And the Award for the Weightier Sexuality Solo singer goes to ?
If you scan through the Wrap Up 1 regarding the weightier solos of 1943, it was unmistakably a one-horse race with KL Saigal stuff the Pole Star. During Saigal-Noorjehan-era there was no sexuality Saigal, or as I have said older a number of times, there was no Lata Mangeshkar surpassing Lata Mangeshkar. But we should not yank an erroneous conclusion that sexuality singing was devoid of talent. There were several uncommonly talented singers, and the total sexuality solos outnumbered the male solos by a big margin. In fact my fascination for vintage singing is due to so many varieties of sexuality voice.
If you scan through my Overview Post for the weightier songs of 1943, in the list of 99 Memorable Songs, there are 47 sexuality solos divided among 20 singers as follows:
1. Amirbai Karnataki – 8
2. Parul Ghosh – 6
3. Khursheed – 5
4. Suraiya – 4
5. Kanan Devi – 3
6. Jahan Ara Kajjan – 2
7. Jayshree – 2
8. Noorjehan – 2
9. Radharani – 2
10. Rajkumari – 2
11. Sitara Devi – 2
12. Baby Madhuri – 1
13. Binota Roy – 1
14. Gauhar Sultana – 1
15. K Sundaramma – 1
16. Leela Mehta – 1
17. Saraswati Rane – 1
18. Shamshad Begum – 1
19. Suprova Sarkar – 1
20. Vatsala Kumthekar – 1
Total – 47
This is double of male solos in the list of memorable songs. Long-term ratio of sexuality to male solos is higher than this.
I should explain some conventions I have followed for classification. In a chorus if there is one prominent voice, I have counted that as a solo. Thus Door hato ae duniyawalo Hindustan hamara hai (Kismet) I have counted as an Amirbai Karnataki solo. There are some songs in which flipside voice comes for a unenduring while, but the impact of the song is primarily as a solo. N Venkataraman drew our sustentation that there is a male voice in the whence of Papiha re mere piya se kahiyo jaye which could be sung by Pradeep or Arun Kumar. That voice comes as an invocation for a very unenduring moment. The overall impact is as a Parul Ghosh solo, and most sites recognise as such. I have counted that as a solo. But thanks Venkataramanji. I find this is resulting with my unstipulated approach. In Wrap Up 1, I counted Neend hamari khwab tumhare as a GM Durrani solo despite the sargam taan by Balakram in interludes.
The most songs have been sung by Amirbai Karnataki, followed by Parul Ghosh. But excellence is not solely a function of numbers. A well-spoken example is Saraswati Rane whose sole song from Ram Rajya has been included. Everyone knows the song, and it has wilt immortal. On Amirbai Karnataki the readers must be familiar with a trivia. In the mucosa Ankh Ki Sharm, composed by Vasant Desai, two sexuality solos have been credited to Meenakshi. They are so good and so unmistakably in the voice of Amirbai Karnataki that I have counted them as her solos.
Readers’ comments well-nigh their nomination and additions of songs
The readers enhance the year-wise reviews a unconfined deal by their detailed comments on the sexuality solos in general, their nomination of the weightier and their additions of ‘new’ songs vastitude my list. Arunkumar Deshmukh is as usual very prompt with his well-spoken choices. His nomination for the weightier sexuality playback singer is Saraswati Rane from Ram Rajya for ‘Aao ri suhagan nari mangal gao ri’. This song is a duet between Sarswati Rane and Amirbai Karnataki. In fact the second line ‘Janak dulari ki gode bharao ri’ is very unmistakably in the voice of Amirbai Karnataki. This song is my unconfined favourite and I have used it in flipside post. Arunji must have put it inadvertently, and he must have meant flipside song from the same mucosa in Bhimpalsi which has wilt an iconic song. Arunji widow some very interesting information well-nigh the split in the Bombay Talkies. The split happened in 1942, the deal for land and studio happened in 1943, when the dissidents founded Filmistan Studios and launched their first mucosa Chal Chal Re Naujawan which was released in 1944.
