Some weeks ago I had listed what I had thought were the finest song picturizations in Hindi film history. I suppose the logical next step is to look at the top songs itself.
However, choosing just ten songs is really difficult. A way out of it is to make slots and fit things into those slots. The Hindi film industry began in 1931 and we are in 2011, 80 years hence. I have decided to choose one song from each decade, giving 8 in all and then adding 2 more songs from the 1950-1970 period. Those twenty years have been chosen as I believe that they are perhaps the finest period in Hindi film music .
So, these 10 probably wouldn’t be my top ten songs but they do cover the spectrum of Hindi film songs across time. As usual, “another time, another place” applies to these as well.
So, here goes
1930’s
I have actually heard perhaps the least amount of music from this decade. So, it is quite difficult to choose one song. I hardly know of a handful of songs from this period so any choice is limiting. I am greatly tempted to go with “In the world’s broadfield of battle” sung by Shanta Apte in Duniya na mane (1937). But I realize that a part of that decision is being influenced by the fact that it is perhaps the first English song in a Hindi film.
So, I am finally going to go with a very famous song, one which Saigal refused to give playback for and insisted that it be recorded live because that would be the only way to get the sentiment right. Thus Saigal 'walked the streets' singing, with the entire orchestra following him out of the camera's reach. The result was magic. The song has been sung by singers through time but there is still something in Saigal’s rendition which is touching. And of course, Wajid Ali Shah’s lyrics are also very moving- with a poem which operates at two levels - wedding and death. I give you – Babul Mora (Street Singer, 1937)
1940’s
Finally, this proved to be the most difficult decade for me to decide on one song. From the second half of this decade is when I have heard hindi film music. There is a lot of good stuff as singers like Lata, Geeta Dutt, Rafi, Mukesh, Talat, Suraiya all began in this decade as did music directors like Naushad, SJ, C Ramchandra. And of course Saigal, Noor Jehan, Anil Biswas all remained very prolific in this decade.
Finally, I have gone for a song towards the end of the decade – a song which still defines Mohammed Rafi and is one of the earliest examples of the Rafi- Naushad-Shakeel combination working magic. It isn’t picturized on Dilip Kumar though – thankfully, because it a highly boring picturization. I remember when I first saw this song, sometime in the 80’s or 90’s in a Chitrahaar, I was so disappointed at how stupid it looked. But it can’t take away from Rafi’s superlative singing- slow, sentimental and finally out of the Saigal shadow. So, when you listen to listen to this online, close your eyes and just listen – Suhani Raat dhal chuki (Dulari- 1949)
1950’s and 1960’s
I had anticipated that this period would be the most difficult for me to decide. That’s why I decided to have 4 songs from this 20 year period. But it wasn’t so bad. I am surprised that finally I did not pick up a song from Chori Chori or indeed any song of either SJ or Naushad. But actually, for me 2 songs almost picked themselves – indeed, if I had to choose only one song from the 50’s and one from the 60’s it would have been really difficult (as these 2 songs are from 1960 and 1966). But the cushion of 4 songs allowed to me to pick them both and then think about the other two. That was difficult, though finally I did choose 2 songs…but highly debatable, even in my mind.
- Ye raat ye chandni, Jaal- 1952
There are 2 versions of this song- there is a duet with Lata and Hemant but I am going with the solo by Hemant Kumar. This is Sachin Dev Burman at his best and the music between the stanzas is truly haunting; as is the “hmmhmmhmm” by Hemant Kumar (is this his best Hindi film song?)
While not directly a factor of the song, adding to its effect is the picturization by Guru Dutt and due credit to the cinematographer who makes it even more ethereal. See the moving leaves at the beginning, the waves, the coconut trees…and of course, this song cannot be thought of without mentioning Geeta Bali - not a word does she say but her expressions just add to the mystique of this song.
A clearer version at http://youtu.be/qvZpMRjuvq0
- Vande Mataram, Anand Math, 1952
Again there are 2 versions of this song- one by Lata but I am going with the one by Hemant Kumar and chorus.
For me, this version is Vande Mataram- not the radio one so many of us grew up with, not the A.R. Rahman “maa tujhe salaam” but this one. A song which was meant to fire up all the revolutionaries should be something like this. Just listening to this makes you feel charged up.
This version uses a longer version of the poem than that which we are used to – some four odd stanzas, some of which many of us would have not heard. And it is so powerful just to feel the energy coursing- even if one doesn’t understand much of what is being sung. For a transliteration and translation of the complete poem (longer than this song) look here.
- Na to karavan ki talash hai, Barsaat ki raat, 1960
Hindi films have always used qawwalis well; though to be fair, while they mostly retain the form of the qawwali, by far the majority of them do not stay true to the original devotional aspect of qawwalis. Be that as it may, from the famous “aahen na bhari” of Zeenat (1945) right up to “khwaja mere khwaja” in Jodha Akbar (2008), there have been some excellent qawwalis. None probably has been better than this one from Barsaat ki raat – a film which incidentally has two other very fine qawallis – nigah-e-naaz ke maaron ka haal, and ji chahta hai choom loon. But na to karavan is the supreme one.
