Birthday greetings to Lata Mangeshkar on September 28 Presenting my favourite Lata Mangeshkar songs composed by C Ramchandra, as my birthday greetings to her on September 28, is not a very diplomatic thing to do, given the history of their relationship. As her biographical accounts go, Lata Mangeshkar was more than a muse to C Ramchandra, and central to his music. But when the relationship turned sour, its repudiation (by her) was ruthless and complete. When she gave her famed public performance of Ae mere watan ke logo at Lal Quila on the Republic Day 1963, which brought tears to Nehru’s eyes, its lyricist Pradeep was acknowledged, but its composer C Ramchandra was not. ( Note: Please also see comments 49, 51, 52, 54). When in 1967 Lata Mangeshkar selected her best 10 songs for HMV, she did not include any song by C Ramchandra, but her by then favourite boys Laxmikant Pyarelal’s – made it to the list!

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Let us leave the human Lata Mangeshkar for her biographers to analyse; for me her music is divine, and to a great extent I consider her C Ramchandra songs, especially of early 1950s, among her best, most romantic, most melodious and deeply moving. But his music became so Lata-centric that the breakdown of their relationship also spelt his music’s doom. Among the greats of the Vintage/Golden Era, he faded out relatively early. In a sharp contrast, SD Burman was able to weather his hiatus with Lata Mangeshkar for about 5 years 1957-62 (she came back to him with Bandini) because he could work wonders with Geeta Dutt and Asha Bhosle, and he gave immortal songs with all the great male singers Rafi, Mukesh, Kishore Kumar, Talat Mahmood, Manna Dey and Hemant Kumar, and of course, himself.

No wonder Dada was the longest lasting among the great composers. Interestingly if I try to recall C Ramchandra’s great songs by male singers, there is hardly much beyond his own (Chitalkar) songs. Another important aspect of C Ramchandra is that among the great composers, he has the largest number of Lata gems, which are still hidden and relatively unknown, but incredibly beautiful. Of course, as music lovers know, there are two distinct C Ramchandra’s – one, fast, western and comic a la Ana meri jaan meri jaan Sunday ke Sunday and the other, soulful Lata, best characterized by the iconic Ye zindagi uis ki hai. Here are ten of my very special Lata Mangeshkar songs composed by C Ramchandra. Dil se bhula do tum hamein from Patanga (1949), lyrics Rajendra Krishna Picturised on Purnima, with Shyam in the frame, is a quintessential C Ramchandra-Lata Mangeshkar melancholic song.

Lata Mangshkar in 1949 was still under the influence of Noorjehan style. C Ramchandra was one of the major influences to help her evolve her own distinct style. Patanga is a prime example of two contrasting C Ramchandra’s. This is the film which had breezy songs with Shamshad Begum and C Ramchandra himself (Chitalkar) like, etc. Aisi mohabbat se hum baaj aye from Nirala (1950), lyrics PL Santoshi from Nirala was very famous and well known.

Many years later I heard this song for the first time from an elderly lady who could reproduce the exact tune and the emotion of the song, but she was not aware about its film or the composer. I had no doubt it had to be C Ramchandra, but only in the internet era I could fully place the song. Abhi sham ayegi nikalenge tare from Samadhi (1950), lyrics Rajendra Krishna Who has not heard the foot tapping breezy song from this film, which has acquired an iconic status, and you have this somewhat less heard but absolutely mesmerising soulful Lata Mangeshkar melody picturised on Nalini Jaywant. Adobe Flash Player Free Download For Nokia 5233.

Two very distinct C Ramchandra’s again. Koi kisi ka diwana na bane from Sargam (1950), lyrics PL Santoshi Picturised on Rehana, this song is one of the defining songs of C Ramchandra-Lata Mangeshkar. Balma bada nadan from Albela (1951), Rajendra Krishna Albela was another movie which had two distinct and contrasting C Ramchandra’s. You have the breezy dance songs, all legends by now, such as, and, and you have soulful, emotional melodies including the iconic lullaby.

It is a difficult choice but my favorite is Balma bada nadaan re for its pathos. Dil ki kahani to chahe from Sagai (1951), lyrics Rajendra Krishna On Rehana again.

