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Date: 09.10.2017

Eighteen and Anxious (1957)

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I am especially happy to see tu kahan ye bata, one of the most melodious songs in Hindi films, which often does not get its due. The ones I miss from the list are Saathi na koi manzil and sar jo tera chakar aaye.

The latter, whatever critics may say, is a classic. My 7 year old song loves it as much as my father did. Dada Burman actually cultivated Kishore, and started by giving him lighter numbers but working on him to systematically improve him. In fact, long back, I had heard a radio interview of Kishore where he admitted as much. Dada Burman would invite Kishore to his home for lunch, feed him delicious Bengali food and then would shut the door not allowing him to go and force him rehearse.

He respected and admired Rafi but liked Kishore as a person. In a way, it was also kind of paying back to Dadamoni who persuaded him to stay back in Bombay when he had decided tobleave the city for ever 3 AK July 31, at The two songs are very good, but which song do I remove? As for Sar jo tera chakraye, I went for the song which embodied the spirit of Pyasa. I am happy you liked it. It must have been hard to choose eleven songs of this duo.

AKji, out of these eleven songs, five are picturised on Dev Anand. Other songs that I cherish are Manzil ki chaah mein…from Devdas, Mehbooba teri tasveer….. The choice of songs ,as usual,is very good. Dada had his likes and dislikes,but he knew value of quality. Whenever Dada thought of bringing his Bangla songs in Hindi,probably first he thought of Rafi.

Inspite of so many years after Rafi has gone,there has been no replacement for him,itself underlines his greatness and Versatality. I like Mahbooba teri taseer a lot; this also happens to be an adaptation from an old Bengali song of SD Burman. Somehow these could not acquire the popularity of the other songs from these films. Though I saw these films again not long ago, I have just no recollection of these songs. But, yes no one could achieve what Rafi did in these songs. Same day at 7.

But both are so great attractions, that a detailed reconnaissance to thier combined territory is called for, and then let us see how many one can add that can match these Thanks for discovering song number one. I see this song more as a sensuous and seductive one. The way Rafi lingers on each note and movement is like a connoisseur savouring each moment to the full before moving on. Either way it is a gem. I am very happy at its inclusion in your list.

He is the only music director who can claim to have composed equally great music with Rafi as with Kishore Kumar… AK, really? Subodh, Shyamanuja Das has also mentioned Sathi na koi manzil, but somehow I could not fit into my top ten. Hum bekhudi mein — I was inferring from the picturisation.

Since you have seen the movie, you must be right. If we go beyond, Laxmikant Pyarelal, and perhaps a couple of more, would fit the bill, but generally I do not look at that period. Looking for your additions. But I am sure, you are aware that I am very strict that the song has to conform to my theme — in this case it has to be a Rafi song, and has to be composed by SD Burman. We may look at the matter from an objective distance. We would exclude such films — Afsar, House No.

But, his subsequent tilt towards Rafi can certainly provide the fodder to the pro-Rafi fan club. That was last song recorded by Md Rafi on 31st July The evening had the premonition of the inevitable to follow.

Rafi bid adieu to this world, leaving behind his eternal voice and songs for posterity. Even after more than three decades after his departure we have not found another singer who can come anywhere near him and I doubt there will not be another such voice for eons to come. He is still living among us through his immortal renderings. Thanks AKJI for this wonderful tribute to the greatest playback singer of the golden era of Hindi film music.

Very few will contradict the fact that Md. Rafi, and Lata Mangeshkar were the all time great playback singers belonging to the golden era. Rafi and S D Burman. The selection of songs was excellent and I could not come up with any song that could replace any of the songs presented by you. Your write up too matches the selection of songs.

Thanks Akji for this bounty. He had to wait till , when he got the opportunity to sing, that too with chorus, a solo in the film Devdas. As pointed by AKji, Md. Rafi had to wait till to sing a solo for SDB. Besides Pyaasa, in which he sang three solos, he also got to sing a solo in the film Miss India in the same year. Besides the films mentioned by AKji, Md. Again he had to wait till when he sang another solo in the film Ishq par zor nahin ; the song resembles another composition of SDB from the film Abhiman, in some places.

The last song Md. But none of the songs can match the 11 songs presented by AKji. I will like say a few words about the song 7. Subodhji selection of this song in Raag Bharavi was indeed special. Let us see what Sachin Dev Burman had to say about this song. You might wonder about the origin of the these words. These words touched a chord in my mind.

I created a tune on them and got Shailendra to write a song. I told him that the first line had to bring alive the idea of a peacock dancing, the mind as a dancing peacock. Pandit Shamta Prasad from Varanasi accompanied on the tabla for the song.

~Los Angeles Radio People, Where Are They Now?

This song was specially commended by connoisseurs because of its Kathak-stye table accompaniment. Asha Parekh once said that she danced her best for this song. Samta Prasad for some time arrival from Banaras and postponed the recording of this song.

So it was a matchless combination. Most of the readers might be aware of this information. Let me round off with this interesting song from the film Insaan Jaag Utha. I tend to agree with you opinion that Md. You have done a marvellous analysis. I would not like to add further to it, because one of my earliest posts was precisely on Mohammad Rafi versus Kishore Kumar , which is as exhaustive a comparison as you could probably get anywhere. A small point, your mention of Dekhi zamane ki yari in the context of Pyasa makes it appear as if you ascribe this song to that film.

Eighteen and Anxious (1957) - IMDb

I am happy that you mentioned the nazms of Pyasa. But I am happy to note that you find my selection of songs Pareto-optimal.

The story of Nache man mora magan is very interesting. When Subodh made a special mention of this song because of the tabla composition, probably he was not aware nor was I obviously that the tabla was played by Samta Prasad, or Godai Maharaj, as he was popularly known in music circles. Thanks a lot for your kind words.

Can I put a link on my website to direct viewers to your website under useful links? I broached upon Rafi vs.

Kishore issue here so as to settle the issue once and forever. But, the fans on both sides have quite an entrenched poistion. Even if SDB preferred Kishore, on whatever grounds, it was only Rafi that possibly gave him firm footing against other very strong contemporary competitors like Naushad, SJ, Madan Moahn etc.

That is why Lata , sometimes, would detest duets with Rafi, because that would stretch her feminine vocal chords a bit too much.

Rafi's best songs by SD Burman | Songs Of Yore

Who could possibly argue with an SoY list! The SDB-Rafi combine invariably conjures up ethereal melody comprising silken mystical romance. His chemistry with Rafi was also no less intimate. They all became so immersed in adda that nobody noticed that even though it was close to noon no arrangement had been made for lunch.

However, Pancham went to the telephone and called up someone. The man who stood without was Rafi, reputed to be one of the best cooks in Bombay filmdom when it came to chicken. So, into the kitchen Rafi went, and in due time everyone, Rafi included, sat down to a lunch of chicken cooked by Rafi. Both lists have unparalleled songs. I know it was highly inadvisable, but then I tried to may be, naively, because I am only a dabbler in front of much more knowledgeable commentators such as N Venkatraman ji, Ashok M Vaishnav ji, Arunkumar Deshmukh ji and Subodh Agrawal ji pin down what, to my mind, differentiates the two lists.

I find three striking differences.