A tribute on Manna Dey’s 101st birth anniversary (1 May 1919 – 24 October 2013)

Manna Dey was one of the great playback singers of the Golden Era. I missed to acknowledge him on his birth centenary last year. This omission is symptomatic of his relative place in the film Music. He was the most rigorously trained singer in classical music among his peers. He is outnumbered only by two male playback singers, Rafi and Kishore Kumar. He sang about 50% more Hindi film songs than Mukesh, three times as many songs of Talat Mahmood and five times of Hemant Kumar, yet there are possibly more passionate fans of the last three singers than him. I remember someone wrote an article titled ‘An Enigma Called Manna Dey’. He mentioned the word ‘enigma’ in a somewhat similar sense.

On SoY I have written two exclusive posts on his combinations with SD Burman and Shankar-Jaikishan. Besides, his songs figure prominently under other music directors, such as Ravi and Roshan. And, of course, his songs have figured in various other posts and comments. Nevertheless, there are a large number of his songs not yet covered that are my great favourites. I have to agree with Mumbaikar8 and other readers that SoY has not covered Manna Dey adequately. Missing his centenary was a serious omission, and I have to make up for that by my tribute to him on his 101st birth anniversary.

Born Prabodh Chandra Dey to Purna Chandra Dey and Mahamaya Devi on 1 May 1919 in Calcutta, Prabodh became famous as Manna. Wikipedia says this was his stage name; my impression is that, as he became a constant companion and also music student of his uncle, the legendary KC Dey, who lost his eyesight at an early age, his dak name became his bhaalo name, as everyone heard him being called by this name. He had formal education at Scottish Church Collegiate School and Vidyasagar College from where he graduated. During his school and college days he used to take part in stage shows and music competitions which he won hands down.

He came to Bombay along with KC Dey in the early 1940s where he continued his formal training in classical music from Ustad Dabir Khan, and later from Ustad Abdul Rahman Khan and Ustad Aman Ali Khan. When KC Dey got an offer to be the music director of the film Tamanna (1942), Manna Dey assisted him and also got to sing his fist Hindi film song, Jaago ayi usha panchhi boley. He continued to assist various music directors and also sing, but till 1949 there are hardly any songs that achieved mass popularity. His first superhit song was Upar gagan vishaal in the film Mashaal (1950), under the baton of SD Burman, whom he also assisted in the music department. He soon realised that his strength lay in singing, and devoted his full attention to playback singing.

In his early career he got typed for singing beggar songs, songs for old men and philosophical songs with a deep message. This created a handicap for him as the major playback singers got associated with big stars and music directors. To Shankar-Jaikishan goes the credit for promoting him as the alternate voice of Raj Kapoor during Mukesh’s absence, but he soon came back with full force after his misguided forays into film acting and production. Yet Manna Dey off and on got to sing for all the top actors.

His talent for classical music was exploited to full strength in many profound songs, such as Poochho na kaise maine rain bitaayi and Ketaki gulab juhi (a duet with Pt. Bhimsen Joshi). But the great success of Lapak jhapak tu aa re badarawa (Boot Polish, 1953) led to his classical songs being presented in a comical way for comedians like Mehmood, Johnny Walker and Aga. Manna Dey lifted his light-hearted songs like Laaga chuniri mein daagh chhupaaun kaise, Hato kaahe ko jhoothi banaao batiyan, Phoolgendawa na maaro lagat karejawa mein chot, Albeli naar preetam dwaare etc. to high art. Along the way he sang songs of all types with great effect: bhajans, qawwalis, romantic songs and philosophical songs. He sang about 1400 Hindi film songs. His total songs in all languages, including non-film songs are about 3000 (various sites mention figures ranging from 2500 to 3500/4000). His one song in Malayalam, Manasa maine veru, from Chemmeen (1965) has become an anthem for romance, love and longing. Manna Dey also sang Harivansh Rai Bachchan’s Madhushala which became immensely popular.

He was a man of versatile talents. His acting talent is reflected in songs like Ek chatur naar and Ae bhai zara dekh ke chalo. He was not merely singing, he was acting out these songs which made them such eternal songs. In his young days he learnt boxing and wrestling. He kept his interest in fitness right till the end. He lived life to the full. He had a fancy for watches and perfumes; he was known to be very fond of cooking and that made him great friends with Madan Mohan. He was also known for his impeccable English. He continued to give public performances till into his late eighties.

Regardless of his commercial standing in the Bollywood, and his regret at not being able to sing for top stars regularly, he was conferred many honours, such as Padma Shree in 1971, Padma Bhushan in 2005 and Dadasaheb Phalke Award in 2009. Besides, he also got Filmfare Award and National Awards for the best male playback singer a number of times.

He spent his last days at Bangalore with his daughter, where he passed away on 24 October 2013. Let us pay our tributes to this great singer on his 101st birth anniversary with some of his everlasting solos, not covered earlier on this blog. Readers are requested to post only the solos, and preferably those not covered under Manna Dey on this blog.