His favourite lyricist creates another masterpiece, composed equally beautifully by C Ramchandra. Ai pyar teri duniya se hum from Jhanjhar (1953), lyrics Rajendra Krishna C Ramchandra-Rajendra Krishna-Lata Mangeshkar is matchless when it comes to most beautiful Lata Mangeshkar songs. This one is again not among his very well known, but it has again the same quality of mesmerising you the first time you hear it. Kaise bhaye sakhi rut sawan ki from Pehli Jhalak (1954), lyrics Rajendra Krishna When I heard this song for the first time on the internet, my reaction was O my God, where was this song hidden? I have mentioned about undiscovered C Ramchandra gems. You have this fabulous classical song performed equally brilliantly by Vyjayantimala. Kaise aaun Jamuna ke teer from Devta (1956), lyrics Rajendra Krishna One of the best classical Raga based songs picturised on Anjali Deve.

Dil ki duniya basa ke sanwariya tum na jane kahan kho gaye from Amardeep (1958), lyrics Rajendra Krishna I started this list with a dil song, there was another dil song in between and now I end with a fabulous dil song. C Ramchandra – Lata Mangeshkar gave some of the most heart touching songs. My all-time great Lata-C Ramchandra favourite, picturised so beautifully on Vyjayantimala. I have reached ten, all absolute gems, without including any song from his runaway hits Anarkali and Azad. C Ramchandra was reputed to be a very fast composer.

After completing the Tamil version of Azad, its producers wanted to complete its Hindi version on the same sets in Madras in quick time of 3-4 weeks. For its music Naushad declined the offer on the ground that he did not do a rush job. C Ramchandra, of course created an all time great score. Dilip Kumar wanted Talat Memood to playback for him. When he was unavailable, C Ramchandra convinced Dilip Kumar that he would sing for him in Talat style, and no one would notice the difference.

How true when you hear. None of his great songs appear to be a rush job, every song seems to be crafted with a great deal of effort.

I feel very happy to present these songs as my birthday greetings to Lata Mangeshkar on her 82nd birthday. I would fully agree with you on ‘Balma bada naadan. It is indeed difficult to realize what C Ramchandra had to feel helpless at the time of his skirmish with Lata, with Asha already having matched Lata at each scale and step in Shaarda Duet- O Chand Jahaan Tu Jaye – for him.

In fact, in this duet, one simply wonders why was Lata considered the only so great. Well, this is just a very personal view with no intention either distract the discussion or the spirit of the original post. September 28, 2011 at 1:32 pm. @Ashok Vaishnav I am one of those for whom Lata is divine, I do not compare Asha Bhosle with her. @Richard S You are spot on as always. Katate hain dukh mein ye din was also in my short list.

The problem was limitation of ten. As a matter of fact, two of the songs I had initially put had to be replaced as their videos were removed by Youtube. They were Dard jaga ke thes laga ke chale gaye hae chale gaye from Sipahiya (1949) and Jo mujhe bhula kar chale gaye mujhe unki yaad sataye kyun from Sangeeta (1950).

Now I have located another video of the second song. Let me put it here which was in my original list of ten. Jo mujhe bhula kar chale gaye from Sangeeta arvind September 28, 2011 at 8:26 pm. Again a splendid list! Ramchandra was indeed a great composer I didn’t know many of the songs on your list! Some of them I knew from Vividh Bharati, but had forgotten. The most surprising and exciting offer was Kaise bhaye sakhi rut sawan ki from Pehli Jhalak (1954) Loved it!

Why isn’t it more famous? Ai chand kal jo aanaa from devta is also on of my fav from my modest knowledge of Lata-Ramchandra combo. I was going to take it in my chaand list, but it was pushed back by the others. And that reminds me of other song with moon in it: chanda ki chhaon me from Parchhaiyan. And that brings me from the moon to a different nocturnal creature: mehfil me jal uthi shama parwane ke liye from Nirala Thanks for confirming my suspicion that C Ramchandra and Chitalkar is the same person! November 9, 2011 at 10:16 am. Hi, You mentioned “Interestingly if I try to recall C Ramchandra’s great songs by male singers, there is hardly much beyond his own (Chitalkar) songs.

