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MySwar References

One of the things we love on MySwar is the trivia – the story behind the music and the musicians. We source the trivia from books we read and from the World Wide Web. While we stored these source references, we didn’t have a way to show them to our users. Not anymore. We just rolled out the display of references from which we derive these trivia. Now, you will see a reference link next to trivia items (where applicable). Book references are listed together on one page and other references are listed right there on the song or album page.

Special mention must be made of the Hindi Film Geet Kosh compiled by Mr. Harmandir Singh ‘Hamraaz’. The Hindi Film Geet Kosh, a collection of 5 book volumes cataloguing Hindi films from 1931 to 1980, is not just the source of trivia for MySwar but also the foundation of our data from this period. It’s not a coincidence that it’s listed at the top in our list of references.

The best of Hasrat Jaipuri

[This post originally appeared here.]

Starting with “Barsaat” (1949), Raj Kapoor’s team consisting of music directors Shankar – Jaikishan and lyricists Shailendra and Hasrat Jaipuri churned out popular scores film after film for over two decades. Unlike Laxmikant – Pyarelal, who had a clear demarcation of responsibilities, both Shankar and Jaikishan composed tunes. A widely accepted thumb rule to identify the composer of a Shankar – Jaikishan song is based on the song’s lyricist – Shailendra wrote lyrics for Shankar’s tunes and Hasrat Jaipuri penned Jaikishan’s compositions. The outlier in this tremendously successful team, Hasrat Jaipuri isn’t celebrated to the extent that Shankar – Jaikishan and Shailendra are.

After Jaikishan passed away in 1971, Raj Kumar’s partnership with this talented quartet disintegrated. This was a huge setback for Hasrat Jaipuri and he was never able to regain his foothold in the film industry. I would argue, however, that the decline in his career post 1971 did not really impact his legacy. Between 1949 and 1971, he had already built a body of work that is worth celebrating. In this post, I pick a few gems from this period of Hasrat Jaipuri’s career.

“Jiya Beqarar Hai Chhayi Bahaar Hai” (“Barsaat”, 1949)

“Barsaat” was the beginning of a beautiful friendship. After the success of the film and its music, the team of Raj Kapoor, Shankar – Jaikishan, Shailendra and Hasrat Jaipuri would go on to recreate magic for films like “Awara” (1951), “Aah” (1953), “Boot Polish” (1953), “Shree 420” (1955), “Chori Chori” (1956), “Anari” (1959), “Jis Desh Mein Ganga Behti Hai” (1960) and many more. In fact, Shankar – Jaikishan, Shailendra and Hasrat Jaipuri became a team even without Raj Kapoor, with movies like “Daag” (1952),”Patita” (1953), “Seema” (1955), “Basant Bahar” (1956), “Ujala” (1959) and “Junglee” (1961). Of the seven Hasrat Jaipuri songs in “Barsaat”, “Jiya Beqarar Hai” was the most popular. Hasrat’s unpretentious lyrics for the song would become his hallmark. In the long term though, it was this simplicity that took the sheen off his status as a premier lyricist.

“Mohabbat Aisi Dhadkan Hai” (“Anarkali”, 1953)

“Anarkali” was arguably C. Ramchandra’s best film score. The film’s music was so awe-inspiring that even a music director of Naushad’s stature was worried about how his music for the similarly themed “Mughal-E-Azam” (1960) would fare in comparison with “Anarkali”. Rajendra Krishan’s “Yeh Zindagi Usi Ki Hai” was undoubtedly the winner from “Anarkali” but Hasrat Jaipuri’s “Mohabbat Aisi Dhadkan Hai” has also stood the test of time and proven to be an evergreen classic.

“Yaad Kiya Dil Ne Kahan Ho Tum” (“Patita”, 1953)

Shankar – Jaikishan’s mellow tune, Hemant Kumar’s singing and the screen presence of a cigarette-smoking Dev Anand lend a very laidback vibe to “Yaad Kiya Dil Ne Kahan Ho Tum”. The song doesn’t necessarily represent Hasrat Jaipuri’s best in my opinion, but the lyrics go well with the song.

“Nain So Nain Naahi Milao” (“Jhanak Jhanak Payal Baje”, 1955)

Vasant Desai’s “Nain So Nain” is another excellent Hemant-Lata duet. This mellow, semi-classical beauty has some lovely aalaaps by Lata and Hemant da that along with a chorus are presented beautifully as vocal harmonies, a concept alien to traditional Indian music. Hasrat Jaipuri excels with some lovely, dialect-infused lyrics. How often do we hear a word like “guiyan” in film songs?

“Rasik Balma” (“Chori Chori”, 1956)

Songs of heartbreak seem to bring out the best from lyricists and so it is with Hasrat Jaipuri’s lyrics for “Rasik Balma”. Despite some uncomfortably high-pitched notes, Lata pulls a stunner in this song. When Shankar – Jaikishan won the Filmfare Award for Best Music Director for “Chori Chori”, they requested Lata to perform “Rasik Balam” at the award function. Piqued that Filmfare had no award category for singers, Lata refused to perform the song and boycotted the award function. In what became a recurring occurence in the industry, Lata Mageshkar had her way when Filmfare introduced the Best Playback Singer category for the first time in 1958. Unsurprisingly, Lata was the first winner in this category for “Aaja Re Pardesi” (“Madhumati”).

“Ehsaan Tera Hoga Mujh Par” (“Junglee”, 1961)

An important part of Shammi Kapoor’s rise as a superstar was Mohammed Rafi’s voice. The two artists were inseparable onscreen as Rafi skillfully imbued Shammi Kapoor’s onscreen persona into his singing. Some of Rafi’s best songs for Shammi Kapoor were composed by Shankar – Jaikishan and penned by Hasrat Jaipuri in films like “Junglee” (1961), “Professor” (1962), “An Evening In Paris” (1967), “Brahmachari” (1968), “Prince” (1969), “Tumse Achha Kaun Hai” (1969) and “Andaz” (1971), to name a few. Of all the songs that were produced by this team, the one that stands out for me is “Ehsaan Tera Hoga Muhj Par”, a song seething with romantic tension and one in which we get to see Shammi Kapoor’s mellow side for a change.

