film as independent music directors was R K Films’ Barsaat which released in 1949…

Kishore Kumar’s debut film as an actor and a playback singer (sang for Dev Anand) was Ziddi which released in 1948…

Shankar Jaikishen somehow always worked with heroes like Raj Kapoor, Shammi Kapoor, Rajendra Kumar, Dilip Kumar, Biswajit, Joy Mukjerjee, Shashi Kapoor, Sunil Dutt for whom Kishore Kumar never got the opportunity to playback. When they worked for Dev Anand they used Mohammed Rafi except for one instance-‘Dooriyan nazdeekiyan ban gayee…’ a Kishore Kumar-Asha Bhonsle duet that turned out to be the biggest hit of the film:

DUNIYA (1968): ‘Dooriyan nazdeekiyan ban gayi…’

It was around the late forties that the triumvirate of Raj Kapoor, Dev Anand and Dilip Kumar entered the industry, became great stars creating a special niche for themselves and also had their own favourite playback singers singing for them. While Rafi became the voice of Dilip Kumar with Talat Mehmood also contributing in some songs, Mukesh was the voice of Raj Kapoor with Manna Dey singing for him at times. In case of Dev Anand, both Rafi and Kishore Kumar’s voices were used.and hence Kishore Kumar between 1948 and 1968 sang only for himself when he acted or did playback for Dev Anand.

NEW DELHI, KROREPATI, BEGUNAAH, RANGOLI and SHARARAT are the five films for which Shankar-Jaikishen worked with Kishore Kumar where he acted and sang his own songs and what beautiful music they created:

Here is a gem from the 1962 film RANGOLI. What an absolutely haunting song- simple, hummable and so melodious

RANGOLI (1962): ‘Choti si yeh duniya pehchaane raaste hain…’

Interestingly both the above song and ‘Zindagi ek safar…’ from ANDAZ had other singers singing their version but really do people even remember that? For when Kishore Kumar sings, such is the magic and resonance in his voice that the other versions pale in comparison.

A fun-filled Kishore-Lata duet-‘Ik nazar kisine dekha aur ban gaya afsana…’

A soulful solo-‘Rangoli sajaao re…’

Listen to this superb song from NEW DELHI. The simple orchestration, the yodelling, the subtle variations in the song all go to make this a masterpiece!

NEW DELHI (1956): ‘Nakhrewaali…’

NEW DELHI (1956): ‘Milte hi nazr aap mere dil mein aa gaye…’

While Kishore Kumar enjoyed immense popularity as an actor-singer during the fifties and early sixties, he had to undergo a long period of struggle to be considered as a playback singer for other heroes. In fact there are rare instances when other singers like Mohammed Rafi and Manna Dey sang for him.

SHARARAT (1957): ‘Hum matwaale naujawan…’

After giving him such a wonderful solo, wonder why did Shankar-Jaikishen settle for Rafi to sing ‘Ajab hai dastaan meri yeh zindagi…’!!! What made them think that Kishore would not have delivered that song brilliantly in his own way?

SHARARAT (1959)

BEZUBAAN (1957)

Only audio of this song is available

To achieve his dream of becoming a playback singer, Kishore Kumar had to become an actor and act for almost 20 years before giving up acting to become full-fledged singer. This phase coincided with the coming of a new star Rajesh Khanna in the horizon and Kishore Kumar became a voice to reckon with for all the actors after 1968.

In 1968 Shankar-Jaikishen gave music in the Dharmendra-Hema Malini starrer TUM HASEEN MAIN JAWAAN. Kishore Kumar got to sing only one song and that too a comical one in the film- ‘Munne ki amma yeh to bata…’. The song did become popular with the masses:

THE FATEFUL YEAR OF 1971:

This year was important for this combination in more ways than one. Not only did they team up to give several super-hits unfortunately, it was also the last year they worked as a team together  for Jaikishen from the duo passed away due to cirrhosis of liver.

