------------------------------------------------------------ Madan Mohan RJGK-43 ------------------------------------------------------------ Subject: RJGK43 results - Madan Mohan Date: 13 Jul 1998 21:27:59 GMT ------------------------------ Hello all, First, let me apologize for the delay in posting the results/answers. Hope you did not run out or patience :) I would like to thank all the participants and would especially like to welcome newcomers to the RJGK participant club! Hope you had a great time solving the quiz. Finally, I would like to thank Balaji and Malini for their wonderfully formatted entry that I used almost directly for the answers post. Following is the list of participants: 1 Abhay and Radha Phadnis 2 A-HA team of Arunabha, Hema and Amol 3 Angshuman Bezbaruah 4 Balaji and Malini 5 Dhanashri S J 6 Harish Suvarna 7 Kalyan Kolachala and Ikram 8 Prince Kohli and Neeraj Malhotra 9 Radhika Woodruff 10 Ranju Raj 11 Sami Mohammed 12 Sarita Lall and Shalini Singh 13 Shyamali Sinha and Jaydip Chakrabarty 14 Snehal Oza 15 Tabassum Hijazi 16 Umang Bali 17 Vandana Vidwans and Neha Desai 18 Vijay Kumar 19 Vinay Jain and Pavan Jha 20 Vinaya Kavathekar 21 Vish Krishnan 22 Afzal A Khan (nocompetitive) 23 Ashok Dhareshwar (noncompetitive) 24 Charu Wadhawan (noncompetitive) 25 Satish Kalra (noncompetitive) 26 Surajit Bose (noncompetitive) General Comments: ================ Abhay and Radha Phadnis> Thank YOU for the lovely time the quiz gave us! Dhanashri S J> ...I enjoyed the quiz very much...The quiz was very well organized. The year wise listing of films and the year wise clues also helped as additional clues for verifying some answers. The choice of songs (which I could solve) was very good. Harish Suvarna> It is a very good quiz blancing easy ones with tough ones. Hema> The quiz is nice. It features a good selection, except for the ones we didn't get ofcourse.:) Sarita Lall and Shalini Singh> We are thankful to you for taking so much of pain in organising this wonderful quiz. It was tough but we enjoyed solving it. Kalyan Kolachala> The quiz was great and it was fun attempting it. The last two weeks I have been listening mostly to Madan Mohan tapes and it has been a great experience. Vinay Jain and Pavan Jha> Thanks for a great quiz. Nice selection of songs. We really enjoyed the quiz. Prince Kohli and Neeraj Malhotra> We found it quite interesting and stimulating in that it made us re-listen to many MM classics, which can never be a loss. Ranju Raj> Impossible to pass up a quiz on Madan Mohan Shyamali Sinha and Jaydip Chakrabarty> Great quiz! Our only complaint is that you missed out so many of our favourite songs! Umang Bali> Aap ki ye quiz to lajawaab thi huzuur. Madan sahib jaise hunarmand mausiqaar hazaar saaloN mein kahiN eik baar paida hote hai... Balaji and Malini> ...enjoyed the quiz a lot. CHETAN> Thanks, all of you! Ashok Dhareshwar> I would criticize the singer breakdown. Pace the special chemistry, I think there is too much Lata. MM's work with Manna Dey deserved more representation that one duet...Suman K. also deserves a song...Representation is inadequate for Kishore also...While it is true that Madan Mohan's oeuvre with Rafi needs emphasis, the balance in the quiz might have gone a bit too far... You could have used a Mahendra Kapoor song for that period. In general, MM has made good use of MK, but this period has one soundtrack of MM where the male singer is exclusively MK: 'Jab Yaad Kisi Ki Aati Hai'. It has two very nice songs involving MK, one duet with Lata (Dhoo.nDhe tujh ko nain deevaane) and the other a solo (ari o shokh kaliyo.n muskuraa denaa). CHETAN> Valid point about singer breakdown. Regarding Manna Dey, the two songs I considered ("kaun aayaa" from Dekh Kabira Roya and "tum bin jeevan" from Bawarchi) have been used up in relatively recent quizzes. I guess I could have made an exception. The only Suman song I considered ("baad muddat ke ye ghaDii" from Jahan Ara) had been used in the Rajinder Krishan RJGK. I had a similar problem with Kishore except for the Abdul Rehman duet from Bhai-Bhai (where I found the Geeta solo more compelling). Kalyan Kolachala> I feel that two singers are grossly under-respresented. First is KK who has only one song in the quiz... The other objection is to only 11 (9 + 2) Lata songs. That is a lot but there was scope for more... CHETAN> Sure. The Lata-Madan Mohan pair can command a quiz of its own. Hema> ...there is an Asha-Talat duet, that i would have loved to see in this quiz. I