A tribute to Roshan on his 51st death anniversary (14 July 1917-16 November 1967)

DP Rangan started a tandem series on Madan Mohan-Roshan on July 14 which, in a unique coincidence, happened to be the birth anniversary of one, and the death anniversary of the other. I have since written a number of posts on their association with their main singers Rafi, Mukesh, Talat Mahmood, Lata Mangeshkar, Asha Bhosle, and their qawwalis. As the year end approaches, it is time to pay a final tribute to Roshan on his 51st death anniversary with his songs for ‘other’ singers. Later, I plan to end the year with a similar tribute to Madan Mohan with his ‘other singers’.

Not all the great music directors had the ability to be equally comfortable with a wide variety of singers. Some were very obviously fixated with a couple of main singers. If their relationship soured to a point of break up, it led to a precipitous fall in their standing. For excellence with a wide range of singers, the name that comes on the top is SD Burman. Besides Rafi, Kishore Kumar and Lata Mangeshkar, he composed some of the career best songs for Geeta Dutt, Asha Bhosle, Talat Mahmood, Mukesh, Manna Dey and Hemant Kumar. Roshan also had this talent. He died young; as such his total output of about 55 films and 450 songs is a fraction of what the more ‘successful’ composers did (for example, Laxmikant-Pyarelal composed about 2900 songs). But his superlative quality has ensured him an immortal place among the great music directors. With this small number he was able to create outstanding songs for a wide range of ‘other’ singers.

The main singers in his debut film, Neki Aur Badi (1949), were Rajkumari and Amirbai Karnataki. Kyunji scent lagaya hai, a duet in the voice of Firoz Dastur and Amirbai Karnataki we have discovered in the internet era, but it has already left an indelible imprint on us. Geeta Dutt and Rajkumari feature prominently in his next film Bawre Nain. It would not be an exaggeration to say that Rajkumari got a new lease of life on TV shows by virtue of Roshan’s songs. A list of Manna Dey’s best songs is not complete without Laga chunri mein daag chhupaaun kaise, Phoolgendawa na maaro and Haye re main to prem deewana mera dard na jaane koye.

He composed very few songs for Hemant Kumar, but his duet with Lata Mangeshkar, Chhupa lo yun dil mein pyar mera has become immortal. Roshan was an acknowledged Master of Qawwalis, in which he used a large number of ‘other’ singers, such as Balbir, SD Batish, Bande Hassan, Shankar-Shambhu, Mahendra Kapoor and Sudha Malhotra with stunning effect. When you think of Sudha Malhotra you think of Salam-e-hasrat qubool kar lo and her duet with Suman Kalyanpur, Kauni rang mungawa kauni rang motiya. Suman Kalyanpur brings me to her duet with Kamal Barot in the title song of Barsaat Ki Raat – Garjat barsat saawna aayo ri. She had some more great duets with female singers as well as with Rafi and Mukesh. But Roshan didn’t rest with her great duets. He gave her an everlasting Sharabi sharabi ye saawna ka Mausam.

I conclude the Roshan-leg of the series with a tribute to him on his 51st death anniversary with a selection of his songs for ‘other’ singers.

Rajkumari

1. Suno bairi balam kuchh bole re ib kya hoga by Rajkumari from Bawre Nain (1950), lyrics Kidar Sharma

This was included in the best female solos by ‘other’ singers in 1950. When Roshan’s debut film Neki Aur Badi flopped and there was pressure on Kidar Sharma to replace him, he reposed trust in Roshan’s talent and the result was the superlative score in Bawre Nain. ‘Ib’ instead of ‘Ab’ creates a naughty effect and fits with the image of the impish Geeta Bali. Her pairing with the romantic Raj Kapoor, and its picturization in beautiful surroundings, make it an unforgettable song.

2. Kajrari matwari madbhri do ankhiyan by Rajkumari from Naubahar (1952), lyrics Shailendra

But SoY readers look for more than the familiar. A special favourite with our passionate follower Jignesh and others is this elegant classical-based mujra, ‘sung’ by the elderly Kuldeep Kaur while sitting, to which a young apprentice Roshan Vajifdar (?) dances. The scene seems to stir guilt in Ashok Kumar who is distinctly uncomfortable and prepares to leave. This was the film which had Lata Mangeshkar’s immortal Ae ri main to prem deewani mera dard na jaane koye, one of the best ever songs in Bhimpalasi, and Dekhoji mora jiya churaye liyo jaye.

