Top 30 Songs Of!
- Best Of Sd Burman Hindi Songs Free Download
- National Film Award For Best Music Direction
- Meera Dev Burman
Forty years ago, we lost one of the most iconic music directors India has ever seen. Sachin Dev Burman was one of the few musicians who we can truly call the architects of the golden era of Hindi film music. Born to royalty (his father was from the royal family of Tripura and his mother was from the Manipur royal family), SD Burman was a prince like none other.
His collaborations with Guru Dutt and Dev Anand, with Lata Mangeshkar, Talat Mehmood and later Kishore Kumar have resulted in some of the best songs the Hindi film industry has ever produced. I know this is not an easy task, but I've tried to make a list of 15 must-listen-to SD Burman songs that define the illustrative career of the legend. Check it out. Jaane Woh Kaise Log Thhe Jin Ke - Pyaasa When you combine the music of SD Burman, the words of Sahir Ludhianvi and the voice of Hemanta Mukherjee, this is what you get. Chhod Do Aanchal - Paying Guest Kishore Kumar and Asha Bhonsle creating magic with the tunes of SD Burman and the words of Majrooh Sultanpuri. Mana Janaab Ne Pukara Nahin - Paying Guest Yes, 'Paying Guest' had more than one good song.
Tadbeer Se Bigdi Hui - Baazi Some might say this is an unusual song on this list. Well, that's because it is. SD Burman used a ghazal written by Sahir Ludhianvi and turned it into a sensual club song. Ludhianvi wasn't too happy about it, but the gamble paid off. The song was a hit.
Sar Jo Tera Chakraye - Pyaasa The melancholy of this Guru Dutt film desperately needed a light song the audience could hum along to even after the film. Once again, SD Burman delivered. Ek Ladki Bheegi Bhaagi Si - Chalti ka Naam Gaadi This was inspired by Tennesse Ernie Ford's 'Sixteen Tonnes', but SD Burman managed to add his own touch to it. Hai Apna Dil Toh Awara - Solva Saal Hemanta Mukherjee collaborated again with SD Burman, this time vastly different from anything you'd hear in Pyaasa. Puchho Na Kaise Maine Rain Bitai - Meri Surat Teri Aankhen One of Manna Dey's best songs ever was composed by SD Burman. Gaata Rahe Mera Dil - Guide I could write an entire article on the music in 'Guide'.
So yes, picking one song from it wasn't easy. Yeh Dil Na Hota Bechara - Jewel Thief It is said that SD Burman had to work really hard to master the art of composing tunes that could be easily hum by the ordinary man, but clearly, it paid off. Safal Hogi Teri Aradhana - Aradhana Burman was against having actors lip-sync songs he himself sung. He had a unique singing voice and who knows what could have happened had he jumped in fully into the playback singing role. Mere Sapno Ki Rani - Aradhana Aradhana also proved to be massive boost for Kishore Kumar.
Tere Mere Milan Ki Yeh Raina - Abhimaan Another musical masterpiece, 'Abhimaan' was one of the early films in Amitabh Bachchan's career that helped him soon become India's biggest film star. Chupke Chupke Chal Ri Purvaiya - Chupke Chupke Even comedy classic need great songs, and again, SD Burman was the answer. Badi Suni Suni Hai Zindagi - Mili Right after the rehearsal for this song, SD Burman suffered a stroke. Kishore Kumar visited him in the hospital and said - Dada, Please don't worry, your recording is after three days, you just see how well it goes. It turned out to be one of Kishore Kumar's most critically acclaimed songs.
Gaata Rahe Mera Dil - Guide - Khoya Khoya Chand - Kala Bazar - Khwaab Ho Tum - Teen Deviyan - Tadbeer Se - Baazi - Achha Jee Main Haari - Kala Pani - Dil Ka Bhanwar - Tere Ghar Ke Samne - Yeh Dil Na Hota Bechara - Jewel Thief - Shokhiyon Mein Ghola Jaaye - Prem Pujari - Ab Ke Sajan Sawan Mein - Chupke Chupke - Maine Kahan Phoolon Se - Mili Enjoy these wonderful song composed by S D Burman. VhDsongs From the latest Bollywood songs to the oldest, SUBSCRIBE now to. To see all the latest music playlists that we've created just for you, click here - Connect with us on:- Facebook - Twitter - Pinterest - Google+ -.
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A tribute on Rafi’s death anniversary July 31 There is one thing common between Mohammad Rafi and SD Burman. If Rafi was the most versatile singer, SD Burman was the most versatile composer. He is the only music director who can claim to have composed equally great music with Rafi as with Kishore Kumar, his two main singers. There were also films in which he used the voice of Hemant Kumar for Dev Anand, when he composed unparalleled songs like Ye raat ye chandni phir kahan. And whenever he used Manna Dey, Talat Mahmood and Mukesh, he created songs which became landmarks of their career. SD Burman was eighteen years older to Rafi, but debuted as a composer in Hindi films (in 1946) two years’ later than Rafi’s debut as a playback singer.
Their association started very early – I find a Rafi song composed by SD Burman in Do Bhai (1947), i.e. Much earlier than he used Kishore Kumar. Thereafter, he used his voice in several films, but it would not be until a decade later, i.e.
1957 when their combination would give some stunningly beautiful music in Pyasa. In this interregnum of ten years, SD Burman’s work is more noteworthy for his songs by female singers. As for male singers, he composed some great songs by Hemant Kumar, Talat Mahmood, even Kishore Kumar and Mukesh. Rafi, though getting some songs from time to time, remains comparatively unnoticeable. But post 1957, you get Rafi gems one after another in Kala Pani (1958), Insan Jaag Utha, Kagaz Ke Phool (1959), Bambai Ka Babu, Kala Bazar (1960), Meri Surat Teri Ankhen, Tere Ghar Ke Samne (1963), Guide, Teen Deviyan (1965) and so on. Post- Aradhna (1969) too, when Kishore Kumar had a new avatar and zoomed like a meteor, SD Burman used Rafi till the very end.