am referring to "kahta hai dil tum ho mere liye", from 'Memsahab'. For some reason, it sounds very un-MM_ish to me. CHETAN> Um, so why did you want it to be in an MM quiz :) Snehal Oza> Did you consider including a rare number in film music, in that it's one of handful of songs Begum Akhtar has sung ? A gazal from Daana Pani (1954)? CHETAN> I was not aware of this. I would surely have considered it! Kalyan Kolachala> Your decision to group the songs by years is interesting. For one thing, the evolution of MM is striking. The songs become more structured and creative with time losing some of the freshness and spontaneity that's there in the earlier output. IMO he was at his peak in mid to late 50's (Dekh Kabira roya, chacha zindabad, Jailor etc) when there was the ideal mix of both of the elements. Snehal Oza> ...What I don't like is this general belief that MM was gazal king. Many times it reflects as if there was nothing beyond gazals in MM's world...I would guess that only after mid-50's did he start concentrating on gazals. Hence in terms of work I divide his songs in two domains. One pre-1958 and other post-1958. I don't care much for post-1958 period but for some stray sound tracks where he showed his earlier face...One thing that always strikes in his compositions is strong base of melancholy. I believe this was so profound that in his compositions of gazals, gazal itself took back seat! I can't imagine anyone really enjoying lyrics of gazal in his compositions. CHETAN> I have a little disagreement here regarding the melodic base on melancholy. I think that would enhance most songs, save those that are overtly effervescent. Few ghazals would fall in that category! So, what you see as a handicap, I see as a strength. And regarding Snehal's pre- and post-1958 breakup and Kalyan's period classification nearly coinciding with it (!), it may have something to do with your preference of the sound of the 50s. Snehal Oza> Whole idea of writing this is not to highlight his post- 1958 period, but to highlight pre-1958 period and that his master craftsmanship at shaping delicate songs like the one you included from Railway Platform or the one that you didn't but used as a hint. I see more creativity of Madan Mohan in this period than in post-1958. The point is that labelling Madan Mohan as gazal-king is imagining an iceberg having size same as what's seen. That's not a reasonable and fair representation of an artist of great talent. I must admit that you have included songs reflecting this aspect of Madan Mohan in your quiz, e.g Chaand Madham Hai, Hamare Baad Ab Mehfil Me (actually I would have preferred Chhed Yun Karati Hai ... Kar Ke Badnaam Meri Neende Haram) it left a lot desired. CHETAN> I am happy you found something that appealed to you in my song selection. My goal was to represent MM's entire repertoire for what it was. Whether I have succeeded or not is a matter of debate. But it is natural that only a few of the songs will highlight a particular aspect of his music. Vijay Kumar> yeh Ashok ke sohbat ka asar hai varna socha na tha tum aise nikaloge.. Ominous start when I see you have listed the fimography, given the dates, organised the quiz into chronological sections and announced a RAMLI prize : almost as if challenging "OK, you have all this info. I *still* don't think you will be able to crack this one." All in all, the toughest RJGK I have participated in, yet, beating Snehal's Mukesh RJGK (40) by a yard or two ....Naturally, expectations have been adjusted downwards in proportion. CHETAN> The purpose of giving the information was to make the clues easier (and I suspect it did). As for song selection, I had chosen only a few obscure songs. And I dropped two of them (from Maa Ka Aanchal and Chhote Babu) at the eleventh hour. I am really surprised you found the quiz so tough. I would be interested in knowing which particular clue(s) had you stumped! Answers with comments: ===================== NOTE : The Score (M/N) along with the answer is the number of teams that got the song (M) and the movie (N) correct. There are 21 competitive entries. 