Anup has given his joint nomination of Khursheed (Ghata ghanghor ghor) and Parul Ghosh (for her songs in Hamari Baat and Aye bhi wo gaye bhi wo). That would midpoint that he is equally fascinated by at least four songs by two singers. Gaddeswarupji, whose engagement with SOY has wilt a little less, chose Khursheed as the weightier singer for the song Barso re (Tansen). Mahesh’s nomination for the weightier singer is Amirbai Karnataki from Kismet. Pramod Godbole’s weightier sexuality playback singer is jointly Parul Ghosh (Papiha re mere piya se kahiyo jay) and Amirbai Karnataki (Ghar ghar mein Diwali hai mere ghar mein andhera), both from the mucosa Kismet.
Raunak Joy is a unconfined Vintage-era, expressly the New Theatres fan. I confine myself to well-known songs, but he makes sure that the music and songs from New Theatres films get proper attention. He fills in with his expert comments which are a delightful read and they enhance our knowledge manifold. He has included Aaj Himalay ki choti se phir humse lalkara hai as a duet, but I have explained my reasons for including it as an Amirbai Karnataki solo. Conversely, he moreover includes Aao ri suhagan nari mangal gaao ri as an Amirbai Karnataki solo, but it is unmistakably a duet with Saraswati Rane and her. He makes a very interesting and thought provoking scuttlebutt well-nigh the mucosa Ram Rajya and its music director, “…which otherwise – both as a mucosa and as an album, had Debaki Bose and RC Boral written all over it, expressly that of Vidyapati and Puran Bhagat!” I don’t often rebut an expert. But though I am a unconfined fan of the New Theatres music and films, I am feeling uncomfortable by the denigration of Ram Rajya and Shankar Rao Vyas. Raunak has given his ten weightier sexuality solos, thereafter, he has moreover given his 11-20, thus 20 songs in order. and a remoter five songs. I was a bit surprised to find Saraswati Rane’s Beena madhur madhur kachhu bol at serial 18 in his preference.
Neeruahaf is flipside unconfined zealot of vintage songs and she really dredges deep. Her weightier is Shamshad Begum’s Tumse duniya mujhe from Taqdeer. She would moreover like to make a special mention of Sitara Devi’s Ye gham ka fasana hai from Aabroo.
Venkataramanji has made a comprehensive list without listening to many sexuality solos misogynist online outside my main list. He has counted 21 singers in my list, but I think there were only 20 singers. He must have counted Meenakshi as a variegated singer (She is very unmistakably Amirbai Karnataki). As for his counting 46 sexuality solos as versus 47, this might be explained by missing two Amirbai Karnataki songs from Aankh Ki Sharm, and treating Papiha re as a duet. Thus the number matches (46 2-1=47). But this nit-picking is not important. What is important is his perseverance, he has taken out 13 singers from my list of 21 singers (in fact he has taken out 12 from 20, and widow Anima Ghosh’s two songs well-balanced by Himangshu Dutta). Thus he has taken 9 sexuality singers whose details he has given and proposed 16 songs, not in any order for selection of the weightier 10. One of his exclusions, Gauhar Sultana’s Shabnam kyun neer bahaye I found odd. Finally his nomination for the weightier sexuality singer is Amirbai Karnataki.
Special Songs
Every one agrees that 1943 was an unrenowned year for the rich variety of sexuality solos. The Weightier ten can fit in only that much. ‘Special Songs’ gives opportunity for posting some unique songs and unbend some uncommonly good songs which could not fit in the main competition. I had posted a sexuality solo ‘Bhojan ke nazzare hain’ by Baby Madhuri (film Vishwas) as a special song in the overview post for its trappy medley parody, and its cute picturisation. Here are some more.
1. Kaahe neha lagaye sajaniya, kaahe neha lagaye by Jahanara Kajjan from Prarthana (1943), lyrics Dr Safdar ‘Aah’
Saraswati Devi (real name Khursheed Minocher Homji) had a thorough training in classical music at Marris College, Lucknow (now Bhatkhande Music Institute). Here she composes an spanking-new Raag Piloo-based semi-classical song in the voice of Jahanara Kajjan, one of the most prominent star-singers of our primeval films.
2. Koeliya kaahe bole ri, mora nazuk nazuk jiyara by Khursheed from Nurse (1943), lyrics DN Madhok, music Gyan Dutt
Khursheed represented quintessential vintage era sexuality singing. There is whimsically any song of hers I don’t like.