Who was SD Burman’s favourite singer – Rafi or Kishore Kumar? You won’t get an answer in statistics – the two are generally comparable – 44 Rafi solos versus 52 by Kishore Kumar as per Mr Arunkumar Deshmukh at Atul’s site.
The warriors on two sides often get into violent clashes. I would avoid that territory. Only SD Burman knew the answer to this question. As a music lover when I look at the Rafi songs of the abovementioned films, I feel as if a sculptor had crafted these songs with great care, and Rafi put soul into them with equal feeling.
SD Burman knew those special situations when no one else but Rafi could deliver what he wanted. I did my last post on by SD Burman. Continuing my series on SD Burman with other great singers, I present some Rafi songs by him as my tribute to Rafi on his 33 rd death anniversary (July 31).
Duniya mein meri aaj andhera hi andhera from Do Bhai (1947), lyrics Raja Mehdi Ali Khan This must be the first song by Rafi under the baton of SD Burman. I am giving this not only because of its historical importance, but also because it is quite nice and has the hallmark of Rafi style as early as 1947. The song has gone into oblivion, and I heard it for the first time while searching for this post.
It deserves to be resuscitated. Ye mahlon ye takhton ye taajon ki duniya from Pyasa (1957), lyrics Sahir Ludhiyanvi I mentioned sculpture while describing Rafi-SD Burman songs. Now we come to this piece of art.
Not only the movie Pyasa, and its director Guru Dutt, by far the most written about and respected Hindi film ever, but also the poetry of Sahir Ludhiyanvi – rarely you describe a film song as poetry. Sahir was never more hard-hitting, more angry and searing than in Pyasa. And SD Burman’s music – he never crafted a song with more care. And Rafi’s rendering virtually without any support of instruments – no one else could have done it. In the climax of the movie, Guru Dutt (poet Vijay) walks in the auditorium where the cynical publisher Rahman, who had trashed his poetry and also married his beloved, Mala Sinha, is presiding over his Barsi (first death anniversary), eulogizing him as his collection of poems has become a roaring success for his publishing house.
The ‘dead’ poet standing under the door frame with the director Guru Dutt’s signature play with light and shade, and his singing/reciting this nazm which makes the audience turn their heads, and the ‘dignitaries’ on the dais, including Rahman and Mala Sinha, stare in stunned disbelief, is a piece of art in many respects – not the least Rafi’s rendering and the music of SD Burman. The poetry of Sahir is worth savouring, followed by its excellent translation by Madhu. And talking about the versatility of SD Burman and Rafi, readers would recall this movie also had Tel malish, Sar jo tera chakraye picturised on Johnny Walker. Hum bekhudi mein tumko pukare chale gaye from Kala Pani (1958), lyrics Majrooh Sultanpuri Crafting with care, again! And there was a reason too.
This song has a special pedigree, as it is based on SD Burman’s Bengali song (“I stay awake all alone in this night”). SD Burman’s singing style is very different from a conventional film song, but he adapts it beautifully to this scene where a dejected Dev Anand drowns his sorrows in alcohol, while the sympathetic courtesan, Nalini Jaiwant dances indulgently. To accentuate the hero’s sadness, see how Rafi stretches each syllable with care. And minimal orchestration – Rafi is the Master of such songs.
Dekhi zamane ki yari bichhade sabhi baari baari from Kagaz Ke Phool (1959), lyrics Kaifi Aazmi Kagaz Ke Phool is the second masterpiece of Guru Dutt; many people reckon it greater than Pyasa. At one level there is similarity between the themes of the two movies – the suffering an uncompromising artist (poet in one, film director in the other) undergoes in the selfish and cynical world which values commercial success more than intrinsic merit. This was an overtly autobiographical film, which was not a commercial success, but rated as one of the greatest classics. As Sinha Saheb (Guru Dutt), once famous, now a ‘failed’ director, surveys the ruins of his studio from the scaffolding, his inner despondency and frustration is reflected in this atmospheric song by Rafi.
Wonderful poetry by Kaifi Azmi, and minimal orchestration again by SD Burman – when you are crafting something with care, you don’t want too many colours to distract from the beauty of the sculpture. The song later diffuses into flashback of his glorious days when he was mobbed by admiring fans, scrambling for his autograph, swaying now to a fast chorus with completely different words. The picturisation is another superb example of Guru Dutt’s fascination with light and shades. Din dhal jaye aur raat na jaye from Guide (1965), lyrics Shailendra Guide is an acclaimed masterpiece of Navketan films, the best of Dev Anand’s acting and probably the best of Vijay Anand’s direction. SD Burman matches with his superlative music. I am sure many would have squirmed, and Shankar Jaikishan would themselves have been embarrassed when their Suraj ‘won’ the Filmfare award for the best music direction that year. Talking of SD Burman’s choice between Kishore Kumar and Rafi, he gave Kishore Kumar a duet in this movie with Lata Mangeshkar, Gata rahe mera dil, but all the three solos were by Rafi – the other two being Tere mere sapne ab ek rang hain and Kya se kya hp gaya.
Among the three, Din dhal jaye is my special favourite because of the wonderful musical pieces in the interludes. Kahin bekhayal ho kar yun hi chhoo liya kisi ne from Teen Deviyan (1965), lyrics Majrooh Sultanpuri I started with the theme of ‘crafting with care’. I end with this wonderful song because it gives me the same feeling of ‘crafted with care’. The poet Dev Anand is singing (reciting) at this mushaira, which is being broadcast on the All India Radio. Each of the three deviyan – Simi, Kalpana and Nanda – thinks the song is for her.
Majrooh Sultanpuri, a leading Urdu poet who was a shagird of Jigar Muradabadi, would have been pleased by Dev Anand’s performance at the ‘mushaira’. All 11 are gems. I am especially happy to see tu kahan ye bata, one of the most melodious songs in Hindi films, which often does not get its due.