“Geet Gaya Pattharon Ne” (“Geet Gaya Pattharon Ne”, 1964)

Shehnai maestro turned Hindi film composer Ramlal pulled off a coup of sorts by getting classical singer Kishori Amonkar to sing the title song of “Geet Gaaya Pathharon Ne”. Other than singing for her own compositions for Govind Nihalani’s “Drishti” (1991), “Geeta Gaaya..” was the only Hindi film song sung by Kishori Amonkar. Although there was another duet version of the song with Asha Bhosle and Mahendra Kapoor, Kishori Amonkar’s version captured filmgoers’ imagination and was a big hit.

“O Mere Pyar Aaja” (“Bhoot Bungla”, 1965)

“Bhoot Bungla” was R.D. Burman’s second film and despite a superb overall score filmgoers only had ears for Pancham’s adaptation of Chubby Checker’s “Come On Let’s Twist Again” – “Aao Twist Karen”. He would have to have to wait for another year for his first hit, “Teesri Manzil”. Strangely, this was the only time Hasrat Jaipuri wrote for R.D. Burman. Listening to “O Mere Pyar Aaja”, as melodious a Lata-Pancham song as any, one wonders why.

“Bhanwre Ki Gunjan Hai Mera Dil” (“Kal Aaj Aur Kal”, 1971)

Shankar – Jaikishan took a while to warm up to Kishore Kumar as a singer. In the 1950s, the only time they used Kishore Kumar’s voice was when they were composing for a film where he played the lead role. That changed in the late 1960s as Kishore’s popularity as a singer increased. Shankar – Jaikishan’s songs with Mukesh, Rafi and Manna Dey overshadow their work with Kishore, but they did have some lovely songs with him as well. One of my favorites is the waltzy “Bhanwre Ki Gunjan” (“Kal Aaj Aur Kal”, 1971). Hasrat’s simple lyrics and the happy melody make this a very hummable song.

“Zindagi Ek Safar Hai Suhana” (“Andaz”, 1971)

“Andaz” was Jaikishan’s last film. He succumbed to liver cirrhosis after the film’s release leaving Shankar to carry on the Shankar – Jaikishan flag. “Andaz” and it’s music were extremely successful and a big part of their success was Rajesh Khanna’s electrifying, if brief, role in the film, boosted by the exhilarating “Zindagi Ek Safar Hai Suhana”. Hasrat’s happy-go-lucky lyrics, embellished by Kishore’s yodeling and Hema Malini’s giggles, were very popular with the youth of the day and won him his second Filmfare Award for Best Lyricist. Jaikishan’s demise took its toll on both Shankar’s and Hasrat Jaipuri’s careers. Hindi film music would never be the same again.

Bonus: C. Ramchandra performing “Mohabbat Aisi Dhadkan Hai” on BBC.

This superb rendition by C. Ramchandra gives Lata’s original a run for its money.


Here’s a longer list of Hasrat Jaipuri’s most popular songs.

Asha Bhosle: The Ageless Bollywood Diva

[This post originally appeared here.]

Asha Bhosle started her Hindi film career in 1948 and unlike many of her peers who’ve hung up their boots, she continues to work and travels the world giving concerts.

Asha Bhosle’s best songs came under the baton of two men – O.P. Nayyar and R.D. Burman. Long posts could be written for the songs she sang for each of these two legends but given her long and textured career, I thought I’d pick songs she sang for 10 different music directors in this post.

C. Ramchandra – Eena Meena Dika (Aasha, 1957)

Asha Bhosle was relegated to Bollywood’s wastelands for almost a decade after she started her career. The music directors of the time were so enamoured of the voice of her elder sister, Lata Mangeshkar, that opportunities with big name composers in big name films were few and far between. The point of inflection in her career came in 1957 with O.P. Nayyar’s “Naya Daur” and “Tumsa Nahin Dekha” and S.D. Burman’s “Nau Do Gyarah” and “Paying Guest”. One of the hits of that year was C. Ramchandra’s madcap, rock n’ roll song “Eena Mina Dika”. The songs nonsensical hook lyrics were strung together by C. Ramchandra based on the nursery rhyme “Eeny meeny miny mo” and the Konkani words “maka naka” contributed by his Goan assistant John Gomes. While it pales in comparison to Kishore Kumar’s version, I do enjoy the Asha version.

Hemant Kumar – Meri Baat Rahi Mere Man Mein (Sahib Bibi Aur Ghulam, 1962)

It is fascinating to imagine the real-life tension that must have been a part of the music making for “Sahib Bibi Aur Ghulam” (1962). Geeta Dutt refused to sing for Waheeda Rehman’s character in the film and was pitted against the singer O.P. Nayyar ditched her for, Asha Bhosle. Given this backdrop, both singers did exceedingly well and proved to be an even match. I picked “Meri Baat Rahi Mere Man Mein” over three excellent songs – “Saqiya Aaj Mujhe Neend Nahin”, “Meri Jaan O Meri Jaan” and “Bhanwara Bada Naadan” – because it was the one song in the film that shows us the somber, more reflective facet of her singing.