” I’m surprised that you discounted few of the best Talat melodies that are on par with the best Lata melodies that you have listed. To list some: 1. Mohabbat mein aise (with Lata) – Sagai 2. Kise maloom tha (with Lata) – Saqi 3. Mohabbat hi na jo samjhe – Parcchain 4.

Kisine mujhko mere (with Lata) – Parcchain 5. Apni Naakaamiyon se – Subah Ka Tara 6. Maan mera yeh rang roop – Kavi I think CR gave the best of male songs to Talat, and he more than excelled in them. November 27, 2011 at 11:20 pm. AK ji, Talat mehmood was used maximum by Madan Mohan-in 10 films(Chhote Babu,Madhosh,Aashiyana,Bahana,Dekh kabira roya,Adaa,Mohar,Pocketmaar,Jahanara and Suhagan). C.Ramchandra-7 films(Parchhain,Yaasmeen,Naazneen,Subah ka taara,Kavi,Sagaii,and Meenar.) Anil Bishwas-6(Aarzoo,Taraana,Do Raha,Waaris,Araam,and Jasoos.) SDBurman-5 films(Armaan,Buzdil,Taxi Driver,Devdas and Sujata.) In case of T.Mehmood,it is interesting to note that his songs became popular from almost all the above composers and choosing a single composer giving max hit songs(in number) is neither possible nor justified.

-Arunkumar Deshmukh Ghulam Mohd. And Roshan used him in only 3 films each. November 29, 2011 at 6:54 pm. Thanks for this wonderful article. I found four beautiful songs that I had never heard before from your article and the other comments. The song Kali kali ratiyan reminds me of a Sajjad Hussain composition from film Saiyan – Kaali Kaali Raat Re Dil Bada Sataaye. Sajjad Hussain composed for only 14 films, but songs of Saiyan, Hulchul, Khel, Sangdil, Ruksana, Rustam Sohrab are masterpieces.

Sajjad had a nasty personality and he insulted and abused virtually everybody he worked with, so geot very few films. Finally, the lyricist is Rajinder Krishan (not Rajendra Krishna). He was a Punjabi, and that is how his name is pronounced and spelled. August 15, 2012 at 10:44 pm. Sajjad Hussain’s song reminded me of Teri yaad aye sanwariya by Noorjehan from Lal Haveli. As for Rajinder Krishan, you are right.

But there is always an issue in writing proper names in another language. I guess Dharmendra would perhaps be Dharminder, but we accept Dharmendra as the right usage. Same with writing Bengali names in Hindi, or French names in English, when you write the proper name according to the character of the host language. There was at least a decade of debate on the correct way of writing Chinese names in English. They came to some agreed form, but still the debate goes on if it has finally got it right. I find Rajendra Krishna has become accepted usage in Hindi Film Geet Kosh, AIR or TV.

Sangeeta August 17, 2012 at 7:31 pm. Sajjad Hussain was regarded as one of the most talented composers. His maverick personality and temperamental problems limited his total work. Since it is about CR-Lata, I am letting Sajjad Hussain pass. Coming to CR-Lata, Serial number 7 in my post is Ae pyar teri dunya se hum. Other songs are typical CR-Lata melodies of the fifties.

Most are not so well known. Thanks for refreshing their memory.

Here are some whose links I could get. Ashkon mein doob doob si from Teerandaaz (1955) Ae chand pyar tera from Khazana (1951) Doob jaye jo kismat ka tara from Parchhain (1952) You mentioned dard in Lata’s voice. Here is a great CR-Lata dard song, which I had wanted to use it at the top of my post.

At that time it was not there on the YouTube. On revisit I have been able to locate it. Thank you for making me revisit CR-Lata. Dard jaga ke thes laga ke chale gaye wo chale gaye from Sipahiya (1949) DAMANI August 24, 2012 at 2:07 pm. Two more memorable songs of Lata-CR combo is from film Stree (1961) 1) O Nirdayee PreetamListen how Lata glides effortlessly through octaves and also pronounces “Tanme” in line “Shool Banke tanme Chhubh Jaata”, creating kasak in the listener’s heart. Hats off to CR and Lata. 2) Kab Aaoge Pran priya.