The ones I miss from the list are Saathi na koi manzil and sar jo tera chakar aaye. The latter, whatever critics may say, is a classic.
My 7 year old song loves it as much as my father did. Also, would like to mention something I read in a book on S D Burman by Khagesh Dev Burman. Dada Burman actually cultivated Kishore, and started by giving him lighter numbers but working on him to systematically improve him. In fact, long back, I had heard a radio interview of Kishore where he admitted as much.
Dada Burman would invite Kishore to his home for lunch, feed him delicious Bengali food and then would shut the door not allowing him to go and force him rehearse. “Ye khana maine tumhe muft mein nahin khilaya” Kishore quoted him saying.
He respected and admired Rafi but liked Kishore as a person. In a way, it was also kind of paying back to Dadamoni who persuaded him to stay back in Bombay when he had decided tobleave the city for ever July 31, 2013 at 11:53 am. AK Ji, Very appropriate post today. The choice of songs,as usual,is very good. Dada had his likes and dislikes,but he knew value of quality.he knew that kishore had limitations whereas Rafi had unlimited capabilities in expressing Human Emotions,be it Happiness,Tragedy,Comedy or a Serious song. Whenever Dada thought of bringing his Bangla songs in Hindi,probably first he thought of Rafi. Manna Dey had a grouch that Dada gave a partial treatment,even when it was a classical song.
Bur just listen to ” Tere bin soone ” in Raag Piloo,which was much better rendered than Dada himself in his Bangla geet ” Ami chinu eka basoro jagaye “. Similarly,kala pani-60 song-Hum Bekhudi mein was a better version then Dada’s original Bangla Ghum bhulechi. Inspite of so many years after Rafi has gone,there has been no replacement for him,itself underlines his greatness and Versatality.AD July 31, 2013 at 6:43 pm.
I think comments are quite superfluous in praise of this outstanding combination – there is nothing I can say that has not been said already. Thanks for discovering song number one. As for the list, it does contain most of my favourite songs except ‘Saathi na koi manzil’ – already mentioned in comments. You have presented ‘Hum bekhudi mein tum ko’ as a sad song. I see this song more as a sensuous and seductive one. The way Rafi lingers on each note and movement is like a connoisseur savouring each moment to the full before moving on.
The setting in the movie also confirms this interpretation – Dev Anand is trying to seduce Nalini Jaywant to get her help in proving his father’s innocence. Either way it is a gem. ‘Tu kahan ye bata is nashili raat mein’ is a song that registered with me later than the other songs of this film, but now it has clearly overtaken all of them. I am very happy at its inclusion in your list. August 1, 2013 at 8:21 am. Subodhji is right- the article and the comments till now leave not much to comment upon, save raising an oft, hotly debated SDB- Rafi vs. (not AND) SGB – Kishore equations.
We may look at the matter from an objective distance. Let us look at the issue SDB’s films wherein Dev Anand was the hero and SDB’s other films and see how what the equations have yielded. As well-noted, before 1957, SDB seems to have leaned quite a bit on Hemant Kumar for Dev Anand’s playback voice, which did continue even later, but the scales were seen titling the other way. We would exclude such films – Afsar, House No. 44, Funtoosh, Taxi Driver, Munimji, Nau Do Gyarah and the likes – from the debate. But, his subsequent tilt towards Rafi can certainly provide the fodder to the pro-Rafi fan club. He had predominantly Rafi films of Dev Anand like Kala Bazar, Kala Pani, Guide, Bambai Ka Baboo, Tere Ghar Ke Samane where a stray Hemant Kumar or A Manna Dey song (or duet) would make an appearance.
Not surprisingly, SDB- Rafi combination scores matched (or even excelled) SDB- Lata’s (or Asha Bhosle) combination in the same films. However, interesting comparison emerges when Kishore (or Hemant Kumar) had major share in a film, and a song or two were recorded with Mohammad Rafi, like Teen Devian (Aise To Na Dekho –, Kahin Bekahayal Ho Kar – ) or Baat Ek Raat Ki (Akela Hun Main – ) Even an otherwise practically no-Rafi films like Jewel Thief or Abhimaan or Solvaa Saal (Yehi To Hai Who) Rafi had a marked presence in a duet. On the back cover of LP record of Guide, SDB’s diplomatically skirts the issue of use of different singers when he has stated that he prefers to select a singer on the merits of the song. That does sound true, at least in terms of SDB’s Kishore Kumar or Mohammad Rafi songs in the same film. Srw2024 downloading code using xmodem commands. Songs on Kishore do sound tailored to Kishore’s range, and those of Rafi appear that no one but Rafi could do justice to that song.
August 1, 2013 at 5:56 pm. Pyaasa does deserve a full-fledged mention of Mohammad Rafi’s songs. If Dekhi Jamane Ki Yaari is at one end and Sar Jo Tera Chakaraye (which according to some was composed by RDB!?) on the other end of the spectrum, there are other songs and a few pieces which do call for being documented in a Rafi-SDB treatise. Jinhe Naaz Hain Hind Par Who Kahan Hai – as much a Sahir’s rebellion as SD’s poetic touch @ 2.04 – ‘thaki hari saason pe tablon ki than than- And Rafi’s immortal rendering of Sahir’s Shayariyaan – N Venkataraman August 1, 2013 at 7:22 pm. ‘Shaam phir kyon udhas hai, dost’.
That was last song recorded by Md Rafi on 31st July 1980. The evening had the premonition of the inevitable to follow. That evening Md.Rafi bid adieu to this world, leaving behind his eternal voice and songs for posterity. Even after more than three decades after his departure we have not found another singer who can come anywhere near him and I doubt there will not be another such voice for eons to come. He is still living among us through his immortal renderings. ‘Mehki mehki fiza ye kehti hai dost, tu kahi aas paas hai’. Thanks AKJI for this wonderful tribute to the greatest playback singer of the golden era of Hindi film music.