Geeta Dutt

3. More tose, han han, tore mujhse ulajh gaye naina balam ye baat kisi se na kahna by Geeta Dutt from Bedardi (1951), lyrics SH Bihari

Geeta Dutt sang a number of sad and soulful songs, but she also acquired a reputation for peppy and naughty songs. Roshan amply harnesses this side of the singer.

Suraiya

4. Mere man mein uthe umang piya, ban ke main tarang sama jaaun by Suraiya from Mashooqa (1953), lyrics Qmar Jalalabadi

There was something about Suraiya that whatever she sung was sweet and likeable. This was the film which distracted Mukesh from his main strength – singing, and it took a long time and some luck for him to make a comeback. Mukesh-Suraiya being the lead pair, there are a number of songs in their voices; their duet Jhilmil tare kare ishare being the best known. But this Suraiya solo is quite delightful.

Sudha Malhotra, Suman Kalyanpur, Minoo Purushottam, Mubarak Begum

5. Salam-e-hasrat qubool kar lo meri muhabbat qubool kar lo by Sudha Malhotra from Babar (1960), lyrics Sahir Ludhiyanavi

If you think of Sudha Malhotra, this is one of the songs that would be on top of your recall.

6. Sharabi sharabi ye saawan ka mausam by Suman Kalyanpur from Noorjehan (1967), lyrics Shakeel Badayuni

Roshan’s music towered over his films. The film may have tanked, but its songs like Raat ki mehfil sooni sooni (Lata Mangeshkar) are immortal. This solo of Suman Kalyanpur is one of my greatest favourites. She also had a fast happy song in the movie, Aayi baad-e-saba le ke dard jawani, Allah Allah kitne pyare din aa gaye.

7. Yun hi dil ne chaha tha rona rulana by Suman Kalyanpur from Dil Hi To Hai (1963), lyrics Sahir Ludhiyanavi

If someone asks who composed the best songs for Suman Kalyanpur, here is one. Sahir’s poetry of unrequited love was steeped in his personal pain. For the readers who love emphasis on Lyrics, here is the sublime poetry of Sahir. There was also a happy duet with Mukesh on the same tune, Chura le na tumko ye mausam suhana, khuli wadiyon mein akeli na jana.

यूं ही दिल ने चाहा था रोना रुलाना
तेरी याद तो बन गई एक बहाना

हमें भी नहीं इल्म हम किसपे रोयें
वो बीती रुतें हैं कि आता ज़माना
तेरी याद तो…

ग़म-ए-दिल भी है और ग़म-ए-ज़िंदगी भी
न इसका ठिकाना न उसका ठिकाना
तेरी याद तो….

कोई किसपे तड़पे कोई किसपे रोये
इधर दिल जला है उधर आशियाना
तेरी याद तो….

My heart wanted to grieve and cry anyway
Your memories engulfing me became just an excuse

Even I don’t have a sense what to cry for
Those moments gone by, or these coming times

My heart is aching and my life is full of sorrows
Neither has this any end nor has that any cure

Who should one pine for and who should one cry for
Here the heart is singed, and there the home is shattered

My heart wanted to grieve and cry anyway
Your memories engulfing me became just an excuse

8. Kauni rang mungawa kauni rang motiya by Sudha Malhotra and Suman Kalyanpur from Heera Moti (1959), lyrics Shailendra

A fabulous folk song rooted in daily chores of women in villages.

9. Na na na re na na haath na lagana by Suman Kalyanpur and Minoo Purushottam from Taj Mahal (1963), lyrics Sahir Ludiyanavi

Roshan had some special expertise in composing female dance duets. The dance between Helen and Madhumati is terrific, but its video quality is poor. Here is a good quality audio but you can visualise the scene.

10. Mero sainya gulabiya kae phool hamaro rang kesariya by Suman Kalyanpur and Minoo Purushottam from Nai Umar Ki Nai Fasal (1965), lyrics Neeraj

If the song was folk-based, the female duet scaled greater heights. Besides being the master of qawwalis, Roshan was also the master of female folk songs. The quiet lovers Tanuja and Rajeev (?) watch the fast and happy folk duet sung by two female singers who seem to be expressing the shy lady’s feelings.