1. mere maathe pe kumkum ki bi.ndiyaa | aaj loo.ngii na palbhar mai.n nee.ndiyaa | (2) Tha.nDii Tha.nDii havaa_o.n ke jhole ghoo.NghaT paT khole jiyaa laharaa rahaa hai It is Madan Mohan's first film. He sets Bharat Vyas's poetry to a lilting tune and gets Meena Kapoor to sing it. What a wonderful beginning to an illustrious career! Song : morii aTariyaa pe kaagaa bole Film : Aankhen(1950) Singer(s) : Meena Kapoor Lyrics : Bharat Vyas Score : 13/11 Kalyan Kolachala> That is a great beginning by MM. 2. mujhe ek jhalak dikha ke parde me.n chhoopne_vaale kab tak lage rahe.nge khaamoshiyo.n ke taale nazre.n churaane_vaale nazre.n to chaar kar jaa Madan Mohan's partnership with Talat dated back to the 40s when they had worked together at AIR. This pair has given us many memorable songs including this nazm. It bears the influence of the prevalent Punjabi style, especially in the orchestral arrangement. The melody, however, has the stamp of a true genius. The Lata version of this song is also much loved. Song : mera qaraar le jaa mujhe beqaraar kar jaa Film : Ashiana(1952) Singer(s) : Talat Lyrics : Rajinder Krishan Score : 19/15 Abhay and Radha Phadnis> Lata's version is much better: the "murki-s" in her version are something that Talat's "straight" singing can't reproduce. 3. (M: Madan Mohan, V: Unknown male Voice) M: (alaap style) tujh ko kyoo.n pak.Daa gori? (rhythm) tujh ko kyoo.n pak.Daa gori re? (speaks) are Theek se bajaa_o naa! dhaa dhi.n dhi.n dhaa, dhaa dhi.n dhi.n dhaa dhaa ti.n ti.n naa, naa dhi.n dhi.n dhaa tujh ko kyoo.n pak.Daa gori re? V: gaati hi nahi.n ye chhori re (2) M: yaa jaa_o tum jail gori yaa sunaa_o geet jisame.n bhari~~~ ho ku...ku...kooT-kooT kar preet The above stanza is followed by Shamshad singing a short medium-paced tarana 'taare taare tinakadhi.n dhaare dhaare dim tana dim tana dim tana re...'. I probably heard the opening words of the song in a Bombay local train. It is an absolute nonsense song and the singers are obviously having fun. For a while, I was in doubt whether I COULD include this song in this quiz. Song : chi.nchapokalii chi.nchapokalii tu chhokaraa mai.n chhokarii Film : Shabistan(1951) Singer(s) : Shamshad, Madanmohan, Unknown male voice and chorus Lyrics : Qamar Jalalabadi Score : 2/2 Vish Krishnan> SHABISTAAN is a fun entry, but (as you say yourself) one can't be too sure that it IS Madan Mohan. The Geet Kosh now does pin it on him. I have my doubts still. Madan Mohan's absurd streak is not well known (outside of his movies with Kishore Kumar). CHETAN> The Geet Kosh entry, along with Madan Mohan's voice on this track make it a reasonable assumption that MM also composed the song. There are a couple of other movies (such as Ada and Ilzaam) where MM's fun side comes to the forth. 4. isi a.Ndaaz se jhoomegaa mausam gaa_egi duniyaa (2) mohabbat phir hasee.n hogii nazaare phir javaa.N ho.nge It is perhaps a stretch to call Madan Mohan a rebel, but he certainly brought in a fresh outlook to film music! Especially to composing ghazals. This song is one of his earliest hits with Lata. It may be a landmark song because it is one of the first songs to exhibit the famous Lata-Madan Mohan tuning. Song : hamaare baad mahafil me.n ye afasaane bayaa.N ho.nge Film : Baghi(1953) Singer(s) : Lata Lyrics : Majrooh Score : 17/14 Umang Bali> The sweetest song I've ever heard, and the lyrics by Majrooh sahib are just awe inspiring. Vish Krishnan> ...when I think of Madan Mohan, I can't not include "bahaarei.n humko DhoonDhe.ngi". 5. beet ga_ii Gam ki ghaDi, jhoom rahi hai zi.ndagi (2) phool khile.n dil bhii mile, kah do bahaar se ab na sataa The prelude opens with a guitar piece and the orchestration is quite western. While listening to the song, you get the feeling that Madan Mohan should have used chorus for accompaniment and the interludes. The tune is heavenly and Asha puts an extra effort in infusing it with life (jhoo~~m rahi...). Incredibly, the two word movie title shares its first word with another movie represented in this quiz! Song : mere piyaa chhe.De jiyaa Film : Chacha Chaudhury(1953) Singer(s) : Asha Lyrics : Rajinder Krishan Score : 2/12 Vish Krishnan> I like your representation of his '50s work with Asha. It is not a straightforward call. Most of her songs are obscure. You have picked some nice examples, and also made sure that they are out there on audio releases. 6. ye ro ro ke kahtaa hai TooTaa hu_aa dil nahi.n hoo.n mai.n terii mohabbat ke kaabil meraa naam tak apane lab pe na laanaa You don't know this one? You must be out of your senses for having taken the song too literally and having forgotten it! Throw your mind back to the early years of Madan Mohan's career and look for this very special Talat solo. Song : merii yaad me.n tum na aa.Nsuu bahaana Film : Madhosh(1951) Singer(s) : Talat Lyrics : Raja Mehndi Ali Khan Score : 21/15 Vijay Kumar> sadly the last appearance of Talat in this quiz ... 