Very few will contradict the fact that Md.Rafi, and Lata Mangeshkar were the all time great playback singers belonging to the golden era. Most of us know that, if a film-wise average is taken, ’S D Burman holds the record for the highest number of hit songs scored by a music director’. So it was a ‘double delight’ to have a ‘two in one’ write up and songs of Md.Rafi and S D Burman.
The selection of songs was excellent and I could not come up with any song that could replace any of the songs presented by you. Your write up too matches the selection of songs. Thanks Akji for this bounty. After 1947, Md.Rafi again got an opportunity to sing SDB’s composition for the film Naujawan(1951), that too two duets with Geeta Roy and again another duet, again with Geeta Roy in the film Jeevan Jyoti (1953).
He had to wait till 1955, when he got the opportunity to sing, that too with chorus, a solo in the film Devdas. In the same year he sang two duets, one a Comedy song with S Balbir and the other with Geeta Roy in the film Society. As pointed by AKji, Md.Rafi had to wait till 1957 to sing a solo for SDB.
Besides Pyaasa, in which he sang three solos, he also got to sing a solo in the film Miss India in the same year. Besides the films mentioned by AKji, Md.Rafi also sang solo numbers in Sitaron se aage, Solva Saal (1958), Sujata (1959), Apne Haath Jagannath, Bewaqoof, Ek ke baad ek, Miya bibi razi (1960), Baat Ek Raat ki (1962), and Kaise kahun, Ziddi(1964).
Again he had to wait till 1970 when he sang another solo in the film Ishq par zor nahin(1970); the song resembles another composition of SDB from the film Abhiman, in some places. Then he got two more solos from SDB in Gambler (1971) and Us Paar (1971). The last song Md.Rafi sang for SDB was a duet with Shamsad Begum in the unreleased film Saaz(1977).
But none of the songs can match the 11 songs presented by AKji. If we had to add another song to make it a dozen then I will choose the song ‘Saathi na koi manzil’ from the film Bambai ka babu(1960). I will like say a few words about the song #7. Subodhji selection of this song in Raag Bharavi was indeed special. Let us see what Sachin Dev Burman had to say about this song.
‘I conducted another. Experiment in the film Meri Surat Teri Aankhen.
Shailendra had written a song whose first line was ‘Nache mann mora magan tigdha dhigi dhigi’. You might wonder about the origin of the these words. Kathak maestro Shri Binadin Maharaj, while training his nephews, used to utter the words ‘tigdha dhigi dhigi’, to give them a sense of rhythm with words. These words touched a chord in my mind.
I created a tune on them and got Shailendra to write a song. I told him that the first line had to bring alive the idea of a peacock dancing, the mind as a dancing peacock. He wrote the words ‘Nache mann mora magan’ and I added ‘tigdha dhigi dhigi’ to it.
It was necessary to have a good tabla beat to bring about the tempo signified by the words ‘ tigdha dighi dighi’. Pandit Shamta Prasad from Varanasi accompanied on the tabla for the song. This song was specially commended by connoisseurs because of its Kathak-stye table accompaniment.’ (Sargamer Nikhad) – S D Burman: The World of His Music by Khagesh Dev Burman. Md Rafi’s rendering of this song set to Kaharawa Taal(8 beats) was simply superb and touches the heart.
Asha Parekh once said that she danced her best for this song. S.D.Burman waited for Samta Prasad’s (incidentally R D Burman was under the tutelage of Pt. Samta Prasad for some time) arrival from Banaras and postponed the recording of this song. So it was a matchless combination.
Most of the readers might be aware of this information. The song ‘Sar jo tera chakraye’ was mentioned by Akji and others. But there were three more songs, two lip synched by Johny Walker in the film Sitaron se Aage (1958) – ‘Sambhalke Sambhalke yeh Duniya hai nagar hoshiyaronka’, ‘Ho zara ruk ja‘ and the third one lip synched by Mehmood in the film Miya bibi razi (1960) ‘Main hoon Bhola Vyapari’.
Let me round off with this interesting song from the film Insaan Jaag Utha. ‘Yeh chanda Russka na yeh Japan ka’ by Md.Rafi and Chorus from the film Insaan Jaag utha (1959), lyrics Shailendra, music S D Burman Thank You once agin AKji. N Venkataraman August 1, 2013 at 8:21 pm. Ashokji, It is interesting to note that you can’t discuss SD Burman-Rafi combination without Kishore Kumar coming into the equation. You have done a marvellous analysis. I would not like to add further to it, because one of my earliest posts was precisely on, which is as exhaustive a comparison as you could probably get anywhere. A small point, your mention of Dekhi zamane ki yari in the context of Pyasa makes it appear as if you ascribe this song to that film.
I am happy that you mentioned the nazms of Pyasa. I had an interesting discussion once on Madhu (Dustedoff)’s post on this film’s songs. When I commented that she had failed to make any mention of these nazms, her response was that she did not count them as ‘songs’. When we talk of Sahir-SD Burman-Rafi hallmark in Pyasa, these nazms are an integral part of it.
August 1, 2013 at 9:40 pm. Venkataramanji, You have come again with a thorough dredging of SD Burman-Rafi songs. Thanks a lot. But I am happy to note that you find my selection of songs Pareto-optimal. The story of Nache man mora magan is very interesting. When Subodh made a special mention of this song because of the tabla composition, probably he was not aware (nor was I obviously) that the tabla was played by Samta Prasad, or Godai Maharaj, as he was popularly known in music circles. Thanks a lot for your kind words.
August 1, 2013 at 9:46 pm. #My apologies for Dekhi Jamane Ki Yaari. I really meant, Ye Duniya Agar Milbhi Jaae To Kyaa Hai. # I broached upon Rafi vs. Kishore issue here so as to settle the issue once and forever.
But, the fans on both sides have quite an entrenched poistion. Even if SDB preferred Kishore, on whatever grounds, it was only Rafi that possibly gave him firm footing against other very strong contemporary competitors like Naushad, SJ, Madan Moahn etc. Rafi was a common benchmark on which every music director was testing his / her own work vis-a-vis others, because it was wide Range of Rafi’ chords that gave a music director to make any experiments, and succeed as well.