11. Ae Khuda majboor ki fariyad hai by Mubarak Begum from Chaandni Chowk (1954), lyrics Kamil Rashid

Mubarak Begum is among the talented singers who could not succeed in the unfair marketplace. Here she sings a soulful Naat.

Kishore Kumar

12. Ye sama, hum tum jawan pahlu se dil sarak jaye by Kishore Kumar and Meena Kapoor from Mashooqa (1953), lyrics Shailendra

Kishore Kumar was Roshan’s weak link. But this song is quite interesting which has him yodelling in full steam. This is an early demonstration of his vocal acrobatics which flowered later in films like Jhumroo.

13. Tu hai chanda to main hun chakor teri meri preet lagi by Kishore Kumar and Lata Mangeshkar from Aagosh (1953), lyrics Indeevar

From full-blown yodelling, Kishore Kumar switches over to the other extreme in this absolutely melodious duet with Lata Mangeshkar. This was the forte of Roshan, and he borrows heavily from the music of Bawre Nain.

Sundar, Shamshad Begum

14. Qutub Meenar par chadh ke.. Kabhi chaar baje kabhi paanch baje by Sundar and Shamshad Begum from Chaandni Chowk (1954), lyrics Raja Menhdi Ali Khan

Completely crazy, Sundar sings for himself, and no one could give better company than Shamshad Begum.

Manna Dey, Mahendra Kapoor

15. Laaga chunari mein daag chhupaun kaise by Manna Dey from Dil Hi To Hai (1963), lyrics Sahir Ludhiyanavi

Sahir adapts Kabir’s mystic poetry Meri chunri mein par gayo daag piya retaining the same essential meaning. The surface meaning is obvious, but it does not require a spiritual inclination to get to its deeper meaning when Sahir says after Kabir:

लागा चुनरी में दाग छुपाऊं कैसे घर जाऊं कैसे
लागा चुनरी में दाग..

हो गई मैली मोरी चुनरिया, कोरे बदन सी कोरी चुनरिया
जा के बाबुल से नज़रें मिलाऊं कैसे, घर जाऊं कैसे
लागा चुनरी में दाग ….

भूल गई सब बचन विदा के, खो गई मैं ससुराल में आ के
जा के बाबुल से नज़रें मिलाऊं कैसे, घर जाऊं कैसे
लागा चुनरी में दाग ….

कोरी चुनरिया आत्मा मोरी मैल है मायाजाल
वो दुनिया मोरा बाबुल का घर ये दुनिया ससुराल
जा के बाबुल से नज़रें मिलाऊं कैसे घर जाऊं कैसे
लागा चुनरी में दाग …

My chunri is stained, how do I hide it
How do I go home as my chunri is stained

My chunri got soiled that used to be as clean as my chaste body
How do I look into the eyes of Babul
How do I go home as my chunri is stained

I have forgotten all the vows I had taken while leaving (Babul)
I have become totally lost in (the pleasures of) sasural
How do I look into the eyes of Babul
How do I go home as my chunri is stained

The clean chunariya was like my soul, and the trappings of pleasure are stains
My Babul’s home is that world, and sasural is this world
(When the time comes to finally go to the other world)
How do I look into the eyes of Babul (the Maker)
How do I go home (the other world) as my chunri is stained

(See Note at the end for some more discussion on Kabir, his imagery of the Two Worlds and stained cloth)

It is ironical that such a deeply philosophical song has been picturised in a comic setting when the hero has come in a disguise of an old singer to woo his lady love, pulling the wool over her parent’s eyes – a common trope in our films. You can’t blame Sahir, Manna Dey or Roshan who create a masterpiece. Manna Dey’s talent for classical songs have been used for comic effect as early as 1953 in Boot Polish by Shankar-Jaikishan (Lapak jhapak tu aa re badarawa), and that ‘success’ became his millstone.

16. Phool gendawa na maaro lagat karejawa mein chot by Manna Dey from Dooj Ka Chaand (1964), lyrics Sahir Ludhiyanavi

Now the demand for more of the same was unstoppable. This traditional Bhairavi is picturised as a comic track on Agha.

17. Haye re main to prem deewana mera dard na jaane koye by Manna Dey from from Bedaag (1965), lyrics Shakeel Badayuni

I had once prepared a list of Manna Dey’s classical-based songs. They are all my favourites and good enough for a post. I didn’t know that many of them were meant to be comic, but my liking for them has not diminished. This one is on the comic pair Mehmood-Shubha Khote. To exaggerate the farce, the lyrics is a parody of Meera’s Ae ri main to prem deewani mera dard na jaane koy.