The complete song is about 12 min long and is intoxicating. Starting off slowly, it builds up gradually and the tempo keeps on rising and rising. And by the time one reaches the line “inteha ye hai ke bande ko khuda karta hai ishq” at the end, one is just lost in the song and really forgotten everything else. This is not a song I can describe; it is an experience one has to undergo by listening to it.
- Mere dushman tu meri dosti, Aaye din bahaar ke, 1966
A unique choice, in that it’s not the music or the singing or the orchestration that makes this a great song- it’s the lyrics. There are many songs with fine lyrics but only a handful where the lyrics can be the difference which take an otherwise ordinary, normal song and transform it into a brilliant one. Mere dushman is a prime example of that.
Typically, when one thinks of brilliant poetry one thinks of love or of beauty. One definition of “poetic” is “expressing ideas in a very sensitive way and with great beauty or imagination”. Similarly, “lyrical” is defined as expressing beauty and strong emotion.
But this song is different. I do not think I have ever come across a better exposition of hatred than in this song. If one has to answer the question “how much can one hate someone”, I think a pretty good limit on that would be set by the emotions expressed in this song. The tune and the actual singing are quite immaterial in this case- just the words are breath taking. And when I say “breath taking”, I don’t mean in the sense of “oh, what a beautiful view. It takes my breath away”, but more the sharp intake of breath one has when one is humiliated or shouted at. The strength of negativity described by these words is scary and dark. Just listen to the words and to read the (slightly incorrect and incomplete) lyrics go here
1970’s
With the decline of Rafi and the emergence of Kishore in this decade, it is perhaps not surprising that I am going for a song with Kishore kumar in it. Equally, with Asha Bhonsle becoming the more prolific of the sisters, not too surprising that she appears as the female voice in this duet.
The distinctive feature of this song is the abrupt shifts from high pitch to low pitch and vice versa which the 2 singers alternate between. The effect is magical – especially Asha Bhonsle at the low end of the scale. Her voice in this song at that pitch sounds, in my opinion, quite unlike anything else she has ever sung. Unfortunately for Kishore, though he has also sung this song exceptionally well (and it is a difficult song to sing) the distinctive memory for me is Asha Bhonsle…at low pitch. Jaane ja dhundhta fir raha (Jawani diwani – 1972)
1980’s
Perhaps the worst decade as far as Hindi film music goes. Part of the reason was the absolutely rubbish lyrics which started happening in this decade. Hence, it is perhaps appropriate to consider that when R.D. Burman was given the lyrics for this song his first reaction was "Huh, kal tu Times Of India le aayega aur bolega iski tune bana. Metre betre aata to hai nahin tujhe.”
At the same time, ironically, this is one of the more beautiful pieces of poetry one has come across in Hindi films and to that extent the anti thesis of a lot of music of the 80’s. And again Asha Bhonsle voice is silken.
What I really like about the song is the ending – I always feel it’s a bit abrupt but fits in very well with the general way of this song. Mera kuch saaman (Ijazat -1989)
1990’s
Absolutely no debate for me here- there’s only one song which could be selected here. Has there ever been a finer description of a beautiful girl than this. Perhaps “Chaudhvin ka Chand” comes close…but honestly the gap is quite wide. Even when I think of English poetry, say “She walks in beauty” or “Shall I compare thee to a summer’s day”, I feel this poem can stand up to them and be considered one of the finest examples of a collection of similes in such a short piece of work.
Of course, the other thing about this song is that it does not just depend on its lyrics- however brilliant they are. The music is melodious and this song forgives Kumar Sanu anything else he might have sung in his life (not that he hasn’t sung some good stuff; but after this it is quite immaterial). And rarely has Manisha Koirala looked more beautiful than in this song- Ek ladki ko dekha (1942, A love story – 1994).
2000’s
Just as qawwali’s have been a staple in hindi films, so have been item numbers – indeed even more so. The term “item number” is probably from the 90’s but item numbers have been around forever. Helen sustained an entire career over more than 20 years as effectively an “item number girl” – which unfortunately does not do enough justice to her acting skills (but that’s another story) and before her there was Cuckoo who was the “cabaret” girl of the 40’s and 50’s. And of course the “mujra” song has been a staple in Hindi films.
So, in a way, it is fitting that one rounds up with this list with an item number featuring the biggest star ever in Indian films along with his son and future daughter-in-law.
I love this song – it’s highly infectious, very zestful and has very nice lyrics. There really isn’t much to write specifically about the song. I just like it a lot! Kajra re kajra re (Bunty aur Babli – 2005)
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