Madan Mohan – Shokh Nazar Ki Bijliyan (Woh Kaun Thi, 1964)

Madan Mohan’s affection for Lata Mangeshkar and her voice is well known. Lata Mangeshkar called Madan Mohan Ghazalon Ka Shahzada and Madan Mohan gave her his best compositions. “Woh Kaun Thi” was one film in which this equation was visible. While Lata got four melodic compositions with romantic angles, Asha Bhosle got light, fun, pop songs. Be that as it may, Asha’s “Shokh Nazar Ki Bijliyan” holds its own against Lata’s timeless classics from “Woh Kaun Thi”. This songs demonstrates that while ghazals were Madan Mohan’s sweet spot, he was also quite capable of the kind of rhythmic melodies that O.P. Nayyar was famed for. Asha Bhosle’s vocalizations in the song are charming and the saxophone interludes are wonderful counterpoints.

Shankar – Jaikishan – Paan Khaye Saiyan Hamaro (Teesri Kasam, 1964)

This was the toughest pick and bit of a toss-up. Eventually, the song’s rustic beauty and Waheeda Rehman’s winsome screen presence won me over.

Ravi – Aage Bhi Jaane Na Tu (Waqt, 1965)

Although not as celebrated as her partnerships with R.D. Burman and O.P. Nayyar, Asha Bhosle’s work for Ravi is substantial and replete with gems. “Waqt”, a superlative album with three solos and three duets by Asha and no songs by Lata Mangeshkar, is a case in point. We must be thankful to Shankar – Jaikishan for declining “Waqt” because B.R. Chopra insisted on Sahir Ludhianvi as the lyricist. Sahir’s words, the simplicity of Ravi’s melody and Asha’s rendition in this song are balm for weary souls.

S.D. Burman – Raat Akeli Hai (Jewel Thief, 1967)

S.D. Burman was another composer who would not look beyond his favorite “Lota” if he had his way (except for the few years in the late 1950s when they temporarily fell out with each other). In “Jewel Thief”, he saved Lata’s voice for leading lady Vyjayanthimala and Asha sang a song each for Tanuja and Helen. My favorite Asha song in the film is the one picturised on Tanuja, “Raat Akeli Hai”. Tanuja’s come-hither moves on screen find superb expression through Asha’s voice as she alternates between the coquette and the sexual being.

O.P. Nayyar – Chain Se Humko Kabhi (Pran Jaye Par Vachan Na Jaye, 1973)

“Chain Se Humko Kabhi” was the only O.P. Nayyar song for which Asha Bhosle won a Filmfare Award. It was also the last song she would sing for him as she ended her already strained relationship with him. O.P. Nayyar lost his lead singer and his muse and never quite recovered from this setback. The acrimony in their relationship was such that Asha Bhosle did not attend the ceremony to collect the award. What went on behind the scenes is anybody’s guess, but it does feel like the two artists poured the angst of their relationship into this song.

Jaidev – Zahar Deta Hai Mujhe Koi (Wohi Baat, 1977)

There were some delectable Asha Bhosle songs in Jaidev’s limited discography. I included one from “Hum Dono” (1961) in my post on Jaidev. In this post, I include another classic form a lesser-known film, “Wohi Baat”. This may be unfair, but one can’t help but compare the two solo versions of “Zahar Deta Hai”, one by Asha Bhosle and the other by Bhupinder. Considering the fact that Bhupinder was a ghazal specialist and Asha a generalist, I think Asha Bhosle does an admirable rendition of this song. Another thing becomes evident in this song – while most singers peak before they hit their forties, Asha Bhosle continued to get better. With age, her voice gained character and depth.

Khayyam – Dil Cheez Kya Hai (Umrao Jaan, 1981)

Asha Bhosle reinventing herself at the age of 48 was a bit of an accident. Muzaffar Ali had initially engaged Jaidev for “Umrao Jaan” but Jaidev left the project after composing a few songs and Khayyam was brought on board. There are different stories of Jaidev’s exit but one thing is certain – Asha Bhosle would not have been Umrao Jaan’s voice if Jaidev had composed the film’s music. Khayyam extracted some magnificent renditions by Asha Bhosle by asking her to sing at a scale lower than her usual. Khayyam won both the Filmfare Award and the National Film Award for the music and Asha Bhosle won the National Film Award for “Dil Cheez Kya Hai”.

R.D. Burman – Mera Kuchh Saaman (Ijaazat, 1988)

Starting with “Teesri Manzil” (1966), specifically the song “Aaja Aaaja”, R.D. Burman created a new Asha Bhosle avatar – full-throated and completely uninhibited. Through the 1970s, the two moved on from being colleagues to a couple and created some of the most memorable music to come out of Hindi films. Somewhere along the line though, Asha became a victim of her own success with Pancham and got pigeonholed in a slot that became a little predictable. Pancham’s struggle with his career in the 1980s didn’t help. That changed when Pancham came up with an inspired, fresh-sounding score for “Ijaazat” (1988). With four brilliant Asha solos, “Ijaazat” was probably Asha’s best work with Pancham in that decade. It took a Gulzar to challenge and inspire R.D. Burman to give the director his best. My pick is the award-winning “Mera Kuchh Saamaan”.

A much longer list of Asha Bhosle’s best Hindi film songs can be found here.

Patriotic Songs In Hindi Films Before Independence

[This post originally appeared here.]

Patriotism has always been an important theme in Hindi films. Films like Anand Math (1952), Haqeeqat (1964), Shaheed (1965), Upkar (1967), Kranti (1981), Prahaar (1991), Border (1997), The Legend Of Bhagat Singh (2002), Swades (2004) and Rang De Basanti (2006) had strong patriotic themes. There are many film songs capable of inducing nationalistic fervour in the most apathetic of individuals. However, these films and songs were made in an independent India with no oversight from British rule. Imagine the spirit of the film-makers and artists who were involved in patriotic films and songs when India was still under the British rule! In this post, I talk about 5 songs that made exhortations for a free India before 1947.