That is why Lata, sometimes, would detest duets with Rafi, because that would stretch her feminine vocal chords a bit too much. August 1, 2013 at 11:04 pm. Canasya, You have given a very erudite analysis, and it would take careful reading to assimilate it. I wish to comment just on Naushad versus other composers with Rafi.
I have a slightly different view – and this is a non-expert view, of course. What differentiates composers like Roshan, SD Burman and OP Nayyar from Naushad was that they were able to harness inflexion in Rafi’s voice in an amazing manner. I would put in this category Hum bekhudi mein, Aaj ki raat badi shokh badi natkhat hai and Mujhe dekhakar aapka muskurana. These songs instantly register with you for their utaar chadhaav, and create a niche for SD Burman, Roshan and OP Nayyar very distinct from Naushad. ( Your apology not accepted.
Please keep on writing such long comments.:)) August 2, 2013 at 12:06 pm. So rains have invigorated you. 4 posts in July. That must be a record for SOY for a month. And the last one is the best. I see many who are like me fans of both and have hijacked all favourite songs in comments because I am late.
There are two more Rafi solos in Kala Bazar, ‘teri dhoom har kahin’ and ‘apni to har aah ik toofan hai’. I like ‘apni to’ better than khoya khoya chand’. Here is the link: There is another song from Miss India ‘ badla zamana’ not mentioned by anyone. This song is picturised on Johar. The other song picturised on Johar listed at #5, reminded me of another song in the same film in which Johar adorns the saree and Asha gives playback in a style which only she can. Asha has also given playback for Johar’s partner in Bewaqoof, in 1955 film Baap Re Baap.
There is no harm in remembering Kishore, because it is 4th August today. August 5, 2013 at 9:54 am. Hans, You are never too late for SoY, your additions are a proof of that. Yes, four posts in a month is a record. When I started SoY my preference was a gap of two weeks between posts, which meant no month could have more than three. But writing a blog also enjoins some obligation towards readers, and there are special dates. Between Khoya khoya chand and Apni to har aah it is a toss-up.
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My own reason is that when I heard these songs for the first time many years ago, the former registered more because of its striking mukhadaa, and SDB-Rafi’s elaborate treatment of notes. Badlaa zamana is an interesting song, describing the conversion when we switched from ‘Rupee, Aana’ to the metric system. In Bewaqoof apart from the Rafi song I have mentioned, the one I find most enjoyable is the Manna Dey-Asha Bosle duet Dekh idhar dekh tera dhyan kidhar hai. The film is a laugh riot, and all the songs look fascinating in the picturisation.
Since it is a series on SD Burman with major singers, Kishore Kumar would surely figure at an appropriate time. Thanks a lot for your comments. Mumbaikar8 August 6, 2013 at 7:38 am. AK, Der aaye durust aaye.
This is the combination I was waiting for. As KRV rightly said this a great tribute to two great artists. Rafi was MD’s singer, he was capable of singing a song as good or (I hope do not offend Rafi’s fans) as mediocre as his MD wanted him to Rafi is my favourite singer but I do feel that at times he did go overboard in his mannerisms.
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SDB was one MD who set the bar of expectation very high for him and each and every time Rafi lived up to it. Just one album of Pyasa would put this combination length ahead, they even have Guide to back it up.Two great classics with equally great music. As I am late most of the songs have been discussed. I would like to add one song which has importance because it is SDB Rafi song in Kishore Kumar starrer August 6, 2013 at 9:53 am. Mumbaikar 8, ‘ Der aaye durust aaye‘ – you meant for yourself? ? Some more readers have commented about Rafi’s mannerisms.
I thought the more pronounced mannersims were in songs on Johnny Walker and Shammi Kapoor which gave them a distinct identity. I would call that as Rafi’s strength. I heard the song Apne hathon ko pehchan from Apna Haath Jagannath for the first time.
Thanks a lot. That set me thinking, is there a Rafi song composed by SD Burman picturised on Kishore Kumar?
August 6, 2013 at 11:10 am. Dear AK, I take this opportunity to THANK MUMBAIKAR 8 for sharing a wonderful RAFI-SDB song from Apna Haat Jagannath picturised on KK. SDB no doubt was a class apart among his contemporaries and could take out the best out of Singers. For instance AK this reminds me of your post on Best ASHA songs by SDB.
Sad part is: Ashaji goes ga ga over RDB instead forgetting OP who gave her a solid footing besides establishing a style ‘all her own’. Sam is applicable to KK too. He has not only sung Best with SDBbut has done so with Chitragupta and Kalyanji-Anandji too. Of course, I know, my statement can be cussed and discussed endlessly by fans on either side of the divide RAFI-KK. I am not into it though. Here, I would like to mention 2 wonderful solos KK sung for SJ in Rangoli 1 Rangoli Sajao and 2 Chhoti si hai duniya Another duet with ASHA under SJ that springs up is: Dooriya Nazdikiya Ban Gayee from Dev Anand-Vijayanti Mala starrer – Duniya I am sure no fans of KK shall have any difficulty in agreeing with these melodious compositions rendered so endearingly by KK.
But most of the songs he sang post his rediscovered famewere sadly not up to the TRUE KK Timber, Mirth, Feelings or Quality. And I am sure, most of RAFI-KK fans like us shall continnue to rue over this fact. Warmest regards – K R Vaishampayan alias-KRV August 6, 2013 at 11:24 am.
Hello AK, Can’t help the temptation of dropping in once again. Here is a link to a blog with great article titled “Kishore Kumar and Shankar Jaikishen- Hysteria that did not coincide ” written by one Arghya Dutta.