Apart from the blockbuster song ‘Zindagi ek safar hai suhana…’, the Kishore-SJ combo gave us some of these superb songs also in 1971 :

SOLOS:

LAL PATTHAR (1971): ‘Geet gaata hoon main…’

KAL AAJ AUR KAL (1971) : ‘Bhanware ki gunjan…’

DUETS:

KAL AAJ aur KAL: ‘Aap yahan aaye kisliye…’

This film which launched Raj Kapoor’s son Randhir Kapoor had superb music by Shankar Jaikishen and Kishore Kumar became Randhir’s voice and all songs were super-hit. There were two more lovely duets in the film- ‘Tik tik tik tik…,’ ‘Jab hum honge saath saal ke…’

NAGINA: ‘Tere mere pyar ka andaz hai nirala…’

MAIN SUNDAR HOON: ‘Mujhko thand lag rahi hai mujhse door tu naja…’

The song ‘Naach meri jaan…’ from the same film had Kishore Kumar and Jaikishen making a brief appearance at the beginning of the song…

SEEMA: ‘Waqt thoda sa abhi kuch aur guzar jaane de…’

First in 1966, lyricist Shailendra passed away. On Septemnber 12, 1971, Jaikishen passed away. The team of SJ was hit very badly. Though Shankar did try to keep the flag flying by continuing to compose under the name of Shankar-Jaikishen as per their agreement, but the magic had started fading away.

POST 1971:

Films like JANGAL MEIN MANGAL, AANKHON AANKHON MEIN and DIL DAULAT DUNIYA released in 1972. Probably the music for some of the songs had already been scored by the two together and kept in their music bank. Here are some brilliant songs from these films:

JANGAL MEIN MANGAL: ‘Tum kitni khoobsurat hoy eh mere dil se pucho…’

Here is a rare Rafi-Kishore duet from the film JANGAL MEIN MANGAL picturized on Kiran Kumar and his friends which included  a weird looking Pran: ‘Ae Bagh ki kaliyon sharam karo sharam karo…’

AANKHON AAKHON MEIN: ‘Aankhon aankhon mein baat…’ with Asha

Another duet from the same film:

‘Do baatein pyar bhari kar loon…’with Asha

The Rajesh Khanna-Kishore combo came together again for this film after Andaz but the results were certainly not anywhere near their best. There were a couple of solos and duets by Kishore Kumar:

DIL DAULAT DUNIYA: ‘Saath mein pyara saathi ho…’

Soon offers reduced though Shankar did manage to come up with a few aces with Kishore Kumar:

DO JHOOT (1975): ‘Chalo bhool jaayen jahan ko yahan do ghadi…’

‘Chatri na khol ud jayegi…’

AAJ KI TAAZA KHABAR (1974) : ‘ Mujhe meri biwi se bachao …’

I end this musical blog with this lovely solo from RESHAM KI DORI picturized on Dharmendra.

RESHAM KI DORI (1975): ‘Chamka pasina banke angina…’

There is no doubt that this talented and unique singer-music director combination would have definitely created a different kind of euphoria for whenever they did come together and whatever little work they did together, they created magic. Whether it was industry politics or just destiny which kept them apart, fans remain grateful for the precious and priceless legacy left behind by them…

[bollywoodirect]