Experience the dard in lata’s voice. 3) Tu hi mera sahara. It seems that Stree is film based on Dushyant-Shakuntala Love story. There are other songs like Zilmil Zilmil Leharonha worth mentioning, but as far as I am concenrned,the first 3 songs deserve All time masterpieces rating. All these songs are on youtube. Do visit them and experience the voyage of soul stirring melodies. Welcome to the enchanting world of music!!

August 25, 2012 at 6:01 pm. O nirdayi preetam is, of course, an eternal favourite. But I reached ten well before 60’s. The other wo songs are new to me.

Here are the three songs from Stree. O nirdayee preetam Interestingly, the first notes of this song remind me of Pankh hoti to ud jati main Kab aaoge pran priya Tu hi hai mera sahara But real gem of this movie, according to me, is the Mahendra Kapoor-Lata Mangeshkar duet Aaj madhuvatas dole. @Damani Majboor meri ankhen barbaad mera dil does not seem to be on YouTube.

But I am sure some day it will show up. S p sinha August 30, 2012 at 11:21 am.

@Jignesh Kotadia, Thanks for adding so many of CR-Lata gems. The one I especially like is Oonchi oonchi dukan from Pahli Jhalak. It is such a joyous song: @NA Bapat, Many of Nausherwan-e-Adil best known songs are Rafi-Lata duets or Rafi solos. Another very sweet Lata solo is Hum aah bhi bharte hain, matlab ki ye duniya hai yahan kaun kisi ka hota hai @Viswanathan Nair The two duets you have mentioned are outstanding. I had confined this to Lata solos.

May be a list of his duets are called for. From the film Stree my favourite is Aaj madhuvatas dole. Madhupati sharma January 19, 2013 at 11:47 am. Few comments. Stree was remake of V. Shataram’s earlier big hit Shakuntla starring himself and I think his wife # 2 Jayasree.

Stree starred Rajeshri, his daughter from Jayasree. Great lavani also from Pehli Jhalak, Acchi Surat hui ya musibat gali men Ana Jana bandh. Another great classical from that film by Lata was Na maro najarian ke ban akeli aayi paniya Bharane.

It was good movie with Vaijayatimala and Kishorekumar. Ramchadra’s first huge hit was shenani by P.L. Huge hit with every song a hit Ana meri jan Mar katari mar Jana Jawani ki rail chali jayere Baje shenani hamate nagana Chadhati jawanimen Jhule Jhule meri rani Chhook chhook chhaiyan chhaiyan Jay Krishna hare. Another great song when Latakia sang again for C. Ramchand was Paavan Diwani from Dr. January 26, 2013 at 10:20 pm.

AK Ji, I was going thru your this post,as I am a great fan of CR-Lata combination myself.While all other things are fine,there is one major factual lapse in your introduction lines. You are saying that in Lal Qila function of 1963,there was a mention of Lyricist Pradeep but there was no mention of C.Ramchandra etc.

This is not correct. In that funcion where Lata sang this song for the first time,CR was very much on the stage conducting the orchestra,however Pradeep was not prsesent as he had no invitation for this programme.In fact earlier to CR,some other composers had prsented their songs.Then the name of CR was announced and he appeared on the stage. What you have mentioned about the incident did happen,but elsewhere and at a much later time,when Lata had totally stopped singing for CR. Even Cr was almost in retirement by then. The occasion was a musical programme on Brabourne Stadium in Bombay in 1971,to celebrate ” Indira Decade”. 13 years had passed since lata had sung for CR(after 1958,Lata did few songs for CR but there was neither the melody nor the interest by them on both sides).

Lata was still on the Top in 1971,whereas CR was a dethroned king of melody. In this programme.by a mere coincidence CR and Lata had come on the stage together. The compere was Dilip kumar.She was to sing the famous pradeep song ‘Aya mere vatan ke logon’.