Ek Naya Sansar Basa Len (Naya Sansar, 1941)

The first song in this list, sung by Ashok Kumar and Renuka Devi, is by a poet who would go on to be called Rashtrakavi – Kavi Pradeep. Pradeep was perhaps best known for writing the Lata Mangeshkar song that moved Pandit Jawaharlal Nehru to tears – “Aye Mere Watan Ke Logon”. “Ek Naya Sansar” quite explicitly makes a call for a free India, with lines like “..azadi ke preet ke gaane…” and “Aisa ek sansar ke jisme dharti ho azad, ke jisme jeevan ho azad, ke jisme bharat ho azad”. It’s a wonder how the song got past the draconian British censor board. It was this censor board that had forced V. Shantaram to change the name of his 1935 film from “Mahatma” to “Dharmatma”. The British apparently didn’t want films to contribute to the popularity of a certain Mahatma.

Door Hato Ae Duniya Walon Hindustan Humara Hai (Kismet, 1943)

Kavi Pradeep wrote this song during the Quit India movement. “Door Hato” was quite literally a demand for the British to quit India. To avoid objections by the censor board, Pradeep used the line “Tum Na Kise Ke Aage Jhukna German Ho Ya Japani” to make it appear that the song was against the Axis powers of World War II. Anil Biswas’ use of a marching band arrangement, Amirbai Karnataki’s powerful voice and a superb chorus complemented Pradeep’s lyrics and resulted in a hugely popular song.

Hindustan Ke Hum Hain Hindustan Humara (Pahele Aap, 1944)

This was Mohd. Rafi’s first song. Although he had recorded for “Gaon Ki Gori” earlier, the film’s music was released only in 1945. We can sense the young Rafi’s tentativeness, but thanks to some good music by Naushad, inspiring lyrics by D.N. Madhok and the support of a chorus, the end result is quite good. The interesting thing about this song is that while it calls of “India for Indians”, it talks about a common goal across religious divides – something we seem to be struggling with to this day.

Jana Gana Mana Adhinayaka Jay Hey (Humrahi, 1945)

When “Jana Gana Mana Adhinayaka…” appeared on screen for the first time, India wasn’t an independent country and the song was yet to be chosen as our national anthem. “Humrahi” was Bimal Roy’s Hindi film debut as director and was a remake of the Bengali film “Udayer Pathe” he had directed the previous year. The song was recorded by the film’s music director R.C. Boral and rendered by a choir. While the original Rabindranath Tagore hymn had five stanzas, the first of which became the national anthem, the film recorded only four stanzas.

Yeh Desh Hamara Pyara Hindustan Jahan Se Nyara (Humjoli, 1946)

I chose this song because it works very well as a symbol of the cost of India’s independence in 1947 – Partition. Composed by Hafeez Khan and written by Anjum Pilibhiti, the song is sung by Noor Jehan, who was one of the Hindi film artists we lost to Pakistan in 1947. By 1946, the writing was on the wall for the British and preparations had begun to grant India independence. Thanks to the political climate at the time, the call for a free India is quite belligerent in this song:

Le ke rahenge hum azadi, Woh din aane wala hai

Jhanda apna saari duniya par lahrane wala hai

As we celebrate independence this year, let’s spare some thought for the artists of the film industry who chipped in with their bit in India’s freedom struggle.

Khemchand Prakash – The Royal Musician of Hindi Films

[This post originally appeared here.]

Khemchand Prakash was one of the giants of Hindi film industry. He shaped and defined Hindi film music when it was still in its nascent stages. In a short career spanning just about a decade, he left behind a legacy that exceeded his output as a music director.

Khemchand had an early start in music. His father, Pandit Govardhan Prasad, was a musician in the royal court of Jaipur and also taught him music. He worked as a court singer and then tried his hand at acting in films before found his true calling in film music. After assisting composer Timir Baran in a few films, Khemchand Prakash debuted as a music director for the film “Meri Aankhen” (1939).

Khemchand Prakash died in 1950 when he was only 43 years old. In this post I discuss in five songs what he accomplished in ten years and how his influence on film music could be felt long after he passed away.

Lo Kha Lo Madam Khana (Street Singer, 1938) 

This song was composed by R.C. Boral, not Khemchand Prakash. Khemchand sang this comic song and appeared on screen for it. The reason I included this song – Khemchand Prakash dances in it. In fact, he was a trained kathak dancer (he does a kathak move in the song) and it is said that it was this skill that helped him imbibe a strong sense of rhythm in his music.

Pehle Jo  Mohabbat Se Inkaar Kiya Hota (Pardesi, 1941)

Early on in his career Khemchand Prakash showed glimpses of his ability to set trends and his penchant to handle the female voice. “Pehle Jo Mohabbat…” catapulted singer-actress Khursheed from relative obscurity to becoming one of the leading female artists of the time. She had been around in the industry for almost a decade when this Khemchand Prakash song launched her into stardom and helped her bag coveted lead roles opposite K.L. Saigal in films that defined her career – “Bhakta Surdas” (1942) and “Tansen” (1943). In a few more years, he would transform the career of another singer and Hindi film music would never be the same again. 

Sapt Suran Teen Graam (Tansen, 1943)

Tansen was possibly the first film to embrace classical music with gusto. Backed by excellent subject matter and K.L. Saigal’s glorious voice, Khemchand Prakash composed songs that became big hits while retaining their authentic Hindustani classical base. As Naushad pointed out in an interview, a remarkable aspect of Khemchand’s music for “Tansen” was the use of Dhrupad, which was the style in which Mian Tansen used to sing, and not Khayal which was more common in Hindi films. The music of “Tansen” set the stage for a phase in Hindi films that borrowed heavily from classical music. At the forefront of this phase was Khemchand’s one-time assistant and admirer, Naushad. In “Baiju Bawra” (1952), Naushad emulated his guru by creating music that was a balance of mainstream and classicism and the film’s success triggered a spurt in films steeped in classical music.