7. in bahaaro.n ke saaye me.n aa jaa (2) phir mohabbat javaa.N rahe na rahe zi.ndagi tere naamuraado.n par kal talak maharbaa.N rahe na rahe That Madan Mohan and Lata shared a special tuning is no secret. And this soft sentimental solo is among their best. Sahir's lyrics add that extra touch to the song. This movie has a wonderful two-part Rafi solo, presumably sung by a nomad. Song : chaa.Nd maddham hai aasamaa.n chup hai Film : Railway Platform(1955) Singer(s) : Lata Lyrics : Sahir Score : 13/13 8. betaab ho rahaa hai, ye dil machal machal ke shaayad ye raat beete, karvaT badal badal ke lalalaa lalalaa, lalalaa lalalaa betaab ho rahaa hai, ye dil machal machal ke shaayad ye raat beete, karvaT badal badal ke ey dil zaraa sa.mbhal jaa, shaayad vo aa gayaa hai The prelude is slow-paced, as is the 'aa haa haa...' opening in Geeta Dutt's intoxicating voice. The main body of the song is brisker, the tune sweet. Geeta is in her element here. Listen to the way she rolls around the 'lalalaa...' in this stanza, for instance. One of the two Lata-Kishore Abdul Rehman duets by Madan Mohan is in this movie. Song : ai dil mujhe bataa de, tu kis pe aa gayaa hai Film : Bhai Bhai(1956) Singer(s) : Geeta Dutt Lyrics : Rajinder Krishan Score : 21/15 9. ye ra.Ngee.n fasaanaa koi mujh se poochhe ke too kaisaa pyaaraa hai kitnaa hasee.n hai sunaa thaa ki dil pe hasee.n karte hai.n jaaduu tujhe dekhkar aitbaar aa rahaa hai Is the magic in Madan Mohan's music? The stately gait and the simple yet elegant tune are perfect for the ghazal. Is it in Asha's vocals? The delicacy with which she handles the words is mesmerizing. Or is it in Jalal Malihabadi's eloquent verse? It is hard to decide. But it is only 1959 and Madan Mohan has tapped into Asha's rich ghazal potential. That they did not team up for too many more ghazals is a loss for the music world. Song : sabaa se ye kah do ki kaliyaa.N bichhaa de Film : Bank Manager(1959) Singer(s) : Asha Lyrics : Jalal Malihabadi Score : 18/13 Hema> A mesmerisingly synergic effort by the team. Sami Mohammed> One of the many reasons why I prefer Asha over Lata for GHazals. What a wonderful song! 10. One antara (parts of it are in Lata's voice, parts in Manna's): ( re, dha are komal ; Ga, Ni shuddha m : shuddha ; M : tivra _N implies mandra saptak Ni ; r' implies taar saptak re etc.) X - O - 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 _N r G m - N - d - M - m - G - - r G M d - G M d N - - M d N r' N d N d r d M m G r S - G'G'r'N dM r'r'Nd Mm Gr S- Nr GM d- rG Md N- md Nr' G'- r'- N- d- M- m- Gr S- Another antara: Manna : bujh gayaa ik ik kar ke ab to rain kaa har ujiyaaraa Lata : aa~~ Manna : bujh gayaa ik ik kar ke ab to rain kaa har ujiyaaraa Lata : rah gayo saathii mujh paapan kaa bas ek bhor kaa taaraa Manna : tum saathii ban jaa_o Lata : tum saathii ban jaa_o Although Madan Mohan's music was steeped in the classical tradition, rarely do his songs derive explicitly from the classical style of rendition. This Lalit composition in teental is an exception. It flows like a khayal. It begins with a short alaap, it comes back to the mukhada after the above sargam-taan (this is very unusual for a film song), it has some pretty elaborate taan-kaari, it even increases laya after the second antara above. Needless to say, it is a beauty. The title song of this movie by Lata-Kishore is also quite well known, as is an insomniac's plea in Lata's voice. Song : priitam daras dhikaa_o Film : Chacha Zindabad(1959) Singer(s) : Manna Dey, Lata Lyrics : Rajinder Krishan Score : 12/12 Surajit Bose> Wouldn't either the saragam or the saahitya be enough? Someone who doesn't recognise the one is not likely to recognize the other. Also, the song increases in tempo between each of the stanzas, not just before the last one. CHETAN> Actually, I included the sahitya as an after-thought - for fear of accusations of favouring those who know sa-re-ga-ma. In any case, as you said, I am not really giving out any extra information! 