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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

It is generally believed that the playback singing career of Mohammed Rafi really took off on a sustainable basis after his songs in ‘Baiju Bawra’ (1952) became very popular. I had been carrying an impression that the year 1949 was a watershed in Rafi’s playback singing career. Probably I got this impression due to a number of his film songs I came across on YT released in 1949. To check my ‘hypothesis’, I have attempted an exercise on Rafi’s Hindi film songs during 1944-50. The starting year 1944 was taken as Mohammed Rafi got his first song as a playback singer in 1944. The end year was selected as 1950 just to know as to what was Rafi’s performance as a playback singer after 1949 which is the year I believe to be an important year in shaping his career graph.

For this exercise, first I thought of using Rafi Songs’ Excel Sheet but since the songs were listed there as per the alphabetical order of the films, I found it difficult to cull out the year-wise songs. So I relied on http://www.myswar.com where I could change the display of songs into singer-wise songs, one artist at a time. So I prepared a list of all the songs sung by Mohammed Rafi, year wise. The list prepared from this source was rechecked with Rafi Excel Sheet. There were few discrepancies in these two sources which I have rectified in my list to the best of my knowledge after checking from other sources including this Blog. The broad outcome of this exercise is tabulated below:

Year No. of songs No. of Films No. of MDs
1944 3 1 1
1945 10 6 5
1946 38 18 14
1947 24 14 13
1948 52 25 21
1949 121 49 21
1950 93 38 18
Total 341 151

It is apparent from the table that the year 1949 was indeed an important year in shaping Rafi’s playback singing career. As compared with his performance in 1948, he had not only more than doubled his output of songs but also nearly doubled the number of Hindi films he got to sing in 1949. However, there was a moderate set back in his song output in the following year (1950). One of the reasons could be the fact that in the year 1950, the total Hindi film released had come down to 111 from a high of 157 in 1949.

Having done this exercise, I could get some other statistics concerning Mohammed Rafi’s Hindi film songs. First, the broad category wise distribution of Mohammed Rafi’s 341 songs is as under:

Category Numbers
Solos 132
Duets 169
3 or more singers 40
Total 341

Mohammed Rafi’s first solo song in Hindi film was ‘ae dil-e-naakaam tamanna’ from ‘Hamaara Sansaar (1945) under the music Direction of Pt. Govind Ram. His first duet song was ‘topiwaale babu ne’ with Amirbai Karnataki in ‘Kul Kalank’ (Jeevan Chhaaya, 1945). His sang his first song with Zohrabai Ambaalewali together with Shamshad Begum in ‘Hamaara Sansaar’ (1945).

Second, the top 5 singers with whom Mohammed Rafi sang duet songs during the period under review are as under:

Singers No. of songs
Shamshad Begum 46
Lata Mangeshkar 30
Geeta Roy (Dutt) 16
Suraiya 16
Amirbai Karnataki 11
Other singers 50
Total 169

As I had expected, Mohammed Rafi sang the maximum number of duets with Shamshad Begum during the period under review in keeping with her status at that time, being one of the top female playback singer. In the category of ‘other singers’, Beenapani Mukherjee, Mohantara Talpade, Lalita Deulkar, Surinder Kaur, Chitalkar, Shyam Kumar, Mukesh, G M Durrani, Khan Mastana, K L Saigal etc were other singers.

Third, it was observed that during 1944-50, Mohammed Rafi topped the list among the top 6 male playback singers who were senior to him:

Playback Singers Hindi Film songs rendered during 1944-50
Mohammed Rafi 341
Mukesh 151
G M Durrani 137
Chitalkar (C Ramchandra) 86
Khan Mastana 51
Manna Dey 50

I have not worked out the year-wise performance of the playback singers listed above. But on the basis of some sample checks, I get an impression that Mohammed Rafi overtook Mukesh and G M Durrani from 1948. Probably the popularity of Rafi’s duet song yahan badla wafa ka bewafai ke siwa kya hai in ‘Jugnu’ (1947) may have played an important role for him to get more playback singing assignments subsequently at the cost of G M Durrani. It is interesting to note that during this period, the number of songs rendered by Mohammed Rafi exceeded the combined number of songs rendered by Mukesh and G M Durrani who were his close competitors.

Finally, the statistics of Mohammed Rafi’s Hindi film songs during 1944-50 also bring out some interesting information in regard to the music directors of his songs:

Number of songs
Music Director 1944 1945 1946 1947 1948 1949 1950 Total
Husnlal-Bhagatram - - - 1 1 22 27 51
Hansraj Bahl - - - - 6 13 16 35
C Ramchandra - - 3 8 5 9 4 29
Naushad 3 - 2 - 1 13 6 25
Shyam Sundar - 1 - - 3 9 - 13
Pt. Govind Ram - 4 3 1 1 1 3 13
S N Tripathi - - 3 - 3 1 3 10
Ghulam Mohammed - - - - 2 5 3 10
Feroz Nizami - 3 4 2 - - - 9
Chitragupt - - - - - - 9 9

Even though during the period under review, he had sung the highest number songs under the baton of Husnlal-Bhagatram, it was Naushad, Pt Govindram, Feroz Nizami and C Ramchandra who played important roles in shaping the playback singing career of Mohammed Rafi in the early phase. His first Hindi film song was recorded under the music direction of Shyam Sundar for ‘Village Girl’ (1945), but his song ‘Hindustan Ke ham hain Hindustan hamaara’ from ‘Pahle Aap’ (1944) was first released under the music direction of Naushad.

