It completed Mangeshkar’s ‘Meternal’ Duology

I would like to start this post with an explanation of the fourth word in its title – it is a portmanteau of the words ‘maternal’ and ‘eternal’.

And I coined it because I believed that that summed up Mai Ri Main Kase Kahoon.

It was the second song from the 1970 film Dastak in my collection.

Lata Mangeshkar lent her voice to the song, which completed her ‘Meternal Duology’ on this playlist.

One of the best expressions of pain in Hindi films, the song was penned by Majrooh Sultanpuri.

It was composed by Madan Mohan.

Rafi’s fans paid this heed

My collection contained one song from Naunihal, which released in 1967.

It was titled Meri Awaaz Suno (which could be translated to, “Listen to my voice”).

Though the song was rendered by the one and only Mohammed Rafi, it was nothing but an expression of every singer’s expectation of his fans.

By the way, the next four words of the song were Pyaar Ka Raaz Suno.

The song was picturised on the funeral procession of India’s first Prime Minister, Pandit Jawaharlal Nehru (who died on May 27, 1964).

Kaifi Azmi wrote the Madan Mohan composition.  

This was an exceptional nuMbeR

My collection contains four tracks from Mera Saaya, which released in 1966.

The subject of this post – Aapke Pehlu Mein Aakar Ro Diye – happened to be the solo male solo in the film.

It was rendered by none other than Mohammed Rafi.

Obviously, it would be the first if they were arranged in the alphabetical order.

But if there were arranged in the descending order of their durations, it would be the penultimate one – it was three minutes and 32 seconds long.

Raja Mehdi Ali Khan penned the song, which was composed by Madan Mohan.

Lata rendered this short solo

If the three songs from Haqeeqat in my collection were arranged in the alphabetical order, Zara Si Aahat Hoti Hai would be the last.

And if they were arranged in the ascending order of their durations, it would be the first – it was three minutes and 51 seconds long.

By the way, the four words that followed the italicised words above were Toh Dil Sochta Hai.

The lady who lent her voice to the song was the one and only Lata Mangeshkar.

It was written by Kaifi Azmi.

And it was composed by Madan Mohan.   

A Sing(h)ing quaRTet rendereD it

Prior to the addition of the subject of this post – and that of the next one – to my collection, there was just one song from Haqeeqat (1964) in it.

The second song from the film in my collection (if the three were arranged in the alphabetical order) was Hoke Majboor Usne Mujhe Bulaya Hoga.

Four male Sing(h)ers – Bhupinder, Manna Dey, Mohammed Rafi, and Talat Mahmood – sang it.

Kaifi Azmi wrote the Madan Mohan composition, which was the longest of the three from the film in my collection – it was seven minutes and a second long.

Ms Mangeshkar’s solo was outstanding

The only contribution of the one and only Lata Mangeshkar to the soundtrack of Aap Ki Parchhaiyan (which released in 1964) was titled Agar Mujhse Mohabbat Hai.

It happened to be the only track from the film in my collection.

And by no means would it be incorrect to state that it was one of the highlights of the film.

The next line-and-a-half of the song – written by Raja Mehdi Ali Khan, and composed by Madan Mohan – went, “Mujhe sab apne gham de do, in aankhon ka har ek aansoo, mujhe meri kasam de do”.

The education system was MocKed

Sikandar is Hindi for Alexander III of Macedon, who was better known as Alexander The Great.

His battle with Porus was the subject of the third song from the 1962 film Anpadh in my collection.

It was titled Sikandar Ne Porus Se Ki Thi Ladaai.

The song took a dig at the Indian education system, as well as the ‘funny’ English language (as was evident from the line about P-U-T put and B-U-T but).

It was Mahendra Kapoor’s only contribution to the film’s soundtrack.

Raja Mehdi Ali Khan wrote the song, which Madan Mohan composed.

Lata’s Adalat hat-trick was complete

Prior to the addition of the subject of this post to my collection, it had a couple of tracks from Adalat (1958).

Jaana Tha Humse Door* was the third.

If they were arranged in the alphabetical order, that song would be the first.

By the way, Lata Mangeshkar rendered all of them.

Rajinder Krishan wrote the Madan Mohan composition.

(*Note: Its next three lines went, “Bahaane bana liye. Ab tumne kitni door thikane bana liye”. So, it meant, “You wanted out, so you made excuses. Now, how far away have you set up multiple bases?”)

Rafi’s wishlist’s relevance never diminished

The subject of this post was as much a commentary on poverty as it was one on hope.

And though the film it was from released in 1956, both those things continue to be relevant.

I am talking about Gareebon Ka Paseena Beh Raha Hai, the only song from Naya Aadmi in my collection.

The two other similarities it had with the previous song were the lyricist (Rajinder Krishan) and the composer (Madan Mohan).

But there was a massive difference between the two tracks – this one was rendered by the one and only Mohammed Rafi.

It was a unique (Kisho)rendition

It is well known that Kishore Kumar was a singing star in the 1950s and 1960s.

And that was the reason I was surprised when I found out that the male version of Dil Se Dil Milakar Dekho* was his only contribution to the soundtrack of Mem Sahib, which released in 1956, and starred him.

The song, which was written by Rajinder Krishan, was composesd by Madan Mohan.

(*Note: The female version of the song was sung by Asha Bhosle. I haven’t included that version, or any other song from the film, in my collection.)

It was another Mangeshkar solo

Bhai-Bhai released in 1956.

Lata Mangeshkar’s voice was the main one on the soundtrack of the film.

And by no means would it be incorrect to state that that was a big deal, given the fact that Kishore Kumar was one of the titular protagonists in the film.

By the way, he sang just a couple of tracks in the film.

Coming back to the Mangeshkar solo in question, its title had three words that many people would relate to – Kadar Jaane Na.

The song was written by Rajinder Krishan, and composed by Madan Mohan.

Talat sang this one too

The year was 1952.

The crooner was Talat Mahmood.

And the title of the film began with the first letter of the English alphabet and the second letter of the Hindi one.

The film I am referring to was Aashiana, and the only song from it in my collection was Main Pagal Mera Manwa Pagal.

With both his names having five letters, beginning with M, and ending with an, it wouldn’t be incorrect to state that it was apt that the song was composed by Madan Mohan.

The man who penned it was Rajinder Krishan.