Remembering legendary music composer Madan Mohan on his 93rd birth anniversary. Madan Mohan Kohli (25 June 1924 – 14 July 1975), better known as Madan Mohan, was a music director of the 1950s, 1960s, and 1970s. He scored his first big break with the film Aankhen (1950 film) in 1950. His next film was "Adaa" which saw the beginning of a long lasting collaboration with Lata Mangeshkar; who would go on to sing for many of his films. Two of his composed songs from "Sharabi" "Sawan ke maheeney mein" and the classic song "Kabhi na Kabhi koi na koi toh aayega", both filmed for Dev Anand are among the most well known renditions of the renowned singer Mohammad Rafi. In addition, his other compositions like Wo Chup Rahen To from the film Jahan Ara (1964) and Maine Rang Li Aaj Chunariya from Dulhan Ek Raat Ki (1966) are two similar examples. Madan was also able to write songs for male singers such as Talat Mahmood (Phir wahi Sham, wahi dil, wahi tanhayee hai, Main Teri Nazar Ka Suroor Hoon and Teri Aankh Ke Aansoo from Jahan Ara, and Meri Yaad Mein Tum Na from Madhosh) and Mohammad Rafi (Ek Haseen Shaam Ko from Dulhan Ek Raat Ki, Kisi Ki Yaad Mein from Jahan Ara, Main Nigahen Tere Chehere Se from Aap Ki Parchaiyian, Aap Ke Pehlun Mein Aakar Ro Diye from Mera Saaya, the all-time haunting Meri Awaaz Suno and Tumhare Zulf Ke Sayen from Naunihal, Teri Aankhon Ke Siva Duniya Mein from Chiraag as well. Madan did not usually employ Kishore Kumar. Nonetheless their partnership created songs as well; in this category fall songs such as Simti Si, Sharmai Si from Parwana, Zaroorat Hai, Zaroorat Hai from Manmauji, the title song from Ek Muthi Aasman, Mera Naam Abdul Rehman from Bhai Bhai, and Aai Hasino, Naazanino from Chacha Zindabad. Madan often collaborated with lyricists Raja Mehdi Ali Khan, Kaifi Azmi, and Rajinder Krishan, Sahir Ludhianvi and Majrooh Sultanpuri for his movies. In 1957 he came out with a film named Dekh Kabira Roya in which the legendary singer Manna Dey gave his voice to the melodious Kaun Aaya Mere Man Ke Dwaare and unforgettable numbers like Tum Bin Jeevan Kaisa Jeevan in the film Bawarchi. In addition to that, he had Lata sing Tu Pyaar Kare Ya Thukraaye and Meri Veena Tum Bin Roye numbers, and he used Talat Mahmood for the song Hum Se Aaya Na Gaya in the same movie. Once in an interview Manna Dey recalled that Madan Mohan asked him to take special care when singing Kaun Aaya Mere Man Ke Dwaare. A film scored by Madan was Chetan Anand's Haqeeqat (1964), starring Balraj Sahni and Dharmendra and based on the Sino-Indian War of 1962. In it, he used Rafi, who sang numbers like Kar Chale Hum Fida, Main Yeh Soch Kar. Lata was used for the song Zara Si Aahat Hoti Hai and the unscreened " Khelo na mere dilse". And the same film saw Rafi, Talat, Manna Dey, and Bhupendra singing Hoke Majboor Mujhe Usne Bhulaya Hoga. Bhupendra appeared on the screen as well for the first time, much before he established himself as a playback singer. This song is also the only song in which four top-rated male playback singers have put voices together in a song. In 1966, he again paired with Lata Mangeshkar for Mera Saaya. Madan Mohan's venture was Raj Khosla's version of "Woman in White", titled "Woh Kaun Thi?". This film has three Lata solos ('Naina barse rim jhim rim jhim', 'Lag ja gale' and 'Jo humne daastaan apni sunayee') and a Lata duet. The late fifties, sixties and the early seventies were the most productive period in Madan Mohan's career. His songs from those decades include compositions for films like Adalat, Anpadh, Dulhan ek raat ki, Mera Saya, Dastak, Hanste Zakhm, Heer Raanjha, Maharaja, and Mausam, among many others. His second last bow was for a film released five years after his death, Chalbaaz. In 1970, during the changing times of western music he gave music based on ragas for Rajinder Singh Bedi's Dastak and won his only 1971 National Film Award for Best Music Direction. Its songs sung by Lata Mangeshkar are still considered her finest. His legacy wouldn't be complete without mentioning the ghazal he composed for the movie "Dil Ki Rahein" - "Rasm-e-ulfat ko nibhaein to nibhaein kaise". The shayar(lyricist) for the ghazal was Naqsh Lallayalpuri and it was sung by Lata Mangeshkar. It is considered as one of the best songs sung by Lata Mangeshkar, ever. Madan Mohan's son Sanjeev Kohli recreated 11 of his late father's unused compositions for the soundtrack of the 2004 Yash Chopra film Veer-Zaara. Later on, Kohli brought out an album "Tere Baghair" which contains some of Madan Mohan's songs. Like बॉलीवुड डायरेक्ट Bollywoodirect