Dilip kumar was in his best element while describing the events how Nehru wept etc on the first occasion.After this he mentioned that the song was written by Pradeep.Then he stopped and Lata started the song. C.Ramchandra was furious.As soon as Dilip came in the wing,CR shouted on him,’ Yusuf,did you not know that I had composed this song? Why did you not mention my name?’ Dilip kumar did one of his best acting assignment that day and said innocently,” Annasaab,Muze sahi bhi maloom nahi tha”.

CR said,” arre chhod yaar.Tujhe maloom tha,lekin tujhe kaha gaya tha mera naam naa leneko,hai naa? ” Dilip kumar muttered something and slipped from there. This was told by CR in details to Shirish Kanekar and is printed in his book “Gaaye chala jaa”.

Further CR was never petty minded.He always praised Lata’s capabilities. In Film Fare dated 12th March 1971,CR says ” Lata is the ultimate in song virtuosity and so she inspired me to reach my ultimate in song composition.She may not sing for me any longer but she is still a singer without Peer ” It is Lata who could not come to his level.Perhaps she forgot that when you have a quarrel with the Halwai,his sweets should not be criticised. I thought that the readers should not get a wrong idea,hence all this. -Arunkumar Deshmukh January 28, 2013 at 10:57 pm. Arunji, Jignesh, I revisited Raju Bharatan – ‘Lata Mangeshkar: A Biography’ (page 73-77), and ‘A Journey Down Melody Lane’ (page 135-137). What had stuck in my mind was that though this song became an instant landmark, and an essential part of all her public performances, “Through the years, no matter where, when and why Lata put over Ae mere watan ke logo, she unfailingly mentioned Kavi Pradeep as its author.

But never C Ramchandra as its creator!” When I wrote my article long after I had read these sources, I was not so much into the controversy behind the song as the fact of her not ‘acknowledging’ CR. But since this has now come up for discussion it is better that we discuss what happened on January 27, 1963 at the public rendition of this song, which was to acquire an iconic status.

Since none of us was present there, we have to depend on various sources, now available in abundance. All sources agree on one point that Kavi Pradeep was not invited to Delhi function.

Role of a physically absent person can be ‘acknowledged’ – the accounts are silent on this, but we can let it pass. My syntax is liable to be misunderstood that he was present.

Therefore, I have simply added a reference to these comments to make the picture clear. Thanks for bringing it to my notice. What about CR? None of the accounts says categorically that he was present. But Arunji, I trust you, he must have been present, and it must have been considered redundant to mention about his presence. But what is Lata Mangeshkar trying to convey in this recent interview by saying prominently that Hemant Kumar orchestrated the whole project? That Hemant Kumar was conducting the orchestra before the audience (even though CR was the composer)?

Now Asha Bhosle angle. Raju Bharatan recalls CR telling him that “I was always clear in my mind that Lata and Asha would sing Ae mere watan ke logo as a duet”. Asha was to sing Ae mere watan ke logo and Lata was to follow with Zara aankh mein bhar lo pani. But Lata insisted that she would do it as a solo. There are other details in quotes how Asha Bhsole’s air ticket was ready for Delhi, but she told CR, “I very much want to come, but you know, as well as I do, that Lata Didi will never permit me to do so in the end.” Kavi Pradeep’s daughter Mitul has said that due to some misunderstanding between CR and Lata, this was to be sung by Asha Bhosle, but her father felt that nobody except Lata could do justice to it.

Thus, if you trust all these sources, Asha Bhosle was an integral part of the project – solo or duet with Lata, but she was ejected in the final outcome. However, Lata Mangeshkar in her recent interviews, widely quoted over various media platforms, says that she was not interested in doing this song as she was working round the clock those days and it was not possible to give special attention to one song. (How cavalier she is about a song that made her ‘a tuneful symbol of national integration’?) Then she suggested that it may be done as a duet between her and Asha Bhosle, but Kavi Pradeep insisted that Lata did it as a solo. “Asha too opted out.