11. unhe.n bhoolkar bhii bhoolaa na sakoo.Ngaa | jo dil me.n lagii hai bujhaa na sakoo.Ngaa | (2) mai.n sapno.n kii duniyaa sajaa na sakoo.Ngaa The world may not believe Madan Mohan-Mukesh to be a combination to talk about! Perhaps rightly so. This song and the tandem duet with Lata, however, defy that statement. Mukesh has captured the Kedar-ish opening of this sad solo admirably. Song : ham chal rahe the, vo chal rahe thhe Film : Duniya Na Mane(1959) Singer(s) : Mukesh Lyrics : Rajinder Krishan Score : 15/13 Surajit Bose> The opening is Kedar-ish, but the song tends more toward Bihag and Bilawal, doesn't it? I haven't heard the song in ages, though, and am probably mistaken. CHETAN> I would not assign any raag to this song as a whole. But the opening has unmistakable shades of Kedar and so I decided to include that in my clue. 12. Asha: ey raat is vaqt aa.Nchal me.n tere | jitane bhii hai.n ye sitaare | (2) Rafi: jo de de tuu mujh ko to phir mai.n looTaa duu.N kisii kii nazar pe ye saare Asha: kaho ke ye ra.ngeen sapne sajaa ke miTaa to na doge The movie theme suggests the possibility of a few mujaraa type of songs. But the director and/or the composer chose to put in soulful Lata solos instead. An excellent choice indeed. The soundtrack became synonymous with those Lata songs. It remanins one of Madan Mohan's most loved scores. The romantic duet presented here begins with a simultaneous vocal prelude by Asha and Rafi. The harmony between the singers is evident throughout the song. Song : zamii.n se hame.n aasmaa.n par biThaa kar giraa to na doge Film : Adalat(1958) Singer(s) : Rafi, Asha Lyrics : Rajinder Krishan Score : 19/15 Abhay and Radha Phadnis> In a movie that is nothing without Lata, why on earth did you choose this comparatively lacklustre Asha-Rafi number? CHETAN> Maybe bacause I do not agree with your evaluation of the duet! I do agree that the Lata songs from the movie are more compelling. But overexposure of the Lata songs is one problem and difficulty of finding Asha songs of this calibre is another. It is not as hard to find excellent Lata songs elsewhere. Kalyan Kolachala> Probably the only overrated MM soundtrack. 13. marne se hame.n inkaar nahii.n jeete hai.n magar is hasrat me.n bhoole se hamaaraa naam kabhii aa jaa_e tere afsaano.n me.n This is an interpretation of sadaa suhaagan raag Bhairavi. The raag announces herself clearly in the sitar prelude and the opening couplet in Lata's voice na gilaa hogaa na shikavaa na shikaayat hogii arz hai chhoTii sii sun lo to inaayat hogii but her self-assertion is more subtle in the main body of the song. The movie has memorable songs in the voices of Asha, Manna, Talat and of course, Lata. Song : tuu pyaar kare ya Thukaraaye Film : Dekh Kabira Roya(1957) Singer(s) : Lata Lyrics : Rajinder Krishan Score : 17/14 Abhay and Radha Phadnis> My all-time Lata-Madan Mohan favourite! Harish Suvarna> What a song. How much sweetness is packed!!? 14. tere dil me.n dha.Dkane.n mere lab pe geet hai | jeet ek terii nahii.n ye merii bhii jeet hai | (2) dil se dil kahii.n ajii haarte nahii.n bane.ngii.n mil ke qismate.n ke na kar zaraa Gam Very uncharacteristic composition and especially the bass guitar and accordion type orchestration from Madan Mohan. The swinging title song has all the shokhii Asha could summon. The movie is probably best known for Madan Mohan's adaptation of a famed Sajjad Hussain song. Song : na Dar sanam lagaa bhi le Film : Aakhri Dao(1958) Singer(s) : Asha Lyrics : Majrooh Score : 2/8 Abhay and Radha Phadnis> By the way, when Bappi Lahiri or Annu Malik do it, it is plagiarisation; when Madan Mohan does it, why it is "adaptation'?! CHETAN> I decided to be charitable to MM since, after all, this is his quiz :) But, seriously, the fact that Madan Mohan unabashedly accepted this was an inspired tune lifts it above the realm of plagiarism. It would have been a different matter if he had made a lame excuse like "after all, there are only seven notes..." 15. Rafi: ek dil hii thaa Gam gusaar apnaa maharbaa.N khaas raazdaar apnaa Gair kaa kyoo.N use banaa baiThe I was tempted to choose one of the Lata solos from the movie that probably has something to do with a Bombay landmark! But the vote went to this Lata-Rafi nazm for the rare synergy between the singers and the composer it shows. Very nice poetry by Rajinder Krishan. Song : do gha.Dii vo jo paas aa baiThe Film : Getway of India(1957) Singer(s) : Rafi, Lata Lyrics : Rajinder Krishan Score : 20/16 Abhay and Radha Phadnis> ...the female voice belongs to Asha Bhonsale and not to Lata Mangeshkar!! Arunabha Roy> Yikes !!!! This is an Asha- Rafi duet, in fact one of my favourite MM- Asha compositions. Now, for the rare synergy and all that i couldn't agree more. What an excellent setting too -t he picturization of Bharat Bhushan and madhubala awake at 3 a.m. in the night, he penning the lines and she singing them in the great lady's voice :) CHETAN> Strangely enough, the ISB credits this song to Asha as well! When one listening would have