And the SOY Award for the very best duet of 1941 goes to?
I’ve talked about the particular attraction of duets for the range they add to the movie music. Within the Classic Period it’s extra pronounced as we come throughout many gems by singers whose names we now have not heard.
The long run common of variety of songs offers a sample – the variety of duets is greater than male solos however far wanting feminine solos. As we run down the listing of MEMORABLE SONGS within the overview put up, we will see 21 duets. Sharp observers can see the entire of the three classes doesn’t add up. This deviation by 1 or 2 is due to errors in classification – some songs categorised as solos ought to be categorised as duets as we uncover one other distinct voice. Evidently our evaluation shouldn’t be full if we don’t embody the duets – a lot of them are completely superlative although some singers are utterly unknown.
This additionally solutions the purpose made by Mr S Joseph in his touch upon Wrap Up 2 about feminine solos. As we return within the Classic Period we don’t must have a separate class for the very best from ‘unknown songs’. The whole numbers are small and most of them are unknown. Additionally for a similar motive, I depend songs with greater than two distinct singers as duets.
Readers’ feedback
Arunkumar Deshmukh could be very immediate and unambiguous about his alternative. His alternative for the very best duet is Zindagi hai pyar se, the enduring marching track by Rafiq Ghaznavi, Khan Mastana and refrain from Sikandar. Anup Phadke goes for Saawan ke nazaarein hain by Shamshad Begum and Ghulam Haider from Khazanchi. Raunak Pleasure as typical offers an inventory of the very best ten duets, so as, and provides an in depth evaluation of the particular characteristic of every track. His listing of the very best ten and with abstract of his phrases are as follows:
Mere jeevan ke path par – “With a contact of contact Rabindrasangeet in its melody, scores excessive on all departments – tuning, orchestration or the lyrics.
Zindagi hai pyar se – “Insanely engaging, this track might have develop into a worldwide hit provided that the web was out there throughout these days!”
Saawan ke nazarein hain – “Arguably the most well-liked track of the yr.”
Rut aaye rut jaaye panchhi by Ramdulari & Siddheshwar Mukherjee from Chitralekha
Man mein smaaaye piya by Rajkumari & Sitara from Swami (music Rafiq Ghaznavi)
Primary teri essential teri qismat saath na de my Miss Iqbal and Kantilal from Kanchan (music Gyan Dutt) – “GD experiments with a single mukhda tune for the complete track, but no boredom steps in as he ensures that his composition, alongwith his orchestration, is ready to create a divine feeling of utmost ardour and longing, irrespective of what number of merciless video games the destiny performs upon the unlucky lovers.”
Kabhi yad aansoon ban ke by Khursheed, Vasanti & Arun Ahuja from Beti (music Gyan Dutt) – “On this unbelievable track from Beti, GD does a jugalbandi between the principle vocals, whistling and ‘aaha haha ha’ chirping-of-birds-like chorus.
Bhulana na yaad karo na karo by Snehprabha Pradhan and Kantilal from Pyas.
Tore kajra lagaaun mori rani by Vena Kumari & Veena from Bahen, music Anil Biswas
Primary to Dilli se dulhan laya re by Arun Mukherjee & Rahmat Bano from Jhoola – “I don’t know the way, however Arun Mukherjee had this uncanny skill to sound precisely like Ashok Kumar every time he sang for him, whereas on the identical time sound precisely like Mumtaz Ali every time he sang for the latter! No marvel, all comedian songs of this Ali-Arun duo turned extremely well-liked, this Saraswati Devi quantity being no exception.
Raunak additionally makes particular point out of two songs:
Paani ka tu bulbula by Gyan Durr, Kesri & refrain from Kanchan – “With its distinctive delineation of the phrase ‘bulbula’ it’s a catchy composition.
Tujhe kya bataaun ki by M Sharif Qawwal & Celebration from Circus Ki Sundari (music Hafeez Khan Mastana) – is presumably among the many earliest qawwalis of our Hindi movie music.
Now I’m prepared with my evaluation. Let me begin with “Particular songs” which has develop into an indispensable class. I had added two duets as particular songs within the overview put up. There are lots of mesmerising songs heard for the primary time, some songs added by the readers or some which have distinctive options that make them particular. I also needs to add right here that category-wise Wrap Ups additionally give me an opportunity to browse the songs once more, past the grasp listing within the overview put up. For this put up I once more browsed by means of the YT for all out there duets of 1941, and a few particular songs are new discoveries past the grasp listing. It’s doable some glorious songs whose hyperlinks have very poor audio high quality escape discover.
Particular songs
1. Primary teri essential teri qismet saath na de by Miss Iqbal and Kantilal from Kanchan (1941), music Gyan Dutt
I endorse no matter Raunak says about this track. Hear for your self.