1. Ae mere pyare watan ae mere bichhade chaman tujh pe dil qurbaan from Kabuliwala (1961), lyrics Prem Dhavan, music Salil Chowdhury

All of us must have experienced how intense the pull of homeland could be at some point or the other. The desperate attempts of the migrant workers to rush to their home states during the current Lockdown is not entirely for economic reasons, their life at their homes is going to be equally difficult. Economic necessity has brought the Kabuliwala and his similar compatriots to Calcutta, but when they are by themselves in their shelter in the night, their beloved homeland beckons them. Anytime you hear this song, it is bound to give you goosebumps. In an interesting trivia, this song has been picturised on Wazir Mohammad Khan, the actor singer who sang the first ever song of our talkies, De de Khuda ke naam par de de in Alam Ara (1931).

छोड़कर तेरी ज़मीं को दूर आ पहुंचे हैं हम
फिर भी है ये ही तमन्ना तेरे ज़र्रों की क़सम
हम जहां पैदा हुये उस जगह ही निकले दम
तुझपे दिल क़ुरबान
हू ही मेरी आरज़ू तू ही मेरी आबरू तू ही मेरी जान
ऐ मेरे प्यारे वतन ऐ मेरे बिछड़े चमन तुझ पे दिल क़ुरबान

Leaving behind your land I have come far away
Yet my sole dream in the name of every speck of your dust is
That my last breath leaves me only at the place I was born
My everything belongs to you
You are my desire, you are my honour, you are my life
O my beloved land, my lost paradise, my everything belongs to you

2. Ek samay par do barasaatein from Jhoola (1962), lyrics Rajendra Krishna, music Salil Chaowdhry

Everyone sees the rains during the thundering clouds, but does anyone know the storm raging inside a man’s heart? The tears flowing down the eyes of a broken heart are drowned in the showers. There are two rainfalls at the same time, yet the thirsty heart remains unquenched. Beautiful lyrics, sung divinely as an atmospheric song by Manna Dey. Salil Chowdhury gave some incredibly beautiful songs to Manna Dey.

एक समय पर दो बरसातें बादल के संग आंख भी बरसे
चारों ओर है जल थल जल थल फिर भी प्यासा मनवा तरसे
एक समय पर दो बरसातें

3. Jamuna kinare jhlmil kare tare, jahan baansuri bajaye Jasoda ka ladka, jise sun sun Radhaji ka dil dhadaka from Saakshi Gopal (1957), lyrics Bharat Vyas, music Chitragupta

If we are all so fond of Chitragupta, here is the reason why. He is one of the most talented music directors whose music towered over his B/C grade films. This song from a mythological on Krishna lore required a combination of shringar and bhakti, at the same time bringing out the spirit of a prank-loving enchanter. Manna Dey renders the song perfectly to the delightful music of the Master Chitragupta.

4. Albeli naar preetam dware from Main Shadi Karne Chala (1962), lyrics Majrooh Sultanpuri, music Chitragupta

Chitragupta now harnesses Manna Dey’s talent for classical music. The song is outstanding, but I guess this must have been picturised in a comic setting on IS Johar. The readers would remember this film had a superb ‘Twin Duet’, Jabse hum tum bahaaron mein in the voices of Mukesh & Kamal Barot, and Rafi & Suman Kalyanpur.

5. Ghayal karte hain khud bhi…Tore naina raseele kateele haye Ram from Hamdard (1953), lyrics Prem Dhavan, music Anil Biswas

Let me now take you back to the Bhishm Pitamah of film music. Hamdard (1953) had a pure Raaggmalika, Ritu aye ritu jaye sakhi ri (Manna Dey-Lata Mangeshkar duet). And now we have a light-hearted performance before an audience. This song does not follow the standard style of mukhada-antara of a film song. It follows a style of Thumri singing in which the refrain (i.e. mukhada or sthayi) was interspersed with recital of Urdu couplets. In this beautiful song, the mukhada is preceded by recital of some mujra-style lines. In the video, the following lines seem to have been chopped off:

घायल करते हैं खुद भी और खुद ही बनते हैं दवा
हैं ज़हर कभी अमृत हैं कभी न जाने तोरे नैना हैं क्या
तोरे नैना रसीले कटीले हाय राम

But you hear the following lines clearly:

बदल गया रंग महफिल का जब तुम मह्फिल में आये
रंग उड़ा है फूलों का दिल शमा का बैठा जाय
इन नज़रों के आगे कोई कैसे नज़र उठाये, हाय कैसे नज़र उठाये
तोरे नैना रसीले कटीले हाय राम