Hope, you will ike it if you have not seen it earlier Even I too landed up here accidentallya Happy Accident that is. Warmest regards – K R Vaishampayan alias-KRV a r modak::::::::::::::::::::johannesburg August 6, 2013 at 4:56 pm. KRV, You mirror my view that the best of Kishore Kumar was before he became a rage post- Aradhana. For that period SD Burman is obviously the most prominent composer for him, for whom you can reel off song after song. As for Kalyanji Anandji, did they have great songs for KK before 1969?
Chitragupta did have some outstanding songs for him in Ek Raaz and Ganga Ki Lahrein, but SD Burman-KK is a class apart. You have linked an excellent article on Shankar Jaikishan-Kishore Kumar association. Thanks a lot. I never thought of them as a combination, possibly because, as the article also says, it flourished post-60s, at least in terms of numbers.
Mumbaikar8 August 6, 2013 at 9:11 pm. There has been a discussion on who was the favourite singer of SDB. I give you some statistics from HFGK which will answer the question. SDB started composing in 1946 and in the 11 years till 1956 he composed for 33 films. He gave only 8 songs (2 solos) to Rafi and gave 23 songs (11 solos) to KK, though he came 3 years late to his recording room. From 1957 to 1965 in 30 films SDB gave 73 songs (41 solos) to Rafi and 34 songs (14 solos) to KK. From 1967 till the end in 26 films, SDB gave 13 songs (3 solos) to Rafi and 57 songs (28 solos) to KK.
In the above 3 time frames, the middle period is important. There is another important fact that from 1958 to 1964 KK did not enter the SDB recording room barring the films in which he himself was the hero. What was the reason of this turn around. Two things happened simultaneously. Guru Dutt, naturally insisted on Rafi, with whom he had a lot of success in the previous years. And KK started troubling SDB for recordings, because he was at that moment on a high point in his acting career (he acted in no less than 30 films in the 5 years from 1954 to 1958). Pyaasa had been released in February and Paying Guest in March.
When during the recording of Nau Do Gyarah, KK again displayed his tantrums, SDB suddenly turned hostile and called Rafi for two duets. In the next year SDB broke up with Lata also and Rafi became, out of compulsion, a regular feature. But, after sometime when the number of KK’s films came down, and he realised his mistake, he approached both father and son, and ultimately broke through in 1965, with one duet in Guide and 5 songs in Teen Devian. And SDB, who had tasted so much success and name and fame with Rafi, discarded him in favour of KK and shot himself in the foot. I wonder why most of the people call SDB a thorough professional and claim that he chose singers on merit. I also dont agree with those who say RDB replaced Rafi with KK for Aradhana, because SDB had already discarded Rafi. Rafi was not a person who would leave the recording of a film and go abroad.
The distributors of Aradhana wanted to put their money only if Rafi was singing, because SDB had already ditched Rafi in Jewel Thief and Teen Devian. The two duets of Rafi were recorded to pacify distributors and Rafi knew that he was done for the film, so he went abroad. August 9, 2013 at 11:13 am. Hans, I would not like to comment on the anecdotal stories, which are essentially third person accounts, now widely available in public domain. One problem with these stories is that they often differ diametrically, tending to put one or the other in a better or poor light.
The truth obviously has to be somewhere in-between. But I have to thank you for the fabulous statistical analysis. However, it is possible to draw an opposite inference from your data. The middle period was the period when Rafi was The Male Playback Singer.
Therefore, on this ground coupled with Kishore Kumar’s ‘tantrums’, if SD Burman fell for Rafi in a big way, side-lining KK, it is a sign of his professionalism. In his patch up with Lata Mangehskar too after a five-year break up, I understand the first approach was made by SD Burman, which is a sign of professionalism. The difference in the number of solos – Rafi (46) versus Kishore Kumar (53), as per your data – may not be statistically significant. We can look at it another way. Granted that SD Burman was very fond of Kishore Kumar personally, the fact that yet he gave so many outstanding songs to Rafi shows the high esteem in which he held him. Finally, Aradhana‘s transformational role in the history of Hindi film and music. This has been beaten to death.
My own long piece centres around this watershed. Now I can add one more perspective – phenomena like Aradhana, Rajesh Khanna, Kishore Kumar’s Mere sapnon ki rani kab ayegi tu and Roop tera mastana are not planned or predicted. They just happen. These are course-changing events of history, which are to a large degree destiny.
It is pointless to attribute it to conspiracies, or debate too much whether Rafi did or did not go to Haj during the recording of Aradhana which led to the rise of KK. August 9, 2013 at 11:35 am. The events which are not really predicted, but are profusely ‘explained’ after it has happened are termed “The Black Swan” (coined By NASSIM NICHOLAS TALEB) – I am sorry for introducing a jargon – and this Aradhana event was one such classic “Black Swan” event. Of course, Mohammad Rafi had displaced Talat Mahmood from the ‘high pedestal’ in mid-50s, and it is said the Talat was also on a foreign concert tour when this trigger point in the ‘game-changer’ chain of events happened. Incidentally, both SD and RD had to use Rafi post- Aradhana, but the compulsions of market dynamics did not warrant too frequent appearances.
As a Rafi fan, I would certainly take Hans’s view, but, in the end, would agree with AKji that the debate ‘is rather ‘pointless’ in the historical perspective. August 9, 2013 at 10:55 pm. Having been enriched by your in depth analysis covering a very wide spectrum regarding Md Rafi shahab and Kishoreji’s association with great SDB, I would like to make one important point. The point is why having explicitly preferring great Md Rafi to Kishore kumar in SDB’s most fruitful years as a composer (from 1957 to 1970 ), when his music almost touched a devine level, why did he preferred kishoreji to Md Rafi after 1970?