3. Aa increasingly saanwre sainya by Suraiya from Sanjog (1943), lyrics DN Madhok, music Naushad
Suraiya is not there in the film, but she gives playback for Mehtab in this spanking-new song. She gave playback for other actors in the whence of her career. The ‘sainya’ in the scene is the comic Charlie who has been exalted to this status in some misunderstandings and mixed identities.
3. Ganga kinare mohe bagiya laga do sainya by Amirbai Karnataki from Shankar Parvati (1943), lyrics Pt. Indra, music Gyan Dutt
You trammels out an unknown song of Amirbai Karnataki, you are quite likely to find a gem. You can’t say this for all the singers. This song is very good, worthy of stuff included in ‘Special songs’. I have confidently identified many songs as Amirbai Karnataki though these were credited to someone also. But well-nigh this one, though credited to her in HFGK, I am not feeling so confident. Experts may please throw light on its singer.
4. Des beech pardesan kar ke chhod chale Giridhari by Leela Mehta from Nai Kahani (1943), lyrics Wali Saheb, music Shyam Sundar
Leela Mehta is an unknown name. This is a fascinating song and makes an will-less entry to the Special Songs, considering the weightier ten was very crowded.
A commenter on the link mentions that it is sung by Suraiya. I doubt, considering someone has moreover posted a ‘record version’ sung by Suraiya. This voice is quite variegated and it could very well be Suraiya.
(Version song Suraiya) Des beech pardesan kar ke
5. Aaj pahlu mein dard sa kya hai by Parul Ghosh from Sawaal (1943), lyrics Wali Saheb, music Pannalal Ghosh
We have seen older on this blog that Parul Ghosh sang most songs for her brother Anil Biswas. Here is an spanking-new ghazal she is singing for her husband.
6. Aankh milte hi muhabbat ho gayi by Meenakshi (Amirbai Karnataki) from Aankh Ki Sharam (1943), lyrics by Pt Indra, music Vasant Desai
The tune of the song is very similar to Zindagi ka saaz bhi kya saaz hai sung by Sheela for Naseem Bano on the screen in the mucosa Pukar (1939), well-balanced by Mir Sahib. Aankh milte hi from Aankh Ki Sharm has been credited to Meenakshi, but the voice is unmistakably Amirbai Karnataki’s.
Here is its nice video which shows it is a mujra song.
7. Ek bewafa se pyar kiya by K Sundaramma from Duniya Diwani (1943), lyrics Arshad Gujarati, music K Narayan Rao
The mukhada of the song is somewhat similar to the famous song from Aawara (1951), but the rest of the lyrics is very different.
8. Ye gham ka fasana hai by Sitara Devi from Aabroo (1943), lyrics ‘Hasrat’, music Pt. Govind Ram
In this mucosa Sitara Devi has sung a frothy duet with GM Durrani, Gori baanke nayan se chalave jadua. Here she sings a very poignant song, very uncharacteristic of her. Neeruahaf mentioned this song for ‘Special mention.’ I entirely agree.
Best Ten:
Now we have a pearly idea of the Weightier Sexuality solos of 1943. Left to myself I would have put Beena madhur madhur kachhu bol at No.1. But the unstipulated preference of readers is Amirbai Karnataki and Parul Ghosh. Let me put their songs at 1 and 2.
1. Ab tere siwa kaun mera Krishna Kanhaiya, Bhagwan kinare se laga de meri naiya by Amirbai Karnataki from Kismet (1943), lyrics Pradeep, music Anil Biswas
Amirbai Karnataki was outstanding in plaintive pleading to God for redemption. This one is well-nigh her weightier in the genre and from the mucosa Kismet.
https://www.youtube.com/watch?v=bgrLz-MrGcA
2. Aye bhi wo gaye bhi wo khatm fasana ho gaya by Parul Ghosh from Namaste (1943), lyrics DN Madhok, music Naushad
This song has been mentioned by some readers. Parul Ghosh is known for her songs for her brother Anil Biswas. But in this year Naushad comes up with a gem outdoing her every other song in the year.