Marne Ki Duaaen Kyon Maangoon (Ziddi, 1948)

Khemchand Prakash is credited with launching the voice that captured the nations imagination for decades to come – Kishore Kumar. He spotted the young Kishore’s singing talent early on gave him his first solo, “Marne Ki Duaaen…” for Ziddi (1948). Although Kishore sang the song in Saigal’s style, his potential was unmistakable. It was a travesty that despite a solid start – a song picturised on a superstar in the making, Dev Anand – Kishore Kumar’s singing career did not really take off after Ziddi. One can’t help but wonder if Kishore may have seen success sooner if Khemchand Prakash had lived longer.

Aayega Aanewala (Mahal, 1949)

If we had to pick one song that had the biggest impact on Hindi film music, many of us would pick “Aayega Aanewala” (music by Khemchand Prakash, sung by Lata Mangeshkar and written by Nakshab Jarchvi). This was the song that made Lata Mangeshkar a household name, a name that would be at the forefront of Hindi film music for the next 60 years or so.

The song was not an accidental success. Khemchand Prakash was among the few composers who heard the tremendous potential in Lata’s voice, when most of Bollywood was unsure if the thin voice of young Lata would appeal to the masses. The song was not just a result of Khemchand’s vision – there was painstaking work involved. In the song’s opening, Lata’s voice was supposed to sound like it was coming from a distance. She was asked to stand away from the microphone and walk towards it as she sang the opening line so that she was at the mike when the second verse started. It took many rehearsals to perfect just the song’s opening.

Such was the song’s success that radio stations were flooded with calls of people trying to find out who the singer was and for the first time, radio stations started announcing the name of artists before playing songs. The song was a precursor to a new genre of spooky songs which included Lata hits like “Kahin Deep Jale Kahin Dil” (“Bees Saal Baad”, 1962), “Naina Barse Rimjhim Rimjhim” (“Who Kaun Thi”, 1964), “Mere Mehboob Na Ja” (“Noor Mahal”, 1965) and “Mera Saaya Saath Hoga” (“Mera Saaya” 1966).

Sadly, Khemchand Prakash died the very next year after Mahal’s release, when he was still at his peak. Five songs and a few hundred words are just not enough to express his contribution to Hindi film music. I highly recommend that you further explore his compositions.

Jaidev – Quality Over Quantity

[This post originally appeared here.]

Jaidev was one of the most talented composers of the Hindi film industry. Despite his talent and the critical as well as popular acclaim many of his albums received, he wasn’t rewarded with the commercial success or the name recognition some of his peers enjoyed. After more than three decades in the film industry, he had only about 40 films to his credit.

Jaidev Verma was a child prodigy who could play the harmonica when he was only 5 years old. His career in Hindi films started in the 1930s as a singer-actor in a few films. In the mid-1930s he took a break from films and dedicated himself to learning music. Jaidev received formal training from several gurus including the legendary sarod player Ustad Ali Akbar Khan. The Ustad was responsible for Jaidev’s return to Hindi films. When the Ustad went to Bombay to work for films, Jaidev accompanied him. He assisted Ustad Ali Akbar Khan in the two films he composed music for – “Andhiyan” (1952) and “Humsafar” (1953). Later Jaidev worked as assistant to S.D. Burman before breaking out on his on with “Joru Ka Bhai” (1955).

In this post, I pick 10 songs from Jaidev’s 10 best film scores.

Hum Dono (1961)

In the 1950s, every Navketan film had S.D. Burman’s music and Jaidev assisted S.D. Burman in most of them. These films were “Taxi Driver” (1954), “House No. 44” (1955), “Funtoosh” (1956), “Nau Do Gyarah” (1957), “Kala Pani” (1958) and “Kala Bazar” (1960).  Jaidev’s persistence and loyalty was finally rewarded in 1961 at the age of 42! When Navkentan was looking to make the music for “Hum Dono”, S.D. Burman was unavailable due to some illness and Jaidev was chosen. Jaidev, powered by Sahir Ludhianvi’s lyrics, rose to the occasion and how! The fantastic score of “Hum Dono” sounds as fresh today as it did in 1961. Unfortunately, Jaidev had a falling out with Navketan and never worked for them again. My pick from “Hum Dono” is the short, sweet, santoor-kissed “Jahan Mein Aisa Kaun Hai” sung by Asha Bhosle.

Kinare Kinare (1963)

“Kinare Kinare”, starring Dev Anand and Meena Kumari, was one of the bigger films Jaidev got a chance to work in. The film didn’t do well and so it’s music, which had some endearing melodies, went unnoticed. Mukesh’s “Jab Gham-E-Ishq Sataata Hai” is one song I particularly love but my pick is the title song which Manna Dey renders so elegantly.

Reshma Aur Shera (1971)

After “Hum Dono”, Jaidev was relegated largely to B-grade films during the 1960s, with the exception of “Kinare Kinare” (1963) and “Mujhe Jeene Do” (1963). Although, his music rose above the films they featured in, film offers were few and far between. Just when thing were looking very bleak, “Reshma Aur Shera” came along and with it, Jaidev’s first of three National Film Awards for Best Music Direction. Synonymous with the film is the beautifully shot desert song “Tu Chanda Main Chandni”, a richly textured, complex composition with a dash of classical and a smatter of Rajasthani Maand. “Tu Chanda..” is the one of the earliest film songs I can think of that broke away from the standard mukhda – antara song structure. Interestingly, this feature came to become the signature of another genius composer who was also the winner of multiple National Film Awards like Jaidev, A.R. Rahman.

Faslah (1974)

While Jagjit Singh is credited with re-energizing the ghazal genre in the 1970s, I believe Jaidev played an important role as well. Some of the earliest instances of the modern ghazal with light, contemporary arrangements, simple melodies and fresh, young voices can be found in Jaidev’s compositions in the 1970s. Bhupinder, Hariharan, Chhaya Ganguly, Runa Laila and Penaz Masani were among some of the ghazal singers Jaidev mentored and worked with. “Dil Ne Tadap Tadap Ke” from “Faslah” was one such ghazal. My pick from “Faslah” though is another Bhupinder song, “Zindagi Cigarette Ka Dhuan” with some inspiring, if quirky, lyrics by Kaifi Azmi.