2. Primary teri essential teri kaun bina tere fariyaad sune meri by (?) (?)
Whereas on the lookout for the primary track I hit a goldmine – one other track on precisely the identical tune with some frequent phrases at first of the mukhda however remainder of the lyrics are totally different. The uploader says this track was presumed to be from Kanchan (sung by Miss Iqbal Bano and Kantilal), however that track has totally different lyrics. The uploader then speculates that it’s maybe a non-film track. However to me the singers of this track too sound like Miss Iqbal and Kantilal, and my hypothesis is the movie might need two barely totally different variations of the identical duet.
3. Gam-e-sakhi andhmala aati by Meenakshi, Vinayak from Amrit (1941), lyrics Pt. Indra, music Dadasaheb Chandekar
Whereas looking the online anew I got here throughout this melodious duet by Meenakshi and Vinayak. The track is characterised by lengthy instrumental prelude. The composition and singing is in Marathi Natya Sangeet-style. The truth is I couldn’t get the lyrics clearly, some phrases could also be in Marathi and I would wish the assistance of Marathi mates to decode the track. I additionally guess the gam-e-sakhi shouldn’t be the Urdu ग़म.
4. Primary dhoondhoon nis din preetam ko yahi hai meri reet by Radha Rani and Mansoor from Bambaiwali (1941), lyrics Wahid Qureshi, music Madhu Lal Grasp
We have to be grateful to the YT uploaders for selflessly importing early unheard gems. The composition is melodious and the singers are excellent. They’re within the forged too, due to this fact, it have to be picturised on them. I’m conscious of the music director. The readers could recall that SD Burman’s first track as a singer in Hindi movies was in the identical yr within the movie Taj Mahal, composed my Madhu Lal Grasp.
5. Peehar mein piya chhede marun re essential to laaj ki maari by Meera and GM Durrani from Darshan (1941), lyrics Pt. Indra, music Naushad
It’s pleasant to discover Naushad’s early compositions previous to his earth-shattering Ratan (1944). That was the time he had not but develop into the Nice Mughal of Film Music, and his common would-be playback singers weren’t but on the horizon. This naughty folks track could be very nice to the ears.
6. Primary hun rani ek sunahri nagri ki by Umrao Zia Begum and Ghulam Hader from Himmat (1941), lyrics Aziz Kashmiri, music Govind Ram
This track ticks a number of containers for inclusion in ‘Particular songs’. It’s sung by a music director and his spouse pair, and was composed by one more music director. The composition is kind of revolutionary. Within the center the track turns into a prose-like dialog – Raja se hai rani sundar/ Rani se hai raja sundar.
7. Ek naya sansar basa lein ek naya sansaar by Ashok Kumar and Renuka Devi from Naya Sansar (1941), lyrics Pradeep, music RC Pal
This hyperlink would possibly create some confusion. It’s depicted in an album titled ‘Hansraj Gala’, whereas it has nothing to do with Hansraj Behl. This Hansraj-fan has uploaded a number of excellent songs composed by totally different music administrators beneath ‘Hansraj Gala’. This can be a Bombay Talkies movie, however the uploader says it was produced beneath the banner of Saregama. The Saregama banner didn’t exist then.
Ashok Kumar everyone knows. Renuka Devi – precise title Begum Khurshid Mirza (1918-1989) – is a captivating persona. Her memoirs, ‘A Lady of Substance’, offers an image of a conventional Muslim household within the final century, how her enlightened father arrange a university for women’ training in Aligarh which sowed the seeds of AMU, ensured that his daughters obtained a contemporary training. Khurshid married into a good household after a budding romance. She obtained an opportunity to work in Bombay Talkies beneath the title Renuka Devi in movies comparable to Bhabhi (1938), Naya Sansar (1941), and as per follow of these days the she additionally sang in a few of her movies. She had a late profession in Pakistan TV serials as a personality actress.
8. Extra man ki nagariya basai re Madhoji, Madhoji by Leela Chitnis and Mazumdar from Kanchan (1941), lyrics DN Madhok, music Gyan Dutt
Many of the songs of 1941 have mushy melody. In the identical vein this is a wonderful mushy track. HFGK doesn’t point out the male singer’s title however some websites carry it.
9. Mujhe le chal apni naagariya by Nalini Jaywant and Husn Bano from Bahen (1941), lyrics Dr Safdar ‘Aah’ music Anil Biswas
Bahen was a grasp efficiency by Anil Biswas. Every of its dozen songs is great. Nalini Jaywant was, in fact, the lead actor-singer, and Husn Bano can be within the forged. Thus this melodious duet is sung by two actors-singers.
10. Mere jeevan ke path par chhayi ye kaun, poonam ki chaandni by Ashok Kumar and Devika Rani from Anjaan (1941), lyrics Pradeep, music Pannalal Ghosh
This track by the lead pairs has the same old sweetness of many songs from Bombay Talkies by the lead actors and non-singers, Ashok Kumar and Devika Rani, that had been often composed by Saraswati Devi. Although this time it’s Pannalal Ghosh, he inherits the identical sweetness.