In my opinion, when he found RDB-Kishore combine reached its zenith in the early 70s, and his son RDB became the most wanted and popular MD at that point of time, he did not at all want to recall Md Rafi to break the combination of his son and Kishoreji by making Md Rafi to sing for him in Meeli, Sharmeeli or Tere mere sapne. Because, had Md Rafi sung those great nos, it might have paved the way for him to make a come back to the top once again, & the entire scenerio & demand-chain of producer-heroes and MDs could have been altered altogether. SD must have realized that RD, having struggled as a MD since his debut in 1961, did reach the top with Kishore as his main singer, so there was no point in causing a damaging rupture to his son’s cherished career. So, notwithstandig the fact that Kishore kumar was a great singer and SD did have a spcl preference for him in the mid 50s, SD Burman, I perceive, had discarded his favourite great Md Rafi sahab for only MUSICAL reason. It might be painful, but true. Santanu Banerji, Kolkata October 4, 2013 at 4:42 am. There is no doubt that the above scholarly discussion about SDB’s association with Md Rafi and kishoreji has been deep and has covered a wide spectrum.
But would like to make an important point here. The point is, why great SD having choosen Md Rafi to be his main and most favourite singer from 1957 to 1970, suddenly tilted totally towards Kishore kumar since 1971? Having composed arguably the best songs of his life with great Md Rafi ( in Pyassa, Kalapani, Kalabazar, Tere gharke samne, Baat ek raat ki, Meri surat. And Guide) how could he discard Md Rafi totally ( except for a duet & solo in Abhiman and Gambler ) in the 1970. In my opinion it was more because of father – son affection syndrome than any musical reasion. We all know from early 1970s great RD with his favourite singer KK had risen to the top and were having a rolicking time in BFI.
SD know it was an upshot of a long struggle of his son which started in 1961, ever since son made a debut in BFI. Obviously, he did not want to rupture the winning combination of his son and Kishoreji, by recalling Md Rafi to sing those great numbers of Meeli, Sharmilee or Teremere sapne or even Gambler, and pave the was to Md Rafi to stage a come back to the top once again, which might have influenced the whole chain of MDs-heroes and distributors in those days. After all he liked Kishoreji also tremendously, RD Burman – kishore kumar combination was deciding the grammer of the day.
So obviously, it was reason other than musical, which prompted SD to discard the best male singer of playback of history ever. Painful, but true. October 4, 2013 at 5:03 am.
Otherwise, is it not astounding and incomprehensible, when he decided to sing Kishoreji that great no. In Sharmeeli, ” Kaise kahen hum, payar mein humko keya keya ”, which was without any speck of doubt demanded the devine timbre, touch and trembling melody of Md Rafi sahab to enhance it to a ” out of the world dimension”. How could we otherwise explain a great MD like SD Burman, who made Md Rafi to sing all the great sad nos in Guide and called Kishoreji to sing a single ( a rollicking masterpeice) duet, could forget Md Rafi altogether in the post 1971 period? Naturally, not taking into reckoning those schematic commonplace songs of Anurag & a disturbing insignificant duet like Saregama. October 4, 2013 at 6:29 pm.
Santanu Banerji, Thanks for your compliments. Besides my writing, which obviously does not entail any original research, the readers like you have added a great deal. You are giving yet another angle to Rafi receding from SD Burman’s favour – that is not to unsettle the RD Burman-Kishore Kumar combination which was proving very successful. But many others started the shift including the known Rafi supporters Laxmikant Pyarelal.
Now we have stories ranging from SD Burman’s illness giving a fortuitous opening to RDB to bring in KK in Aradhana, to SDB having decided to jettison him earlier after Jewel Thief to, now, the new one, filial weakness. None of us knows the truth, because these are not in the realm of fact, but speculation – requiring going into the inner motivations of the persons concerned.
We can comment only on what we can see as the outcome, i.e. 1969 was a watershed, and post-70s brought about a shift. What we can summarise is that (i) Rafi and Kishore Kumar both were great favorites of SDB, (ii) in the middle period, as mentioned by several readers, including Hans, SDB was leaning very conspicuously towards Rafi, and (iii) there were some very special songs for which SDB felt only Rafi could do justice to. Kapil August 17, 2014 at 12:44 am. Like many others I also believe that SDB’s best came through Rafi. It’s a real shame that he deserted Rafi post 1969.
As to why he did that, I agree with Santanu(# 45). Kishore was like family to Burmans and post 1969 SDB was mostly in frail health, so in last few years of his life he must have wanted to promote his “manas-putra” Kishore as much as he could and probably also wanted not to go against the wishes of his biological “putra” RDB who definitely wanted Kishore to be numero uno at any cost. SDB always considered Rafi better than Kishore but loved Kishore more. Anyway, as a singer, I have always considered Rafi miles ahead of Kishore – in the 70s too.
Lata was the only one who surpassed Rafi but that too in her golden phase (1949 – 59), post 1960 Rafi towered above all. Also, the other day I was reading SDB-Talat on SoY which I really enjoyed and then I assumed you must have done one on SDB-Hemant as well but could not find anything.
I think you have not done SDB-Hemant yet. I hope SDB-Hemant will come soon. The 14 songs he did with Hemant were equally melodious and more iconic than the 14 he did with Talat. In closing, let me cite a very special Rafi-SD song which no one has mentioned in particular: -Dil ka dard nirala: ksbhatia August 18, 2014 at 1:05 pm. AK ‘ji, Lovely discussions on SDB and Rafi.enjoying every observation and comments. Thanks to all the SOY family.
I have a personal liking of songs which starts with a beautiful mukhda. I call it as a” takeoff ”.eg. Ho ho ho Takeoff Khoya khoya chand.Tu kahaaan Takeoff Yeh battaa is nashili raat mein.
Listening to the starter is like having a good starter before an excellent dinner. Like Mannada once said that Rafi had an excellent modulation qualities; i think its unmatched till now. One can render the words Tu Kahan.in so many ways but the way Rafi sahib did i think that was excellent.
National Film Award For Best Music Direction
Many MDs like Naushad, SJ etc also had this qualitylisten to ‘Door koi gaye ” or “aye bahar banke lubha kar chale gaye”.all such songs have beautiful mukhadas or i will say excellent “takeoff ”. Listen to Lata’jis songs from Badal.” Aye dil na mujh se choopaa sach batta kya hua” and.”Do din ke liye mahenman yahan mallom nahin manjil hai kahan “. There are so many songs to quote. Why there is limitation now? I cannot think. CHANCHAL GHOSH September 8, 2014 at 10:13 pm. Hans ji; In one of discussions on Usha khanna / Jaikishan songs in ‘Open house’ the readers were anxious to know wheather Usha really wanted to give the music SJ’s way.