sufficed to correct the error. I wonder what the source of such consistent mistakes could be! Vijay Kumar> There is something remarkable about this duet, which puts Madan Mohan in the same league as Khayyam and Roshan with respect to composing Rafi duets. IMO no one else comes close to them. 16. vo din merii nigaaho.n me.n vo yaade.n merii aaho.n me.n ye jii ab tak bhaTaktaa hai terii ulfat kii raaho.n me.n suunii suunii raahe.n sahamii sahamii baahe.n aa.Nkho.n me.n hai barso.n kii pyaas Along with 'aayegaa...' it occupies a place of honour in our consciousness as THE best among haunting melodies. Who was the singer of this song? Who was she? Lata, needless to say! Song : nainaa barase rim jhim Film : Woh Kaun Thi(1964) Singer(s) : Lata Lyrics : Raja Mehndi Ali Khan Score : 21/17 Abhay and Radha Phadnis> No offence, Chetan, but why pick such a predictable number from a movie teeming with lovely songs? CHETAN> There are a few landmark songs in every artist's carreer. You can treat them as anchor points, without which any description of their ouevre would be incomplete. I consider 'nainaa barase' to be one such song for Madan Mohan. 17. saa.Ns thamtii ga_ii, nabz jamtii ga_ii phir bhii baDhte qadam ko na rookne diyaa kaT ga_e sar hamaare to kuchh Gam nahii.n sar himaalay kaa hamne na jhookne diyaa marte marte rahaa baa.Nkpan saathi_o The poignant war-time lyrics by Kaifi Azmi have been sung feelingly by Rafi. The use of chorus is prominent, a rarity in Madan Mohan's music. Song : kar chale ham fidaa jaan-o-tan saathiyo.n Film : Haqeeqat(1964) Singer(s) : Rafi Lyrics : Kaifi Azmi Score : 21/16 Satish Kalra> I was privileged to hear this song live in the voices of Rafi, at a live concert in November 1965, held in N. Delhi after the 1965 war. It was the final song of the evening, and I can still feel the 'goonj' of Rafi's voice as he started "kar chale..".. 18. mathuraa me.n teen ba.ndar, jaate the roz ma.ndir (2) kahataa jo baat poojaarii, rakhte vo yaad saarii buraa kabhii naa dekho, buraa kabhii naa bolo baat jahaa.N ho burii, kaan vahaa.N naa kholo jisne buraa_ii seekhii, hoy hoy hoy haa.Njii jisne buraa_ii seekhii, uskii to puu.N puu.N ho ga_ii The tune is simple but cute and thus suitable for this kid song. Kamal Barot's voice is also suitable for a young girl (there is a tandem Asha version, though). I was this close to selecting the Kishore solo from this movie but it has had more than its fair share of exposure. Song : murge ne juuTh bolaa, murge kii Tuu Tuu ho ga_ii Film : Manmauji(1962) Singer(s) : Kamal Barot Lyrics : Rajinder Krishan Score : 8/12 19. chhaa rahii thii terii mahakii hu_ii zulfo.n kii ghaTaa terii aa.Nkho.n ... terii aa.Nkho.n ne pilaa dii to mai.n peetaa hii gayaa taubaa taubaa, taubaa taubaa, taubaa taubaa vo nashaa hai ke bataa_oo.N kaise Raja Mehdi Ali Khan's words and Rafi's complete involvement with the tune make this song special. The 'terii aa.Nkho.n' fades out the first time to stunning effect. And Rafi's rendition of the phrases implying intoxication and drinking is peerless, as usual. Song : mai.n niGaahe.n tere chehare se haTaa_uu.N kaise Film : Aap Ki Parchhaiyan(1964) Singer(s) : Rafi Lyrics : Raja Mehndi Ali Khan Score : 16/13 Abhay and Radha Phadnis> Now THIS is vintage Rafi-Madan Mohan! 20. jo na ban sake mai.n vo baat hoo.N jo na khatm ho mai.n vo raat hoo.N ye likhaa hai mere nasiib me.n yoo.N hii shamaa ban ke jalaa karuu.N Roopak sets in deliberately, yet delicately after the short prelude, setting the pace for this magnificent composition. Even a musical illiterate can feel the perfect fusion of the verse and the melody with the seven-beat rhythm! Song : hai isii me.n pyaa kii aabaruu Film : Anpadh(1962) Singer(s) : Lata Lyrics : Raja Mehndi Ali Khan Score : 19/14 Sami Mohammed> I've never understood why Naushad found this tune exceptional CHETAN> I don't think Naushad explicitly called this tune exceptional. IIRC, he just called it better than all of his tunes put together :) 21. ye mere she'r mere aakhrii nazraane hai.n (2) mai.n un apano.n me.n hoo.N jo aaj se begaane hai.n betaa'lluk-sii mulaaqaat kise pesh karoo.N Madan Mohan has used heavy orchestration for this Sahir nazm for dramatic effect, perhaps even overdoing it a little. In any case, Rafi's singing and the tune are excellent. Song : ra.ng aur nuur kii baraat kise pesh karuu.N Film : Ghazal(1964) Singer(s) : Rafi Lyrics : Sahir Score : 21/16 Abhay and Radha Phadnis> "Perhaps...overdoing the orchestration a bit"? Talk of understatement: this is one song where the orchestration is unbearable! 