18. Bata do koi kaun gali gaye Shyam by Manna Dey from Madhu (1959), lyrics Shailendra

Manna Dey would have been variously typecast as a singer for itinerant old beggars, or as a bhajan singer, if Shankar-Jaikishan, Anil Biswas and SD Burman had not composed some superlative mainstream songs for him. This bhajan is quite memorable. There was a solo version of this song in Lata Mangeshkar’s voice.

19. Usko nahi dekha humne kabhi by Manna Dey and Mahendra Kapoor from Daadi Ma (1966), lyrics Majrooh Sultanpuri

This was one of the roaringly popular songs from this Prasad Productions family entertainer.

Hemant Kumar

20. Chhupa lo yun dil mein pyar mera ki jaise mandir main lau diye ki by Hemant Kumar and Lata Mangeshkar from Mamta (1966), lyrics Majrooh Sultanpuri

When you think of qawwalis, you think of Roshan. I have also added, when you think of folk female duets, you think of Roshan. And Subodh Agrawal said long ago, when you think of Yaman, you think of Roshan. With a short career, and small number of films and songs, Roshan showed amazing talent. Hemant Kumar with his heavy, sweet voice was ideally suited for love that was profound and other-worldly. Roshan composed very few songs for him, but still gave this immortal song.

Note: The theme of the ‘other world’ from which we all come to ‘this material world’ with a pure soul (chunri/chadariya) to start with, which gets tainted as we get sucked into the pleasures (mayajaal) of this world, and tension at the final moment of return about the stain on the cloth, occurs in several poems of Kabir.

• In this one Kabir says that no matter how hard the seeker tries to clean it, with ‘soap’ of knowledge, the stain would not go away. But it is cleaned (the seeker is absolved of all sins) when the Lord accepts him.
  मोरी चुनरी में परि गयो दाग पिया
  पाँच तत्त्व की बनी चुनरिया, सोरह सौ बंद लाग किया
  यह चुनरी मेरे मैके ते आई ससुरे में मनवा खोय दिया
  मलि मलि धोये दाग न छूटे ज्ञान का साबुन लाय पिया
  कहत कबीर दाग तब छुटिहैं जब साहेब अपनाय लिया
• In this one the chunri is stained in the naihar itself. Sahir makes the imagery more accessible by suggesting that the maiden was chaste as long as she was with Babul, and the chunri became stained as she got lost in the pleasures of sasural. There must be a way to read the two harmoniously, as they are conveying the same underlying message. I am leaving that for our erudite readers.
  नैहर में दाग लगल मोरी चुनरी
  पहन ओढ़ गोरि चली ससुराल, मैके के लोग कहें बड़ी फुहड़ी
  यह चुनरी धोबी घर पठाई, बहुत धुलाई तनौं न भई उजरी,
  नैहर में दाग…
  भाई बरेठा दूर बसत है, साबुन महंगा बिकाय वहि नगरी
  कहत कबीर सुनो भाई साधो एहि जनम की बिगरी कबौं ना सुधरी,
  नैहर में दाग..
• Finally, a very popular mystical bhajan sung by many singers. The Lord has woven a very fine and delicate tapestry, which was worn by the celestials, saints and humans alike, but they all defiled it. The Lord’s humble servant, Kabir, however, wore it carefully, and returned it to Him in as good a condition as he had got it.
  झीनी झीनी बीनी चदरिया
  काहे के ताना काहे के भरनी, कौन तार से बीनी चदरिया
  इंगला पिंगला ताना भरनी, सुखमन (सुषुम्ना) तार से बीनी चदरिया
  आठ कँवल दल चरखा डोले, पाँच तत्त्व गुन तीनी चदरिया
  सांई को सियत मास दस लागे, ठोक ठोक के बीनी चदरिया
  सो चादर सुर नर मुनि ओढ़ी, ओढ़ के मैली कीनी चदरिया
  दास कबीर जतन से ओढ़ी, ज्यों की त्यों धर दीनी चदरिया

Disclaimer: The song links have been embedded from the YouTube only for the listening pleasure of music lovers. The copyright over the songs rests with the respective owners.