Archive for the ‘Post by Sadanand Kamath’ Category
Chamkat damkat daamini
Posted on: May 2, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
In the process of searching for some rare songs sung by G M Durrani, I came across a song ‘chamkat damkat daamini’ sung by him in the film GEET GOVIND (1947) with Aabha and Geeta Dutt. I have not heard the name of the film nor the song. I am not even aware of Aabha, one of the playback singers in this song. Perhaps she may be one of those ‘one-film’ playback singers.
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Ajee dil ho qaaboo mein to
Posted on: May 1, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
On the eve of my retirement from the service in 2006, I had started buying VCDs/DVDs of many classic Hindi films mostly of 40s and 50s to watch them as a part of my post retirement activities. While I have watched most of them, there were still a few VCDs which were lying intact without even breaking the plastic wraps. One of such VCDs was of the film ‘Village Girl’ (1945). What caught my attention was not the intact plastic cover but a boldly printed statement on the top of the VCD cover in Hindi which in English meant ‘Mohammed Rafi’s first song – ajee dil ho qaaboo mein to dildaar ki aisee taisee’. Until now I was under the impression that Mohammed Rafi’s first debut Hindi film as a playback singer was ‘Pahle Aap’ (1944). I decided to first watch the film.
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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.
NAYI KAHAANI (1943) was produced under the banner of Prabhat Film Company and directed by D D Kashyap. The star cast included Jairaj, Miss Ross, B Nadrekar, Shalini, Paresh Banerjee, Master Balakram etc. I had not heard of Miss Rose as an actress. A search on the website did not reveal much information about her except some basic information here. She was born as Rose Masbiah in Calcutta (Kolkatta) in a Jewish family. Her filmography indicates that she started working for Madan Theatres in Calcutta starting with the film ‘Hindustan’ (1932). Sometime around 1938, she shifted to Bombay (Mumbai) and joined Sagar Movietone. After the closure of Sagar Movietone, she seems to have become a freelance actor doing roles in films produced under the banners of Ranjit Movietone, National Studios and other film production banners in Bombay/Poona. During her career, she acted in 24 films. ‘Daasi Yaa Maan’ (1946) was her last film. She was a good singer and in a few films, she sang her own songs.
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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.
A few days back, I had discussed hamri munder boley kaaga sakhi ri from the film BAABLA (1953) on this blog. But well before this song, I had come across another song ‘lehron ke rele sang naiya mori khele’ from the same film sung by Hridaynath Mangeshkar. The voice sounded girlish. My first reaction was that it must have been some mistake on the part of uploader of the audio clip to name him as a singer of this song. My doubt stemmed from the fact that Hridaynath Mangeshkar was born on October 27, 1937. At the time of recording this song, he must be around 15 years by which time the voice of a boy should have turned in to a boyish or a male voice. So I kept this song in the loop for some time until I made fairly sure that this song was really sung by him.
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Wo jo roothhen to manaana chaahiye
Posted on: April 25, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Most of us are aware that a ghazal is a series of couplets (she’rs), each one being independent of others. In fact each she’r is a poem by itself. So theoretically, she’rs written by different poets (shaayars) can be woven to make it a ghazal. This is easier said than done as there are other parameters to make it a traditional ghazal. Normally, there are five essential aspects of a traditional ghazal. They are
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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.
HAMAARI BAAT (1943) was produced under the banner of Bombay Talkies and directed by M I Dharmsey. Devika Rani and Jairaj were in the lead roles with, David, Shah Nawaz, Mumtaz Ali, Kamta Prasad, Raj Kapoor and Suraiya in supporting roles. This was the last film in which Devika Rani acted. As per http://www.myswar.com, there were 10 songs in the film all being penned by Pandit Narendra Sharma. Anil Biswas was the music director of the film.
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Arshon pe sitaara hai wo
Posted on: April 22, 2013
The articles on this song are written independently by Sadanand Kamath and Sudhir, fellow enthusiasts of Hindi movie music and regular contributors to this blog, and sent to me almost simultaneously. 🙂
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Sadanand Kamath’s writeup
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I had not heard the name of the film BEETE DIN (1947). What prompted me to know about this film was a song ‘arshon pe sitaara hai wo’ from this film which is sung by Mukesh and M A Rauf (Osmania), one of the two music directors in the film. The song’s composition is somewhat different than what one usually finds in most of Hindi film songs. There is no repetition of lines of mukhda in the antaras. The tune is more or less the same for both the mukhda and antaras.
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- In: Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Hans songs | Lyrics contributed by readers | Mukesh songs | Post by Sadanand Kamath | Shamshad Begam songs | Shamshad Begam-Mukesh duet | Songs of 1940s (1941 to 1950) | Songs of 1947 | Yearwise breakup of songs
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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.
The song I have chosen for discussion is a Mukesh-Shamshad duet ‘moti chugne gayi re hansi maansarovar teer’ from the film ‘CHHEEN LE AZAADI (1947) which I have been all along assuming to have already beencovered in the blog. Now I find that this duet is yet to be discussed in the blog. The reason for my erroneous assumption was that some time back our dear Sudhir had taken up the mission of posting Mukesh songs pertaining to 1940s.
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Aankh se aankh milaata hai koi
Posted on: April 20, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
It is a human nature that most top professionals would think that they are perfect in their professions, be it in the fields of sports or fine arts. Then why do we need coaches, guides, trainers etc ? A few years back, it looked odd to me to know that top seeded professional lawn tennis players have personal coaches. Some of the coaches may not have even played in any of the grand slam tournaments. Even in cricket, some of the teams’ coaches have not been top cricketers in their own national team. Now I know of two maxims in professional sportsman-coach relationship. First, all top players need not be perfect and coaches of these top players need not be top sportsmen in their fields. Second, the best coaches have the wherewithal to extract from the top professionals something more than the perfect which makes a vast difference in closely fought competition. This led me to think why not have a system of coaches (in Indian musical parlance, ‘guru’) for professional singers as well?
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Bogi bogi bogi
Posted on: April 19, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
HAM LOG (1951) was a typical Zia Sarhadi film highlighting the social issues in keeping with the socialistic ideology followed by Indian People’s Theatre Association (IPTA). The film was produced under the banner of Ranjit Movietone. In this film, social issues were raised that arose out of the difficulties faced by a poor family of Lalaji Harcharandas (Kanhaiyalal) and his wife (Durga Khote), unemployed son Raj (Balraj Sahani), a sickly daughter Paro (Nutan) and a school going son (Master Ratan). The problem is further accentuated by the arrest of Lalaji for allegedly stealing money from his employer for which he is sent to prison.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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