6. Aao aao sooni re sajariya, saanwariya from Padosan (1968), lyrics Rajendra Krishna, music RD Burman

We have seen Manna Dey’s light-hearted touch in classical-based song in Tore naina raseele kateele haaye Ram. Shankar-Jaikishan made a full-fledged comedy song in classical ragas in Boot Polish (1953) – Lapak jhapak tu aa re badarawa. Thus started Manna Dey’s great run with comic-classical songs, which he would sing in perfect raagdari. This genre, which was his contribution to film music, reached its zenith in Padosan (1968) with two madcaps, Kishore Kumar (singing for himself) and Mehmood (lip-synching Manna Dey), joining in the duel Ek charur naar. In this film Manna Dey also had an equally crazy stand-alone song for Mehmood, which starts with the monologue, Waanga, waanga, ai aiyo hum galati kiyaji, hum Hindi mein gaata, before Mehmood realizes his mistake and switches in Hindi, Aao aao.

7. Gori tori paijaniyan from Mehbooba (1976), lyrics Anand Bakshi, music RD Burman

RD Burman must have remembered Manna Dey’s talent for classical and recalled him for Mehbooba in 1976, though by that Kishore Kumar had firmly established himself as the voice of Rajesh Khanna.

8. Sun mere lal, yun na ho behaal from Anuradha (1960), lyrics Shailendra, music Pt. Ravi Shankar

From comic-classical let us go back to a pathos-filled song from Anuradha. As Leela Naidu and Balraj Sahni see off their little daughter who is going away with her Nanaji, a wandering minstrel sings this beautiful song. Leela Naidu watches with moist eyes the receding bullock-cart and her husband cycling away to his duty with his doctor’s kit.

Here is its audio of better quality.

9. Sab ko naach nachata phir bhi nazar nahi jo aata aisi duniya ko banaanewala kaun hai from Kan Kan Mein Bhagwan (1963), lyrics Bharat Vyas, music Pt. Shivram

Pt. Shivram is among forgotten and minor composers, yet Manna Dey sings an outstanding philosophical song with fast beats.

10. Phir kahin koi phool khila from Anubhav (1971), lyrics Kapil Kumar, music Kanu Roy

Basu Bhattachrya made a number of films on complexities of marital relationship. One such film, Anubhav, saw return of Geeta Dutt with songs that became everlasting: Mera dil jo mera hota, Meri jaan, mujhe jaan na kaho and Koi chupke se aa ke, sapane dikha ke. Alas she didn’t live long after this. Manna Dey had this excellent atmospheric song when the attraction between the couple was intact.

11. Kasame wade pyar wafa sab from Upkar (1967), lyrics Indivar, music Kalyanji-Anandji

Upkar was a landmark film for two transformations. It made Manoj Kumar into Bharat, the nation. And the villain Pran into a good-hearted man with this song. He had started as a hero and had some positive roles, but people knew him in the 1950s and the 60s as the best villain. With Upkar Pran started a new innings in kind-hearted character roles.

12. Yaari hai imaan meri from Zanjeer (1973), lyrics Gulshan Bawra, music Kalyanji-Anandji

Pran-Manna Dey-Kalyanji-Anandji combine again in this stunning song. In his second innings Pran could not be confined to a type. He flowered into a great artiste who could play any shade of roles. In Zanjeer he plays a toughie pathan. His businesses on the wrong side of the law bring him into conflict with the righteous and vigilante cop. But the two men of honour and valour had to come together. Pran celebrates the changeover with this delightful qawwali-style dance song to a shy and taciturn Amitabh Bachchan.

13. Apne liye jiye to kya jiye from Baadal (1966), lyrics Javed Anwar, music Usha Khanna

This song sung by Manna Dey in a talwaarbaaji B-grade film has message for all times.

14. Naach re mayura (non-film, 1957), lyrics Pt. Narendra Sharma, music Anil Biswas

Among his many non-film songs Naach re mayura is my special favourite. My tribute to Manna Dey would not be complete without this song.

15. Manasa maine veru from Chemmeen (1965), lyrics Vayalar Ramavarma, music Salil Chowdhury

I could not resist my curiosity to check out this Malayalam song by Manna Dey which is said to have achieved an iconic place. The song is excellent, and with the knowledge of the story you are touched by it. T Sivasankara Pillai’s novel is based on a folk legend popular in fishermen in coastal Kerala. As the lady’s husband is away to the sea fishing, her former lover’s call makes her restless, and you can see her going through the struggle between desire and chastity. You can hear the strains of Ghadi dhadi mera dil dhdake in the interludes. The story had a sad ending, typical of folk legends – the sea goddess consumes the two unchaste lovers. Chemmeen won the National Award for the best film.

Disclaimer and Acknowledgement
1. The song videos have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog does not claim any copyright over these songs which vests with the respective owners, such as Saregama India Limited and others.

2. The brief story of Chemmeen in song #15 is based on the information in Wikipedia. I have not yet read the novel (i.e. its translation, naturally).