22. sai.nyaa.N aa_e nain churaaye ghar me.n chori chori bole jhumaka mai.n pahana doo.N aa jaa baa.Nki chhori mai.n boli naa naa naa baaba naa kar jora-jori laakh chhuDaayaa sai.nyaa.N ne kalaiyaa.N naahi chhoDi haay kalaiyaa.N naahi chhoDi This must be one of Asha's most popular songs with Madan Mohan. The soundtrack itself is among his best-known ones. The playfulness of this gypsy song is enhanced by a male voice interjecting 'phir kyaa hu_aa?' at the end of each stanza. Song : jhumakaa giraa re barelii ke baazaar me.n Film : Mera Saaya(1966) Singer(s) : Asha Lyrics : Raja Mehndi Ali Khan Score : 21/14 Hema> Thanks for including this song...one of my favorites.:) Vandana Vidwans> - oh! She sings sooooooooo well. Sami Mohammed> One of the few MadMohan tunes I detest! Wonder why u picked this one over the gems of the movie Surajit Bose> Peculiar choice; the movie has such lovely Lata gems. CHETAN> I made the "peculiar" choice because I needed at least one common Asha song! I would have gladly chosen "shokh nazar ki bijliyaaN" from Mera Saaya if "nainaa barase" had not been a compelling choice. Another possibility, "ashko.n se teri ham_ne tasveer banaa_ii hai" was used up in the Rajinder Krishan quiz. 23. nazar milaa_ii to poochhu.Ngaa ishk kaa a.njaam (2) nazar jhookaa_ii to khaalii salaam kar loo.Ngaa (2) The Madan Mohan-Rafi pair is ofen sidelined in discussion by the more popular Madan Mohan-Lata and Naushad-Rafi type of partnerships. But make no mistake. Rafi has given some of his best to Madan Mohan and vice versa. Here is a Kaifi Azmi ghazal to prove the point. And just listen to Rafi's voice in another song from the same movie! Song : tumhaarii zulf ke saaye me.n shaam kar luu.Ngaa Film : Naunihal(1967) Singer(s) : Rafi Lyrics : Kaifi Azmi Score : 21/15 Umang Bali> A divine rendition of heavenly lyrics.... 24. vahaa.N ek ra.ngeen chilman ke peechhe chamaktaa hu_aa uskaa rukhsaar hogaa basaa loo.Ngaa aa.Nkho.n me.n vo roshnii mai.n yoo.N hii kuchh ilaaj-e-dil-e-zaar hogaa Rafi has sung this song almost in tarannum. The accompanying music seems to be independent of the the song, giving it a drunken feel! Song : mujhe le chalo Film : Sharabi(1964) Singer(s) : Rafi Lyrics : Rajinder Krishan Score : 8/9 25. dil me.n vo hii deep jalaate sadiyo.n puraane rishte-naate raah me.n chaa.nd khilaa | aaj a.ndhiyaaraa Dhalaa | (2) damak gayo damak gayo damak gayo re~~~ Is this a title stanza for the movie? Flute, violins and guitar. Then, Lata softly vocalizing 'laa lala lala...'. Some more violins and you are thinking western. Incredibly, the clinking of an ornament followed by a short sitar piece changes it into a semi-classical Khamaj based song. One of the high points of the song is the cascade-like taan at the 're~~~' ending of each antara that flows into the mukhada. Song : khanak gayo haay bairii ka.nganaa Film : Rishte Nate(1965) Singer(s) : Lata Lyrics : Hasrat Score : 12/11 26. muddato.n se, aarzoo thii, zi.ndagii me.n, koii aa_e soonii soonii, zi.ndagii me.n, koii shamaa jhilmilaa_e vo jo aa_e to roshan zamaanaa ho gayaa The softness and freshness of Rafi's rendition enhance this beautiful tune. The movie is best known for Lata's 'mai.n_ne ra.ng lii aaj chunariyaa...' based on raag Piloo. The title track is by Bhupinder. Song : ik hasii.n shaam ko dil meraa kho gayaa Film : Dulhan Ek Raat Ki(1966) Singer(s) : Rafi Lyrics : Raja Mehndi Ali Khan Score : 17/14 Vijay Kumar> This song along with 19. shows the special chemistry which Rafi and MM shared. MM-Lata? I would say MM-Talat, MM-Rafi come before that pairing...strictly in the order I stated :) CHETAN> I agree about the MM-Rafi combination being great. However, you are desperately underplaying the magic of the MM-Lata tuning. 27. Dhalegii chunariyaa tan se (2) ha.Nse.ngii.n ye chuDiyaa.N chhan se (2) machegii jhankaa~~r Vintage Lata-Madan Mohan in 1970? Although it lost out to 'bol re papiiharaa' at the coveted Sur Singar Samsad award for shastriya sangeet based film music, it is a top-notch classical film song. In Raju Bharatan's words, "To Lata, there was only one musician, Madan Mohan, who could compose ... for her. To Madan Mohan, there was only one singer, Lata Mangeshkar, who could capture its Charukeshi arts and graces for him". Song : bai.nyaa.N naa dharo o balama Film : Dastak(1970) Singer(s) : Lata Lyrics : Majrooh Score : 20/17 Abhay and Radha Phadnis> Absolutely cannot be left out of any collection! Incidentally, have you