Another mental inSTrument was described

A couple of posts ago, I wrote about Man Ki Been.

And the subject of this post was another song in which the mind was likened to a musical instrument.

The first two words of the song were Raahi Matwale*.

And the next seven words were Tu Chhed Ek Baar Man Ka Sitar.

The version in my collection was the duet – Suraiya and Talat Mahmood lent it their voices.

Qamar Jalalabadi wrote the song from Waris (1954).

It (Bis)was composed by Anil.

(*Note: Matware, a word in Mann Ki Been, is a synonym of Matwale.)

This was the tiTLe track

I sat down to write this post one morning.

And it was apt, because it was the only song from the 1954 film Subah Ka Tara in my collection.

It happened to be the title track of the film – it was titled Gaya Andhera Hua Ujara, Chamka Subah Ka Tara.

Based on Raga Pahadi, it was the only duet on the film’s soundtrack – the two people who lent their voices to it were Lata Mangeshkar and Talat Mahmood.

The song was written by Noor Lucknawi.

It was composed by Ramchandra Narhar Chitalkar (a.k.a. C Ramchandra).

This tRack amaLgamated two ragas

Shabaab released in 1954.

My collection contained just one song from the film.

It was titled Man Ki Been Matwari Baaje.

Appropriately, it was a song that had a musical analogy – it means the intoxicated mind, which is akin to the instrument played by a snake-charmer, is playing.

The two people who lent their voices to the song were Lata Mangeshkar and Mohammed Rafi.

It was based on Raga Bahar, and had traces of Raga Basant.

Needless to say, the man who composed the song was the one and only Naushad.

Shakeel Badayuni wrote it.

Rafi’s solo had two titles

When I added the subject of this post to my collection, I saved it by one title, and it showed up with another on iTunes.

The former was Bolo Ae Zameen, Bolo Aasmaan.

And the latter was Aaj Achanak Rooth Ke Mujhse.

It happened to be the only song from Chakradhari in my collection.

The film released in 1954.

Mohammed Rafi lent his voice to the song, which was composed by Avinash Vyas.

The song was written by Kavi Pradeep.

I wrote this post on the eve of his 25^th death anniversary (December 11, 1998).

This was a philosophical (Gee)take

On May 26, 1953, Geeta Ghosh Roy Chowdhuri married Guru Dutt.

Just over a year later (on June 18, 1954), a film titled BaadBaan released.

My collection contained just one song from that film.

It was titled Kaise Koi Jeeye Zeher Hai Zindagi.

Credited as Geeta Dutt from that point onwards, she lent her voice to the song, which was philosophical (albeit a negative one, because it could be translated to, “How does one live, because life is toxic”).

The song was written by Indeevar.

It was composed by Timir Baran and S K Pal.

This track became immor(La)tal too

If the soundtrack of Amar contained a Mohammed Rafi solo, how could Lata Mangeshkar be far behind?

Well, it was a female-oriented soundtrack, and hers was, in fact, the most prominent voice on it.

But as far as my collection was concerned, there was just song by her from the film in it.

It was titled Na Milta Gham Toh.

The next five words of the song went, “Barbaadi ke afsane kahan jaate”.

Therefore, Rafi’s song from Amar was sandwiched between two songs with Gham.

Jokes apart, Shakeel Badayuni wrote the song, which Naushad composed.

Rafi rendered this ‘immortal’ song

Amar – a film that released in 1954 – started Dilip Kumar as the titular protagonist.

The title of the film was also a word that meant immortal.

And that was precisely what Insaaf Ka Mandir Hai – the only song from the film in my collection – was.

It was the only male solo on the soundtrack of the film.

Was it a surprise that it was rendered by the one and only Mohammed Rafi?

The next five words of the song, which was written by Shakeel Badayuni, were Yeh Bhagwan Ka Ghar Hai.

Naushad Ali composed it.