It was yet AnotheR(a)fine track

I discovered the songs of the 1967 film Palki quite late in my life.

And upon doing so, I added a couple of them to my collection.

One of them happened to be the subject of this post.

It was titled Kal Raat Zindagi Se Mulaqaat Ho Gayi (which was alphabetically the first of the two).

Like the other song from the film in my collection, this was a male solo.

But the man who lent his voice to it was the one and only Mohammed Rafi.

Shakeel Badayuni wrote the song, which Naushad composed.

The ‘Bibi’, Geeta, sang this

With the addition of this song to my collection, there are three songs from Sahib Bibi Aur Ghulam (1962) in it.

If there arranged in the alphabetical order, it would be the last of those – the song in question was Piya Aiso Jiya Mein Samaye Gayo.

And if they were arranged in the ascending (or descending) order of their durations, it would be the second – it was four minutes and 15 seconds long.

It was sung by Geeta Dutt.

Hemant Kumar, who composed the film’s songs, didn’t render any of them.

Shakeel Badayuni wrote them.

Barot (Bhos)lent it her voice

Kids share a special bond with their grandparents.

But kids will be kids and their behaviour might occasionally upset their grandparents.

There was one track from a 1961 film that was about an upset paternal grandma and her grandchildren’s attempts to make her happy again.

It was titled Daadi Amma Daadi Amma Maan Jao.

And spread across my playlists, it was the second track from Gharana in my collection.

The two ladies who (Bhos)lent their voices to it were Asha and Kamal Barot.

The song, which was written by Shakeel Badayuni, was composed by Ravi.

Their vocaL ‘Rang’es were wide

Prior to the addition to the subject of this post to my collection, my collection contained just a couple of songs from Kohinoor, which released in 1960.

If this track were arranged in the alphabetical order, it would be the third – it was titled Tan Rang Lo Ji Aaj Man Rang Lo.

And if they were arranged in the ascending order of their durations, it would be the first – it was three minutes and 26 seconds long.

Lata Mangeshkar and Mohammed Rafi lent their voices to it.

Shakeel Badayuni wrote the song, which Naushad composed.

The Rafi Solos Trilogy concluded

Barring the title of the subject of this post, it had everything in common with the previous one.

In fact, those tracks had half-a-dozen similarities.

Let us look at those first.

Firstly, it was from Chaudhvin Ka Chand.

Secondly, the film released in 1960.

Thirdly, it was the third song in Mohammed Rafi’s Solos Trilogy.

Fourthly, it was penned by Shakeel Badayuni.

Fifthly, the track was composed by Ravi Shankar Sharma (who was mononymously credited as Ravi).

And lastly, the song began with the letter M.

The song in question was Mili Khaak Mein Mohabbat.

Rafi’s 1960 Solos Trilogy continued

Before I added the subject of this post to my playlist, my collection contained just one song from Chaudhvin Ka Chand (1960).

With the addition of this track, and the next one, to it, there were three.

It was one of the two songs from the film that began with M – it was titled Mera Yaar Bana Hai Dulha.

Wedding ceremonies in the Hindi belt were complete without it.

It was the second track in Mohammed Rafi’s 1960 Solos Trilogy in this playlist.

The song, which was written by Shakeel Badayuni, was composed by Ravi.

It completed Rafi’s ‘Bhagwaan’ duology

As far as this playlist was concerned, there were a couple of tracks that could collectively be called Mohammed Rafi’s ‘Bhagwaan’ duology in the 1950s.

Having already mentioned Insaaf Ka Mandir Hai (the song from the 1954 film Amar) earlier, the subject of this post is the second.

And that track had the word ‘Bhagwaan’ in the title – it was called Na Main Bhagwaan Hoon.

It was one of the five songs from the 1957 film Mother India in my collection.

Shakeel Badayuni wrote the Naushad composition, which was three minutes and 24 seconds long.

Mangeshkar rendered this track too

With the addition of the subject of this post to my collection, there are three songs from the 1955 film Uran Khatola in it.

If they were arranged in the alphabetical order, More Saiyan Ji Utrenge Paar 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 25 seconds long.

Was it any surprise that the song was rendered by the one and only Lata Mangeshkar?

The song, which was written by Shakeel Badayuni, was composed by Naushad Ali.

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.

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.

Rafi's solo was Todi(e) for

Before I added the subject of this post to my collection, it had eight tracks from Baiju Bawra, which released in 1952.

The ninth song from the film in my collection was, in fact, the most succinctly-put message in the history of Hindi film music – Insaan Bano (translated to, “Be a human”).

It was a solo. Aptly, the man who lent his voice to it was the one and only Mohammed Rafi.

It was based on Raga Todi.

No prizes for guessing that the song, which was penned by Shakeel Badayuni, was composed by Naushad.

Raficionados disagreed with the title

My collection contained a couple of songs from Deedar, which released in 1951.

The subject of this post was also a song that had two versions in the film.

The song in question was Hue Hum Jinke Liye Barbaad.

Both the versions were rendered by the one and only Mohammed Rafi, whose fans would obviously never concur with the title of the song.

Noticing no difference between them, I looked up its duration on iTunes – it was four minutes and a dozen seconds long.

Shakeel Badayuni penned the song, which was composed by Naushad Ali.

It was a Suraiya solo

Suraiya Jamal Sheikh was mononymously credited as Suraiya.

And the first three letters of her name spelled Sur, which means ‘melody’.

So, it was an apt name.

Not only did she act in the 1950 film Dastan, but she also happened to be the only female singer credited on its soundtrack.

The only song from the film in my collection was Ae Shama Tu Bata.

It happened to be a Suraiya solo.

The man who wrote the song was Shakeel Badayuni.

And it was composed by none other than Naushad Ali (mononymously credited as Naushad).