heard the third verse that is left out of most renditions, the one that goes "Raaton mein behki behki'? It is gorgeous! CHETAN> The third verse goes mai.n to aap bahakii bahakii (2) chaloo.N jaise mahakii mahakii (2) chameliyaa kii Daa~r with an exquisite mee.nD on 'mahakii' the second time This mee.nD is missing in the other stanzas and therefore makes this my favourite stanza! Vandana Vidwans> - this is little bit boring I prefer "mai rii" Surajit Bose> Charukeshi? Hmm. But the song opens on shudh nishaad? CHETAN> I am not familiar with Charukeshi (note that I have directly - and without permission - quoted Raju Bharatan in my clue). What raag would you assign to this song? 28. jab tak tumhe.n dekhaa nahii.n ye dil kabhii dha.Dakaa nahii.n aaye gaye kitne sanam mai.n_ne magar poojaa nahii.n tum dil kii pahlii a.NgaDaa_ii ho tum dil kii pahlii a.NgaDaa_ii ho ho ho Madan Mohan did not use Kishore all that much. But the results have been pleasant the few times he did, like in this nice romantic Kishore solo. Song : simaTii sii, sharmaayii sii Film : Parwana(1971) Singer(s) : Kishore Lyrics : Kaifi Azmi Score : 17/13 29. aa.Nsoo bahe jaise nadiyaa kii dhaaraa nadiyaa kii dhaaraa me.n preetam pyaaraa ban ke kamal muskaaye bairii bas me.n na aaye jaaoo.N kahaa.N jaaoo.N kahaa.N jaaoo.N kahaa.N moraa manvaa hu_aa adhee~~r Madan Mohan was a master chef, 'ras chaahe sur kaa ho, chaahe raso_ii kaa'! (Lata in 'I Remember Madan Mohan'). Sitar, sarangi, flute, violins and jaltarang spice this soft dadra composition. Yet it is not overencumbered with instruments. Restraint and delicacy characterize this song. For instance, the way Lata makes 'adhiir' float down and gently land onto the mukhada. The singers list for the movie includes: Lata, Kishore, Manna Dey (coming in with a great semi-classical song), Lakshmi Shankar, Nirmala Devi, Faiyyaz, Harindranath Chattopadhyay. Song : more nainaa bahaaye niir Film : Bawarchi(1972) Singer(s) : Lata Lyrics : Kaifi Azmi Score : 13/15 30. rah ga_ii zi.ndagii dard ban ke (2) dard dil me.n chhoopaaye chhoopaaye Although Lata is definitely past her prime, she has sung Kaifi Azmi's words excellently. The ghazal is set to a variant of roopak and is punctuated by some striking sitar passages and the tune of another song from the movie in the interludes. Song : aaj sochaa to aa.Nsuu bhar aaye Film : Hanste Zakhm(1973) Singer(s) : Lata Lyrics : Kaifi Azmi Score : 17/14 Surajit Bose> kaan ke naazuk parade phaT_te hain, itanaa uu.Nchaa bhii koii na gaae, aavaaz sunaa to aa.Nsuu bhar aae. Lata in "full shriek ahead" mode, wrecking a lovely melody. Hema> It's funny when Lata sings "dil ki naazuk ragen TuuTtii hain". I was once listening to that song with some friends and one of them remarked "itna cheekh kar gaane se to ragen TuuTengii hii".:) Sami Mohammed> What a wonderful GHazal by Kaifi! I adore the the "Dil ki naazuk ragen..."stanza. Such deep thoughts and so delicately put! But I don't like MM's orchestration in the song. I believe a GHazal tune ought to highlight the lyrics and not distract from it. The orchestration does just that in this one, IMHO CHETAN> I myself find the song dramatic; the tune itself is very good to excellent. A fine representative of Madan Mohan's '70s work. 31. jaaDo.n kii narm dhoop aur aa.Ngan me.n leTkar (2) aa.nkho.n pe khee.nchkar tere aa.Nchal ke saaye ko au.ndhe paDe rahe kabhii karvaT li_e hu_e Song : dil Dhuu.NDhataa hai phir vahii fursat ke raat din Film : Mausam(1975) Singer(s) : Bhupinder/Bhupinder, Lata Lyrics : Gulzar Score : 21/16 Abhay and Radha Phadnis> Who is filmdom's best poet by far? Gulzaar, Gulzaar, yet again Gulzaar! Umang Bali> Ghalib's inspiration, Gulzar's replication... Results: ======= Everybody did well on this quiz. The average score in the RMIM category was 23/31 (and this after several participants complained about the difficulty level). The RAMLI category average was 19.7/31. I think many participants did not take this category seriously. I wonder why! The winners are: RMIM category: Third place (28/31): Kalyan Kolachala and Ikram Sarita Lall and Shalini Singh Second place (30/31): Balaji and Malini First place (31/31): Vish Krishnan RAMLI category: Third place (29/31): Sarita Lall and Shalini Singh Tabassum Hijazi Vandana Vidwans and Neha Desai Vijay Kumar Second place (30/31): Balaji and Malini Kalyan Kolachala and Ikram First place (31/31): Vish Krishnan The Combined RMIM-RAMLI award: Vish Krishnan (62/62) Congratulations! And once again, THANKS everybody! C