In one of the Radio interview Usha herself confirmed her as SJ follower. The tune of ‘ Hum aur tum ‘ has that lilt of Jaikishan’s magic. Anyway the Rafi’s rendering and the song itself is superb. Yes’ one thing more. The movie carried the second stanza only — just to clarify. Your reference to Bheegi raat song reminds me that this movie extensively carried the instrumental version of Mamta’s songs as background music.
Komal Raut November 7, 2016 at 10:44 am. AK ji I have had some free time and fruitfully used the same in going through some old posts on SoY. This post, as also the CR-Lata post, were really top class. Mentally going through various popular male solos created by SDB, noticed that whenever he wanted some exquisite use of the tabla as a special instrument in a male solo, he chose either Rafi or Manna as the singer. I also noticed that when he put in special tabla pieces for female songs, the chosen singer was Asha or Geeta or both. One noticeable exception was the great bhajan – Na main dhan chaahun – (Kaala bazar), where Geeta-Sudha combination was used which was a rarity as a combination. Thanks ksbhatia January 16, 2017 at 6:03 pm.
Ashok kumar Tyagi ji; You have brought a nice subject to the fore front to enjoy and expand the horizon of SDB songs vis a vis the special beats in use over tabla, dholak or any other rhythm based instrument. His use of special beats are indicative of his love for Rabindra sangeet. I have two songs to offer as examples but others must have many to offer songs based on such special beats. 1.Aan milo aan milo shyam saware.Geeta Dutt, Manna Dey.Devdas 2.Aaj sajan mohe aang lagalo.Geeta Dutt.Pyaasa Since this article relates to best songs of Rafi for SDB, I have a special song in store to reveal; which altogether have very different beats and it is my fav.
3.Manzil ki chaah main.RafiDevdas The picturisation of the song is perfect; and have stamp of the great director, Bimal Roy. January 17, 2017 at 4:29 am. Tyagiji, Thanks a lot for your comments and compliments. Rafi and Manna Dey for special eats is an obvious choice.
Hemant Kumar, Mukesh and Talat Mahmood were different kind of singers. When you say this my thoughts also go to his duets such as Deewana mastana hua dil or Chand sa mukhada kyun sharmaya which have very enjoyable beats, and the ‘drummer’ Dev Anand in Jewel Thief. I hope you are able to browse more of the older posts. One thing which we can’t help is the YT removing the video links. One doesn’t know what is their method in this madness. They have no qualms in allowing obscene videos on the site. Ashok Kumar Tyagi January 18, 2017 at 1:16 pm.
If you found that any of above spore-full-game-pc files may have been subject to copyright protection.
AK ji Thanks for sharing views via editor’s comment above. Thanks to Bhatia Sir for linking up three songs above particularly two magnificent songs from film Devdas. I have not read Sharat Chandra novel but I assume that Paro and Chandramukhi come across each other only once as shown so beautifully in the movie with the help of a great song by Rafi; what an imagination – two kuchha paths intersecting, farms around the place adding to the beauty of two pretty ladies, Paro having a second curious look and quickly understanding where Chandramukhi is headed to. Fail to understand why Sanjay L Bhansali totally changed the story-line in his remake. Ksbhatia January 18, 2017 at 5:51 pm. Ashok Kumar Tyagi ji; Thanks for Your observation and description that speaks volumes of the exquisite qualities of the handling of the song sequence by the great director. The qualitative rendition of the song by Rafi is simply out of this world.and the chorus just amazing.even their steps and knees slightly compressed and bent with load.
Beautifully matches the rhythm and beats of the song. This truly stand apart as SDB’s one of the greatest hidden gems of a song. Another song that has the particular exceptional beat is O more maajhi.from Bandani, this time by SDB himself. Yet another gem of fine direction of Bimal Roy.
Hans January 21, 2017 at 8:01 pm. Tyagiji(67), I have read Devdas.
This situation of Paro and Chandramukhi crossing each other’s path is not there in the novel. Bimal Roy has remained faithful to the story, but has only changed it at 3 or 4 places and all of them has enhanced the appeal of the film. In this scene also he beautifully shows the changes in the lives of both due to Devdas effect.
Devdas’s one mistake lands Paro in the palki and his company changes the life of Chandramukhi. In the novel no specific reason of Devdas taking to drinks is given. But, in the film he shows Devdas in Chandramukhi’s kotha. He still feels uneasy and he opens the window and listens the sound of shehnai and he immediately takes to drinking. Ashok Kumar Tyagi January 22, 2017 at 5:57 am.
Meera Dev Burman
Thanks to Hans sahib for explaining two of the few alterations made by Bimal Roy in creating the movie. I saw the movie in a Sunday morning show at a young age and could not catch the subtle handling of difficult situations by Bimal Roy. Now after watching the song ‘Manzil ki chah mae’, courtesy Bhatia ji, I recognize the greatness of not only Bimal Roy, but also of Sahir, SDB and Mohd Rafi – they have created an extraordinary song in a remarkable movie. Thanks Ashok Kumar Tyagi July 3, 2017 at 3:44 pm.
AK ji Now, having read your top quality post on Sarat Chandra wherein Bimal Roy receives deserved praise, I can fully understand what Hans and KS Bhatia have recorded in comments Number 68 and 69 above. The magnificent director Bimal Roy brought together such superb artists as Dilip, Suchitra Sen, Vyjayanti Mala and Motilal and the talent of Sahir, SDB, Talat, Manna Dey, Geeta Dutt, Rafi, Lata and Mubarak Begum in one movie. Only a few Hindi films can boast of such remarkable gathering and furthermore every one of them performing at the highest level possible.
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