I tried to convince her to change her mind arguing that her name had even been printed in the newspapers as one of the singers.” Arunji, I am not aware of Asha Bhosle’s version. But it would only make the story murkier. It is sad that such a great song should have such unpleasant personal prejudices and rivalries behind it. About some other factual details, different accounts mention the venue as Ramlila Maidan or Nationa Stadium. But this is trivial.

Similarly, there seems to be a small factual error in your account of the Brabourne Stadium. You have mentioned the year as 1971. Raju Bharatan gives the same story and the said conversation between CR and Dilip Kumar in detail. He says it happened in one of those emergency style musical nites in 1976. Even if it was to celebrate ‘Indira decade’, it would be 1976 as she became PM in 1966 after the demise of Lal Bahadur Shastri in 1966 (in Tashkent in mysterious circumstances). Again, this minor detail does not change the essential point of the story – i.e.

Not acknowledging CR as the composer of this song. Have we heard the last of Ae mere watan ke logo? Arunkumar Deshmukh February 3, 2013 at 9:42 pm. AK Ji, We have certainly not heard the last of this episode. As far as Delhi function details are concerned,i have Raju Bharatan’s version,Kavi Pradeep’s interview on this,Lata’s (naughty) version and most important,C.Ramchandra’s version in his own words as told to Shirish kanekar are with me. Plus recently I got hold of the Marathi autobiography of C.Ramchandra, Majhya Jeevana chi Sargam (The Sargam of my life) published in 1977.

This book suddenly disappeared from the market soon after it was published,but not before few copies were already sold.this was because in this book,CR has in details described about 2 major points 1. His relations with Lata,without mentioning her name but calling some girl as SEETA.A diserning reader easily recognises who this Seeta was.

Details of Delhi function and who was to sing it etc. For your information currently,I am writing about this book in 10 parts on Atul ji’s blog as CR’s journey of life.Today the 4th episode was posted.

Further 2 days back Anmol Fankaar has also posted my article” C.Ramchandra and Seeta”. I will come to the Delhi episode shortly and reveal what CR actually said about it. For the time being I just confirm once again that CR was very much present on the stage conducting orchestra when Lata was singing.Later,He was called by Nehru and he had an exclusive photo with him. So,it has not ended here, yet -Arunkumar Deshmukh February 4, 2013 at 12:59 pm.

We really have a great list of CR and Lata combination. What ever said and done, any one will agree that this pair has really leveled up the Hindi Film Music to spectacular height. One can easily make out Lata’s special voice and the sense of belongingness to C Ramchandra’s compositions. I would like to add a few more to the list above: 1. Dard Ke Maare Hue O – Hungama 2.

Ai Darde Gigar Mere- Parchchain 3. Jee Chahat Hai – Jhanjhar (1953 film said to be produced by CR and Lata) 4. Ye Aarjoo Thi Kabhi – Barish 5. Tum Apani Yaad Bhi Dilse – with Talat-Yasmin 6. Cheen Sake To Cheen – Shagufa 7.

Ai Chand Pyar Mera – Khazana 8. Kabhi Khamosh Ho Jaana-Patanga 9. Jhoom Jhoom Jhoom Pyar Ki Duniya- Hangama 10. Ishk Me Jo Kuchch Na Hona tha – Saqi I am sure there are much more to add. Canasya May 15, 2013 at 12:08 am. The posts above invoke extreme nostalgia.

During the late 60s-early 70s we used to tune in to Radio Ceylon every Sunday at 9:30 pm to listen to Hamesha Jawan Geet for one and half hours of musical bliss. Later that programme was curtailed to 60 minutes beginning at 10:00 pm. The requests from listeners in this programme were not vitiated by mails from Jhumari Tilaiya, Rajnandgaon, and Yavatmal. And this was one of the few programmes where one could regularly expect to listen to a few CR-Lata gems from the minor movies. To me, Lata singing for CR in the late 40s-early 50s and for Madan Mohan later was a different Lata just as Asha singing for O. Nayyar or SDB was a different Asha.

I will not try to list CR-Lata songs which are legion, but will mention only one for its haunting melody: Apna pata bata de from Shagufa (I prefer the slow version) After reading this and related blogs I have come to respect Arunkumar Deshmukhji’s knowledge of HFM. In one of his posts above he mentions that SDB had used Talat in five movies, namely Armaan, Buzdil, Taxi Driver, Devdas, and Sujata. In fact, there is at least one more movie (Angarey) in which Talat sang (Doob gaye akash ke tare) for SDB.