During this period Mohammed Rafi had also worked with music directors like Sudhir Phadke, Vasant Desai, Datta Davjekar, Prem Nath, A R Qureshi, Shankar Rao Vyas, Ghulam Haider, Hari Prasana Das, Hanuman Prasad, Vinod etc. Surprisingly, during this period, he had only one song composed by one of the most prolific Music Directors of that period – Anil Biswas (Beqasoor, 1950).

During the course of this exercise, I had to refer to YT for some of Rafi’s songs for rechecking the information. I came across many songs from the period under review which are yet to be covered in the Blog. I have selected one of such songs ‘zahe kismat teri mehfil se jo paigaam aaya hai’ from the film CHILMAN (1949). In some places the name of the film has been mentioned as ‘JANNAT’ (1949). In http://www.myswar.com, both these films are listed separately with 10 songs shown under ‘Chilman’ and 12 songs ( i.e., two additional songs) shown under ‘Jannat’.
(Note from Atul- According to HFGK, 10 out of 12 songs of “Jannat” appeared in “Chilman” as well. The record numbers of the same songs were however different for both movies, which meant that different records were issued for the same songs belonging to the two movies)

The song is sung by Mohammed Rafi under the baton of Hanuman Prasad. While under ‘Chilman’ the name of the lyricist of this song is not mentioned, the name of M K Chhibber has been mentioned against this song under ‘Jannat. I had seen the film poster of ‘Jannat’ (1949) on a website which shows that the film was produced by M K Chhibber under the banner of Orient Sound Studios and directed by M Changezey. The names of the actors indicated on the poster are Ajit, Rehana, Balam, Hamid, S Raj and Pritma (Pratima?). I had not heard of both these films and the songs until I came across this song. One song under ‘Chilman’ has been covered in the Blog.

Only audio clip of the song is available. But being a typical Rafi song, one can get a feel of the visual without needing the video clip.


Song-Zahe kismat teri mehfil se jo paighaam aaya hai (Chilman)/(Jannat)(1949) Singer-Rafi, Lyrics-M K Chhibbar MD-Hanuman Prasad

Lyrics

zahe kismat
zahe kismat
zahe kismat teri mehfil se jo paighaam aaya hai
mareez-e- ishq ki khaatir shifhaa ka jaam aaya hai
mareez-e-ishq ki khaatir shifaa ka jaam aaya hai

ye jazb-e-ishq hai mera ke tere husn ka sadka
ke tere husn ka sadka
ye jazb-e-ishq hai mera ke tere husn ka sadka
ke tere husn ka sadka
zahe e dil mein lahu ugla jo tera naam aaya hai
zahe dil mein lahu ugla jo tera naam aaya hai

lagaa teer-e-mohabbat jab dua nikli mere dil se
dua nikli mere dil se
lagaa teer-e-mohabbat jab dua nikli mere dil se
dua nikli mere dil se
tumhaari yaad rangeen ka mujhe inaam aaya hai
tumhari yaad rangeen ka mujhe inaam aaya hai

unhi ne khat likha majboor hokar soz-e- ulfat se ae
soz-e- ulfat se
unhi ne khat likha majboor hokar soz-e- ulfat se ae
soz-e- ulfat se
mera dard-e-jigar aakhir ko mere kaam aaya hai
mera dard-e-jigar aakhir ko mere kaam aaya hai
zahe kismat
zahe kismat
zahe kismat teri mehfil se jo paighaam aaya hai

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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

In February 1958, an Italian song – Nel blu Dipirito di blu (English: In the sky painted blue), popularly known worldwide as ‘Volare Song’ become very popular. The song was written and sung by Domenico Modungno. This song was chosen as Italian entry to the European Song Contest, 1958 where it got 3rd place. The song received two awards at the First Grammy Award, 1959 – (i) Record of the Year and (ii) Song of the Year. Due to its popularity, the song was recorded in many languages such as English, French, Dutch, Spanish, Russian, Finnish, Portuguese etc. The song was sung by more than 50 performers all over the world which included some of the greatest names like Dean Martin, Frank Sinatra, Louis Armstrong, Cliff Richard, Gypsy Kings etc. In 1958, Dean Martin included the half version of the song in English for his LP ‘This is Dean Martin’. The combined sales of all versions of the song exceeded 22 million copies worldwide making it one of the all time popular songs. (Source: Wikipedia). The Video link of the original Italian ‘Volare Song’ is here. I also like the English-Italian version of the song sung by Dean Martin which is here.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Ever since the talkies came into being, Shakespeare’s plays have been one of the most favourites literary sources that have been used in Hindi films after suitably adapting them. The first talkie film adapted from Shakespeare’s play ‘Hamlet’ is stated to be ‘Khoon Ka Khoon’ (1935) directed by Sohrab Modi. Shakespeare’s plays which have been the favourite with Hindi film industry beside ‘Hamlet’ are ‘Macbeth’, ‘Othello’ and ‘Romeo & Juliet’.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