Ek Huns Ka Jora (1975)

For a film that sank without a trace, “Ek Huns Ka Jora” had some excellent music. This is the only film in this list that had songs sung by Kishore Kumar and one of only three films in which Jaidev employed his voice. I wonder why given the high quality of their output, which includes the popular, “Yeh Wohi Geet Hai Jisko Maine” (“Maan Jaiye”, 1972). My pick from “Ek Huns Ka Jora” is the Kishore – Asha duet “Pyar Se Tum Mile Mil Gayi Har Khushi”.

Alaap (1977)

“Alaap” is a seriously under-rated album. Jaidev’s robust score for this Hrishikesh Mukherjee film is built on a solid base of bhajans, classical music, Yesudas’ soothing baritone and some fine poetry. Although the film had some compelling acting and story-telling, and is considered one of the finer performances of Amitabh Bachchan, it didn’t do very well at the box-office. Perhaps, the audience was not willing to see the Angry Young Man portray a serious role that did not require him to beat up bad guys. My pick from “Alaap” is Harivansh Rai Bachchan’s “Koi Gaata Main So Jaata”. It is worthwhile noting that Jaidev also set to tune the senior Bachchan’s masterpiece, “Madhushala” (1976), in Manna Dey’s voice.

Gaman (1977)

1977 was a great year for Jaidev (he was 58 at the time!). He produced some great music that year – three of my picks in this list are from 1977 – and to top it off he won his second National Film Award for his score for Gaman. Gaman was short and extremely sweet score. It is said that Jaidev composed all songs of Gaman in one day flat – such was his genius! It is really hard to pick only one song from Gaman but Chhaya Ganguly’s National Award winning rendition of Makhdoom Mohiuddin’s words, “Aapki Raat Aati Rahi Raat Bhar”, is as good a pick as any.

Gharaonda (1977)

“Gharaonda” is another short and sweet score by Jaidev. While it is better known for Gulzar’s award winning “Do Deewane Shahar Mein” and it’s reprise “Ek Akela Is Shahar Mein”, my pick is the “Tumhen Ho Na Ho” which sounds like another Gulzar song but is in fact, written by Naqsh Lyallpuri. The song has some ground-breaking lyrics and the incredibly fresh voice of the Bangladeshi singer, Runa Laila.

Dooriyan (1979)

After “Gharaonda”, director Bhimsain, further explored human relationships in an urban setting in “Dooriyan”. Given the success of “Gharaonda”, he called in Jaidev again but the lyrics for the film were written by Sudarshan Faakir, an inspired choice as it turned out. One of the highlights of the film’s music was Anuradha Paudwal’s singing. In my opinion, this is the best she has ever sounded. The two Bhupinder – Anuradha duets in the film are absolute gems. My pick – “Zindagi Mere Ghar Aaana”.

Ankahee (1985)

“Ankahee” was Jaidev’s third National Film Award winning score. He passed away two years later, a sad, disillusioned man who did not get his due. “Ankahee” was a rare film whose score was dominated by bhajans. Thanks to some great renditions by Asha Bhosle and Pandit Bhimsen Joshi, Kabir and Tulsidas have never sounded so good on the big screen. My pick – Bhimsen Joshi’s “Thumak Thumak Pag Damak Kunj” which won him the National Film Award for Best Male Singer.

Honourable mentions:  “Joru Ka Bhai” (1955), “Mujhe Jeene Do” (1963), “Wohi Baat” (1977), “Aayi Teri Yaad” (1980) and “Jumbish” (1986).

You can explore more Jaidev hits here.

Anand Bakshi’s Generation-Spanning Work

[Starting this week, we’ll re-publish here the Bollywood Retrospective series published in DNA blogs. This post was originally published here.]

This post is based on a question posed a few years ago on Twitter by film historian Pavan Jha, a passionate follower and chronicler of films and film music. The question – “Name the 5 pairs of father-son composers for whom Anand Bakshi has written lyrics”. It’s a fantastic question because it gives us a sense of how extensive Anand Bakshi’s career was. Anand Bakshi’s long career is indicative of compromises he had to make along the way (quality may have suffered at the expense of quantity) but more importantly, it speaks to his ability of connecting with the common man over several generations and his success in adapting himself to changing times.

Here are my pick of Anand Bakshi’s songs for the five father-son composers he worked with out of the 3000+ songs he wrote for Hindi films:

S.D. Burman and R.D. Burman

Anand Bakshi had debuted in 1958 and proven his mettle earlier with films like “Jab Jab Phool Khile” (1965) and “Devar” (1966), but he had to wait till 1969 for an opportunity to work with S.D. Burman. It is well known that R.D. Burman played an important role in the music of “Aradhana” (1969) – he was credited as Associate Music Director – and one wonders if the younger Burman had anything to do with picking Anand Bakshi for the first time for S.D. Burman. Anand Bakshi went on to work with S.D. Burman in many other films including “Jugnu” (1973), “Prem Nagar” (1974) and “Chupke Chupke” (1975), but couldn’t quite match Aradhana’s success. My pick from Aradhana – “Kora Kagaz Tha Yeh Man Mera”:

Anand Bakshi’s body of work with R.D. Burman is far richer than that with his father. It contains bona fide classics like “Kati Patang” (1970), “The Train” (1970), “Amar Prem” (1971), “Hare Rama Hare Krishna” (1971), “Namak Haram” (1973), “Aap Ki Kasam” (1974), “Ajanabee” (1974) and “Mehbooba” (1976. I consider “Amar Prem” to be the pinnacle of their partnership. Although I am in awe of the powerful lyrics of “Chingari Koi Bhadke”, my pick from the film is “Kuchh To Log Kahenge” because of the deftness with which Bakshi saab took a song of compassion and transformed it into an unflattering commentary on society.