KB May 15, 2013 at 4:46 am. Nikhil ji, This book is NOT available anywhere now. Perhaps you are aware that there was a rumour that due to the explosive revealations in the book,all the remaining copies of the book in the market were collected and burnt. Do not know if it was true. No transalations were allowed in any language.

I have also been informed that the famous Gujrathi and Hindi author Rajnikumar Pandya ji had approached the copyright holder of the book for Hindi translation,but he was disappointed.This is the latest news on this book. The best way to have a copy of the book is to get Xerox copy done,of the original book,from the person owning a copy-which will also be rare. Just for your info,there are 3 articles on this book posted on Anmol Fankaar. -AD HARJAP SINGH AUJLA October 22, 2013 at 7:40 am. Ramchandra was one of a kind music director.

He was a genius, who excelled in sad songs. His love for Lata emotionally compelled him to compose the best for her. In my judgement his best songs include. 1) Vo pass aa rahe hain hum door jaa rahe hain film Samadhi, 2) Kat-te hain dukh mein ye din film Parchhaiyin, 3) Ye do ansoo lagi dilki bijha jaate, fil m Yasmin, 4) Ankhon main sama jao is dil mein raha karna, film Yasmin, 5) Koi kisi kaa deewana na bane, film Sargam, 6) Gham ki waadi mein khushi ka kaarwan, film Saqi, 7) Ai dird-e mohabbat, film Hangama, 8) Yeh zindagi usi ki hai, film Anarkali, 9) Itna hassen hai mausam, film Azaad, 10) Thukra ka mujhe ai jaane waale, film Patanga. October 22, 2013 at 9:58 am.

I happen to be a latecomer to this fascinating debate but can’t resist the temptation of joining. Let me also list some songs which I found missing here. Ek thes lagi aansoo tapke from Namuna.

Dil hai luta hua jahan from Talash. Dheere se aja ri (solo) from Albela. CR/Lata team has also given some excellent bhajans which are the hallmark of this composer. Tum bin meri kaun khabar le from Jhanjhar. Jai2 Ram Raghurai and Tere phoolon se bhi pyar from Naastik. Apart from that, I am forgetting 1 from Karigar. I am really enjoying this exchange.

April 6, 2014 at 1:41 pm. Its a Sunday and I can take some musical liberties.

This again is (CR/Lata),my favourite musical topic and 2 points I would like to make. You said in your opening post that that among the great music directors CR has the most no of hidden gems. Respecting your sentiments and agreeing to that, I would also include the doyen of Indian film music, the great Anil BISWAS to this list.

You mentioned that ‘O nirdayi preetam’ reminded you of ‘Pankh hote to’ Kindly listen to a Lata song ‘Aaj Milan ki raat hai’ from ‘Keechak Vadh’. Soulful music of this sons is by Master Krishna Rao. You won’t be disappointed.. April 6, 2014 at 6:39 pm. Sharmaji, Thanks a lot for your additions. There was a vintage era Tum bin hamri kaun khabar le sung by Sheela in Pukar (1939), composed by Mir Saheb. Compared to that, CR-Lata’s seems weak.

My personal opinion. I am sure you have heard it, otherwise you must on the YT. Aaj milan ki raat hai is excellent. Thanks a lot. Among the other songs you mentioned, I especially liked these which were new to me: Ek thes lagi ansoo tapke from Namoona (1949), lyrics Naqshan Jarachvi Dil hai luta hua from Talash (1957), lyrics Rajendra Krishna Dr Kamlakar Bhandarkar April 28, 2014 at 11:07 pm. Marvellous collection,and hidden stories about CR. I do feel none but only CR could utilize the Lataji’s talent.I dont find any one can use ragas in such a beautiful way.