We Indians are known to be inquisitive about the personal lives of others, more so in the semi-urban and rural settings. Historically, this trait may have come from community living in hamlets where there were closer ties with families through interactions. This also helped in keeping abreast with what was happening around them. Inquisitiveness is not confined to India alone. It has also been observed in other developed countries, though to a lesser extent. I have personally experienced it in a couple of European countries.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

My interest in Urdu ghazals is as old as my interest in Hindi film songs of the golden era. For me, Talat Mehmood, Madan Mohan, Sahir Ludhinavi, Kaifi Azmi were synonymous with filmy ghazals of golden period. Of course, I was already aware of one of the greatest Urdu poets of Indian sub-continent, Allama Iqbal’s name associated with ‘saare jahaan se achcha Hindustan hamaara’ from my school days. The ghazals of the film ‘Mirza Ghalib’ (1954) expanded my horizon of Urdu poetry of Mirza Ghalib and some other poets like Daagh through non-filmy ghazals. From 1972 onwards, TV became a major medium through which I could watch the programmes of Urdu ghazal singing covering singers like Rajkumar Rizvi and his wife Indrani Rizvi, Rajendra Mehta and his wife Neena Mehta, Chandan Das, Peenaz Masani, Talat Aziz and many more.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

I had heard the name of the film ‘Rangeen Raaten’ (1956) for the first time in my friend’s house some time in 1971 where some of us used to assemble for listening to his collections of some rare Hindi film songs. My friend would stack a few 78 RPM gramophone records of rare songs on his Gerrad Record Changer and we would listen to those songs one by one with some discussion on the songs and the films. One of the songs through which I came to know about the film was bahut aasaan hai chilman se lagakar muskuraana.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

The year is 1927 and the place is Tellipur in Nagpur city. A boy, aged about 7 year is headed for his home after his school closes for the day. On the way, heavy rains forces him to take the shelter below the staircase of a building. The rains continue and the boy starts singing. An elderly person comes down from the upper floor of the building and takes the boy to his room. He asks the boy to sing the songs again which he was singing a short while ago. He is impressed by the boy’s singing. The rains stop and he accompanies the boy to drop him at his home. The elderly person requests boy’s mother, a school teacher, to let the boy join his music school. Before he completes his sentence, the mother tells him that she had no money to pay the fees. He assures her that he would not charge any fee for his music lessons. The mother is still not comfortable about her son joining the music school. She tells him that she does not want the boy’s schooling to be affected. The elderly person once again assures her that he would teach the boy only after his school timing is over. At last the mother agrees for her son joining the music school. The son was Vasantrao Deshpande and the elderly person was Shankarrao Sapre who was a trained classical singer of Gwalior gharana. For young Vasantrao Deshpande, it was the most important rainy day as it changed the course of his life.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

I had listened to most of the audio clips of Begum Akhtar’s ghazals and other semi-classical songs uploaded on YT. She had rendered ghazals of many well known Urdu poets like Ghalib, Mir, Daagh, Momin Khan Momin, Faiz Ahmed Faiz, Jigar Moradabadi, Firaq Ghorakhpuri, Behzad Lucknowi etc. In the later part of her singing carrier, she sang ghazals of the then emerging poets like Shamim Jaipuri, Shakeel Badayuni, Kaifi Azmi, Sudarshan Faakir, Amir Qabalbash etc. Jigar Moradabadi was one of her favourite poets. Begum Akhtar started singing his ghazal sometime in the second half of 30s when Jigar was already popular among the mushiara audience because of his captivating style of rendering his poetry. Because of his popularity, he was called ‘people’s poet’.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

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Atul Song-A-Day 10K Song Milestone Celebrations –46 (Song number 10001)
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The other day, I received a phone call from an unexpected quarter – Bhole and Chhote, the adopted ‘kids’ of Atul, lodging a sort of complaint against their Master that they have been neglected in his Blog for a long time.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

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Atul Song-A-Day 10K Song Milestone Celebrations – 34
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The number 10000 is an important milestone. In cricket, batsmen aggregating 10000 runs or more in test matches and One Day Internationals (ODIs) are considered iconic batsmen. In athletics, athletes participating in 10000m run are regarded as persons of great endurance. It is the ultimate aim of long distance runners to win the 10000m running competition to prove their prowess. I find that there are 9 batsmen in test matches and 10 batsmen in ODI cricket who have achieved the distinction of aggregating 10000 and more runs. There may be nearly hundred athletes who have won 10000m run in recognised athletic competitions.
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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where "new" songs are added every day, and that has been the case for more than six years. This blog has over 10100 songs post by now.

Total number of songs discussed

10122

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