Roshan and Rajesh Roshan

Roshan was one of the big-name music directors to work with Anand Bakshi early on in his career but they worked together on just a handful of films. “Devar” (1966) was the only film in which the two enjoyed a measure of success. My pick from “Devar” is “Baharon Ne Mera Chaman Loot Kar” because it’s one of the few songs in which Anand Bakshi challenges the average Hindi film music listener with limited knowledge of Urdu, while keeping his trademark simple core intact.

Rajesh Roshan’s only Filmfare Award came in a film for which Anand Bakshi wrote lyrics, “Julie” (1975). My pick though is from a film which came the next year “Tumhari Kassam” (1978).  “Hum Dono Milke Kagaz Pe Dil Pe” belonged to a category of Hindi film songs Anand Bakshi did very well in – the conversational romantic duet. As with other songs in this category penned by him, Anand Bakshi keeps the lovers’ exchange light-hearted, flirtatious and very real.

Kalyandji – Anandji and Viju Shah (son of Kalyanji)

After almost a decade of a rather unremarkable career, it was Kalyanji – Anandji who gave Anand Bakshi a blockbuster hit record with “Jab Jab Phool Khile” (1965), and almost overnight transformed him into the industry’s leading lyricist. I am not particularly fond of the album, but clearly I am in the minority. The film’s music was very popular and with its range of themes and genres, it had something for everyone. My pick from the film is “Ek Tha Gul Aur Ek Thi Bulbul”. Contrived as the situation is, I think Anand Bakshi does a masterful job of telling the film’s story in three verses.

In terms of popularity, “Mohra” (1994) and “Gupt” (1997), would surpass anything else Anand Bakshi wrote for Viju Shah. At the age of 64, Bakshi saab managed to write something as juvenile (some may say crass) as “Tu Cheez Badi Hai Mast Mast”. We could see the song’s lyrics as an unnecessary compromise by a senior lyricist or we could marvel at an old man’s ability to read the pulse of a generation far removed. My favourite Viju Shah – Anand Bakshi coming together, however, happens in the lesser heard “Tere Mere Sapne” (1996) with its two outstanding romantic duets “Kuchh Mere Dil Ne Kaha” and “Mere Piya Maine Jise Yeh Dil Diya”.  My pick – “Mere Piya Maine Jise Yeh Dil Diya”.

Chitragupt and Anand – Milind

There isn’t a lot to choose from when it comes to Anand Bakshi’s lyrics for Chitragupt – just six songs from two obscure films “Aadhi Raat Ke Baad” (1965) and “Angaaray” (1975). In fact, I came upon those songs only while writing for this post. My pick is Lata Mangeshkar’s ghazal from “Aadhi Raat Ke Baad” – “Mera Dil Baharon Ka Woh Phool Hai“.

Anand – Milind did 10 films with Anand Bakshi but nothing really clicked. The duo could not really get the best out of the aging lyricist. My pick of this combination is an OK melody but to be honest, I picked it for the resplendent Madhuri Dixit. The song – Kumar Sanu and Sadhna Sargam’s “Kitna Pyar Karta Hoon” (“Phool”, 1993).

Nadeem – Shravan and Sanjeev – Darshan (sons of Shravan Rathod)

Nadeem – Sharavan did just two films with Anand Bakshi. Bakshi saab’s advancing age and the disruption in Nadeem – Shravan’s career due to Nadeem’s legal troubles (he was named accused in T-Series’ Gulshan Kumar’s murder) meant that they didn’t work together after “Pardes” (1997). But what an album “Pardes” was! The film had many good songs and deservedly won Nadeem – Shravan a Screen the award for Best Music Director. My pick is the mellow love ballad sung by Kumar Sanu, “Do Dil Mil Rahe Hain”.

Anand Bakshi’s work for Sanjeev – Darshan came in the last two years of his life when he was a spent force, although still prolific and with the ability to produce a sporadic good song. I’d rather not pick a Sanjeev – Darshan song.

Instead, I will end the post with a song Anand Bakshi wrote for his most significant collaborators, Laxmikant – Pyarelal. About half of all the film songs Anand Bakshi ever wrote were for LP. Theirs was a hit making team as they churned out one chartbuster after the other – “Do Raaste” (1969), “Aan Milo Sajna” (1970), “Mehboob Ki Mehndi” (1971), “Bobby” (1973), “Anurodh” (1977) and “Karz” (1980) – to name just a few. My pick is “Aadmi Musafir Hai” (“Apnapan”, 1977) which won Anand Bakshi the Filmfare award for Best Lyricist and is an apt song to revisit the beautiful memories the people’s poet left behind.

1930s Hindi Film Music – Now Available on MySwar

We had promised in February to complete the task of cataloguing the first decade of Hindi film music, starting with “Alam Ara” (1931), by April. We’re happy to report that the task is done right on time. MySwar now lists all the films released between 1931 and 1940 and their songs.

At this point, the data for film names, song listings and music related credits is complete to the extent that we have information for them. We have updated credits for directors, actors, banners for some of the films but this remains a work in progress. The task of linking to YouTube and iTunes (where available) is also in progress.

We hope you find this effort useful and invite any feedback you may have.