3. Beena madhur madhur kachhu bol by Saraswati Rane from Ramrajya (1943), lyrics Ramesh Gupta, music Shankarrao Vyas
Whenever you think of Bhimpalasi, you think of Beena madhur madhur kachhu bol. How can an iconic song like this not be near the top in the list. Saraswati Rane shows that she was worthy of stuff a daughter of Ustad Abdul Karim Khan.
4. Ghata ghanghor ghor mor machave shor increasingly sajan aa ja by Khursheed from Tansen (1943), lyrics DN Madhok, music Khemchand Prakash
Raunak Joy says Tansen was not only well-nigh Saigal, but moreover well-nigh Khursheed. Very well said. The untrained Tani (Khursheed’s character’s name in the film) has sung this eternal song, which inexorably pulls KL Saigal (Tansen) towards her.
These songs are shared legacy of the two neighbouring countries which have a fraught political relationship. Here is a version song by Nayyara Noor, a famous singer from Pakistan, who passed yonder recently.
5. Barso re kale badarwa piya bin barso by Khursheed from Tansen (1943), lyrics DN Madhok, music Khemchand Prakash
Tansen (Saigal) has blisters all over his soul due to his singing Diya jalao diya jalao. This can be only cured if someone can sing Megh Malhar. Tani (Khursheed) does not know raags or pucca gana, but she knows emotions, she has to save her Tansen. And she sings this tightly poignant song which has Megh Malhar in it.
6. Papiha re mere piya se kahiyo jaay by Parul Ghosh from Kismet (1943), lyrics Pradeep, music Anil Biswas
Now we have Parul Ghosh’s song from the doyen Anil Biswas’s magnum opus Kismet. This song has a unenduring invocation in a male voice, but as I have explained I am taking it as a solo. This song has been picturised on Chandraprabha.
7. Shabnam kyun neer bahaye by Gauhar Sultana from Ishara (1943), lyrics DN Madhok, music Khursheed Anwar
It seems very few readers were enlightened of this song. I heard it long ago on DD in a 4-part survey series, Gata Jaye Banjara, of our mucosa songs from the beginning. This series was very well researched and presented by Poonam Dhillon exceedingly well. That was my window to many unheard singers and songs of the vintage era. Whichever song impressed me got etched in my memory, and this was one of the songs I found veritably mesmerising. Look at the imagination of the lyricist on seeing the dew-drops:
शबनम क्यूँ नीर बहाये
दुनिया सोये और ये रोए जाये
जैसे निर्धन के रोने पर हँसते हैं बलवान
वैसे शबनम के रोने पर कलियों की मुस्कान
शबनम रोए कलियों का मुँह धोए
अपनी जान गँवाकर पगली जग में फूल खिलाए
शबनम क्यूँ नीर बहाये
https://www.youtube.com/watch?v=T7sF-Sfq6GY
8. Ek tum ho ek main hun ek nadi ka kinara ho, shamma pyara pyara ho by Suraiya from Kanoon (1943), lyrics DN Madhok, music Naushad
Naushad got such a fame from Rattan (1944) that we often tend to forget his older films. I had mentioned that his songs from all his films in the year were in my overview post and these were quite well-known at that. Here is one by one of his favourite singers of the era.
9. Manwa kaahe phir tadpaye by Binota Roy from Wapas (1943), lyrics Akhtar Chugtai, music RC Boral
Binota Roy has sung this superb melodious and poignant song picturised on Bharati Devi. The magic of the New Theatres and RC Boral.
10. Zara nanino se naina milaye jaao re increasingly baanke raseele sanwariya by Kanan Devi from Hospital (1943), lyrics Pt. Bhushan, music Kamal Dasgupta
It would be surprising if this song didn’t find a place in the weightier ten. If you compare Kanan Devi’s singing in the New Theatres’ Vidyapati (1937), well-balanced by RC Boral, it was of a variegated level. But outside the New Theatres, this must be one of her weightier songs.
In conclusion, the year 1943 is a goldmine of many colours of vintage sexuality singing. The Award for the Weightier Sexuality Singer of the year goes to Amirbai Karnataki.
Acknowledgements and Disclaimer:
The YT links of songs have been embedded only for the listening pleasure of the music lovers. This blog claims no copyright over the songs, which belongs to the respective owners.
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