Greatest ten duets
1-2. Primary to Dilli se dulhan laya re ae babuji by Arunkumar and Rahmat Bano from Jhoola (1941), lyrics Kavi Pradeep, music Saraswati Devi
Except you go all out to be unconventional, this eternal track is an computerized alternative. Raunak has talked about Arun Kumar had this uncanny skill to sound like Mumtaz Ali every time he sang from him; and naturally, he was the voice of Ashok Kumar. This stage dance track has develop into immortal. The feminine dancer with Mumtaz Ali is Shahzadi (?) lip-synching Rahmat Bano.
2-1. Saawan ke nazaare hain by Shamshad Begum and Ghulam Haider & refrain from Khazanchi (1941), lyrics Wali Saheb, music Ghulam Haider
Fairly a free-spirited track. Amidst the orchard and meadows, you see a bevy of ladies on bicycle singing this track of pleasure. Together with them a gaggle of boys offers them firm on their very own bicycles. The music turned a trend-setter because the Punjabi Faculty of Music. This was additionally as insanely well-liked as Primary to Dilli se dulhan laya re.
3. Zindagi hai pyar se, pyar mein bitaye ja by Khan Mastana and Rafiq Ghaznavi & refrain from Sikandar (1941), lyrics Pt. Sudarshan, music Rafiq Ghazanvi, music Rafiq Ghaznavi
What number of distinct voices are there on this track? I’ve no concept, one will get conflicting particulars on totally different websites. Taking the bottom frequent denominator I’ve talked about two names Rafiq Ghaznavi and Khan Mastana. This was one of many movies within the nice trinity of historic movies of Sohrab Modi – Pukar, Sikandar and Prithvi Ballabh. It had opulent units and one can see it within the picturisation of this track. This inspirational marching track has develop into a landmark.
4. Bhigoyi mori sari re, dekho bheege na choli by Khursheed and Ishwarlal from Shadi (1941), lyrics Munshi ‘Dil’, music Khemchand Prakash
We now have seen Khursheed emerge as the very best feminine singer of 1941. On this duet she holds fort in a considerably risqué Holi track. Ishwarlal is a pleasant foil to her, however the track leaves little question that it’s she who leads.
5. Jaake naina matwale hain, baal ghungharwale hain by Ishwarlal, Shamim and Snehprabha Pradhan from Pyas (1941), lyrics DN Madhok, music Khemchand Prakash
This can be a fantastic duet track by singers all of whom are forgotten now. Totally deserving to be in the principle listing of the very best ten.
6. Bhulana na yaad karo na karo by Ishwarlal and Snehprabha Pradhan from Pyas (1941), lyrics DN Madhok, music Khemchand Prakash
This track was talked about by the readers. It’s so melodious it will be unfair to depart it out of the principle listing. Thus it makes an entry from missed songs to the principle listing.
7. Nainon ke baan ki reet anokhi, baan chale aur nain na dekhe by Shamshad Begum (and Ghulam Haider) from Khazanchi (1941), lyrics Wali Saheb, music Ghulam Haider
The predominant impression of this track is it’s a Shamshad Begum-solo. However there’s a distinct male voice (the legendary music director Ghulam Haider). Additionally seen within the image is a shy lover of Ramola – so logically there must be a male voice within the track. A completely unbelievable track.
8. Tore kajra lagaaaun mori rani by by Beena Kumari and Child Meena from Bahen (1941), lyrics Dr Safdar ‘Aah’, music Anil Biswas
This stunning track sung by the elder sister whereas shampooing the child sister (Child Meena) consists by the doyen of the Classic Period, Anil Biswas. This have to be Meena Kumari’s earliest singing project.
9. Dekho humre raja ki aaj sagaai hai by Arun Kumar and Rahmat Bano from Jhoola (1941), lyrics Kavi Pradeep, music Saraswati Devi
Jhoola (1941) had one other very good dance track within the movie with Arun Kumar singing for Mumtaz Ali and Rahmat Bano for Shahzadi (?).
https://www.youtube.com/watch?v=ssnD0AKakIk
10. Bhari dupahari kamini ikli dukli mat jaye by Grasp Avinash and Saraswati Rane from Charnon Ki Dasi (1941), lyrics Pt. Anan Kumar, music Annasaheb Mainkar
HFGK mentions the feminine singer as Vanmala (as does the report too), however ASAD confirms it as Sarsawati Rane. Stunning track.
In conclusion,
The SOY Award for the very best duet of 1941 goes collectively to:
Primary to Dilli se dulhan laya re by Arun Kumar and Rahmat Bano from Jhoola (1941)
&
Saawan ke nazaare hain by Shamshad Begum and Ghulam Haider from Khazanchi (1941).