MySwar Updates

We’ve been busy making MySwar better these past few months and although we’re far from done, it’s a good time to review two of these updates:

  1. A few months ago, we started entering information for Hindi films released between 1931 and 1940. In a first pass, we entered the most important films released in this decade – films like “Alam Ara” (1931), “Devdas” (1935) and “Street Singer” (1938). In a second pass, we started filling in information for the remaining films. As of now, we’re done with the filmography for the period 1931 to 1936. Work on the period 1937 and 1940 is currently in progress. We expect this work to be done by April.
  2. MySwar now provides listing of albums by Label and listings of films by Banner/Production house. Labels displayed on album listing pages and on album pages are now hyperlinked. So is the Production company displayed on the album page. One cool thing about these listings are that we have linked related labels and production houses to provide a consolidated listing. For example, Polydor and Music India labels were merged into Universal and so clicking on either of the three gives the same consolidated listing. Same for NFDC and National Film Development Corporation Of India.

Please check out these updates and share any feedback you may have.

2016 Bollywood Music Review and Top 20 Songs


As in the past, critics were not happy with the state of Hindi film music in 2016. The charge – yet again – was that it Hindi films were using an “assembly line” approach to create songs using multiple composers and re-packaging hit songs from the past. One thing is certain – music is no longer crucial to the film’s storytelling. This is not an entirely new phenomenon. A spurt of action films in 1970s/1980s had also rendered film music insignificant for a period. Increasingly, music is being seen as a means to promote the film. To the surprise of film audiences, songs that top the charts, end up being abridged in the film or part of the film’s background score. Some don’t even make it to the film.

That said, 2016 did have some bright spots. Towering above the rest was Shankar – Ehsaan – Loy’s “Mirzya”. Given a free rein by Rakeysh Omprakash Mehra, S-E-L packed the album with uninhibited experimentation. “Mirzya” pushed the boundaries of film music and then some. The other highlight of the year was Amit Trivedi’s comeback after the brilliant, but commercially disastrous, “Bombay Velvet” (2015). He had three superb albums ins 2016 – “Udta Punjab”, “Fitoor” and “Dear Zindagi”. Pritam also did quite well in 2016 with “Ae Dil Hai Mushkil” and “Dangal” after a relatively lukewarm 2015. At the end of this post, we list the year’s 20 top-rated songs. Here is a longer list of 2016’s best Hindi film and non-film songs.

Some brilliant artists bode us farewell in 2016 – lyricist Nida Fazli, composers Ajit Varman and Omi (of Sonik – Omi), singer Mubarak Begum and Carnatic musician and vocalist M. Balamuralikrishna.

Some notable debuts in 2016 were:

Bollywood made 150 films with 872 songs between them in 2016.

The most prolific composers of the year were:

  1. Vishal – Shekhar – 5 films, 34 songs
  2. Amit Trivedi – 3 films, 24 songs
  3. Clinton Cerejo – 3 films, 20 songs

Vishal – Shekhar compensated for their dry spell in 2015 (they didn’t score any film that year) by being the most prolific composers in 2016. Unfortunately, the quality of their output didn’t match the quantity. Amit Trivedi won 2016 with his consistency, creating 3 albums that won the hearts of music lovers. After staying in the sidelines for years, Clinton Cerejo finally had the spotlight shining on him with 3 films as solo music director (although “Jugni” did have one song by A.R. Rahman, I think it’s fair to slot it as a solo Clinton album). It’s interesting to note that Mithoon and Ankit Tiwari, who followed closely with 18 songs each, had more films to their credit in 2016 than the top 3 most prolific composers. It turns out that they happen to be part of multi-composer albums quite a lot.

The most prolific lyricists of 2016 were:

  1. Kumaar – 27 films, 74 songs
  2. Manoj Muntashir – 16 films, 55 songs
  3. Amitabh Bhattacharya – 5 films, 21 songs
  4. Javed Akhtar – 5 films, 21 songs

Kumaar has been on the most prolific list for some years now. It’s amazing how little we know about a lyricist who’s been as prolific as him. Manoj Mutashir’s presence on the list was a surprise as well, with big name lyricists like Amitabh Bhattacharya and Javed Akhtar relegated to the third spot.

The most prolific male singers of 2016 were:

  1. Arijit Singh – 48 songs
  2. Vishal Dadlani – 23 songs
  3. Armaan Malik – 18 songs

Unsurprisingly, and in my opinion, deservedly, Arijit Singh dominated the male singers list with more than double the number of songs sung by the next most prolific singer.

The most prolific female singers of 2016 were:

  1. Sunidhi Chauhan – 22 songs
  2. Palak Muchhal – 19 songs
  3. Neha Kakkar – 18 songs

For some reason, two of my most favourite singers were conspicuously low key in 2016 – Shreya Ghoshal and Neeti Mohan. I hope they come back with a bang in 2017.

Based on the ratings of their 2016 songs, here are the best-rated artists of the year:

  1. Composers: Amit Trivedi, Vishal – Shekhar, Clinton Cerejo
  2. Lyricists: Amitabh Bhattacharya, Swanand Kirkire, Shellee
  3. Male Singers: Arijit Singh, Vishal Dadlani, Amit Trivedi

And the top 20 songs of 2016:

  1. Channa Mereya (Ae Dil Hai Mushkil)
  2. Aave Re Hichki (Mirzya)
  3. Dugg Duggi Dugg (Jugni)
  4. Hass Nach Le (Udta Punjab)
  5. Taareefon Se (Dear Zindagi)
  6. Haminastu (Fitoor)
  7. Pashmina (Fitoor)
  8. Hota Hai (Mirzya)
  9. Chitta Ve (Udta Punjab)
  10. Da Da Dasse (Udta Punjab)
  11. Ikk Kudi (Udta Punjab)
  12. Ud-Daa Punjab (Udta Punjab)
  13. Ae Dil Hai Mushkil (Ae Dil Hai Mushkil)
  14. Titli (Bollywood Diaries)
  15. Love You Zindagi (Dear Zindagi)
  16. Kaaga (Mirzya)
  17. Bulleya (Sultan)
  18. Rootha (Te3n)
  19. Tu Hi Hai (Dear Zindagi)
  20. Hone Do Batiyan (Fitoor)