One thing about CR music the no strenza of some was a repeatirion, every strenza was with some thing new, new or other istrument use.The lori dhire se aaja ri is immortal.,main jagu re tu sojaa were the marvellous. My children really used to close eyes and go to sleep one you utter the song. Thanks April 28, 2014 at 11:39 pm. I came across this debate just today and was delighted to note that there are so many fans of Lata & C.

Ramchandra combination like myself. I consider the songs of this pair as sweetest of them all, pure honey. I am familiar with all songs listed and would like to add a few which do not appear here but are as sweet. Dear AK ji, Yes Sir! 1 is a Lata/Rafi duet. A few others, apart from those in Nausherwan e Adil, which come to mind are: 1.mehfil mein mrei kaun yeh diwana aa gaya ~ Albela 2.mujhe tumse bahut hai pyar ~ Khazana 3.udhar se tum chale aur hum idhar se ~ Sagaai 4.Aa gayi hai ishq pe bahaar ~ Saqi Why Rafi was sidetracked by C Ramchandra, in spite of giving some beautiful numbers in the initial stages of his career listed below, will always remain a question mark. 1.keheke bhi naa aaye tum ~ Safar 2.hum ko tumhara hi aasra ~ Saajan ( solo as well as duet with Lalita Dewoolkar ) 3.more raja ho le chal nadiya ke paar ~ Nadiya ke paar ( duet with Lalita Dewoolkar) 4.bolo ji dil loge toh kya kya doge ~ Patanga Even in the second half of the fifties Rafi featured in a few songs: 1.yeh hasrat thi ke iss duniya mein ~ Nausherwan e Adil 2dekh humein aawaz naa dena ~ Amar Deep 3.jawani mein akelepan ki ghadiyan ~ Pagham You will note that song no 1 above is on par with any other highly rated Rafi solo of any contemporary music directors.

Any way it is our loss not having many more Rafi songs under the baton of C Ramchandra. Anil Kane May 7, 2014 at 10:28 pm. Anil Kane, In your list the two pure solos are, Kahke bhi na aaye tum and Ye hasrat thi ki is duniya mein – both outstanding songs.

The latter is more famous, but the first one is my great favourite. Even though Humko tumhara hi aasra has a solo version, I remembered it as a duet until you mentioned it. Other songs in your list are duets – Boloji dil doge (with Shamshad Begum) and Dekh humein aawaz na dena, Jawani mein akelepan ki ghdiyaan (with Asha Bhosle). Even though CR gave some outstanding songs with Rafi, we have to see his place in perspective. I put for your consideration three thoughts.

One, there was something special in CR (Chitalkar)’s own singing that most of his songs became raging hits. Two, CR was more of a lady’s composer. Post-Lata, he was very Lata-centric. Before that, he had something special with Shamshad Begum, Amirbai Karnataki etc. Three, Rafi with CR has to be juxtaposed against Rafi with Naushad, SD Burman, OP Nayyar and Shankar Jaikishan. For each of them, Rafi was a very important part of their music, which was not the case for CR. Anil Kane May 8, 2014 at 1:12 pm.

Another nice article AK ji! I really miss Anna’s music in the 60s.

If he had not ignored Rafi he would have been able to survive the 60s as well, for it was not possible to survive the 60s without Rafi. Having said that, 60s or no 60s, Anna remains one of the top 3 music directors of the HFM. His output with Lata is a sheer magic. AK’ji, Arvinder sharma’ji,Harjap’ji, I must place my appreciation to all the members of SOY family for the excellent inputs as observations and comments that made me remember my childhood memories afresh. My self and my six brothers and two sisters used to sing most of these songs before retiring to bed.

Era of 50sand 60s was musically best with melodies being offered from so many MDs quarters. C Ramchandra’s Parchhaiyan and Albela were top listed by us as all the songs of the movies were melodious.

After going all thru the excellent songs contributed by so many passionate lovers of old songs it is very difficult to chose and list the best. As far as we as a family is concerned we will rate Two happy and Two sad songs as.1.

Chanda ki chhaon mein thandi thandi hawohan mein from Parchaaiyan.2. Dil dhadke nazar sharmai to samjho pyar ho gaya from Albela.3.

Kat te hain dukh mein din from Parchaiyan.4. Koi kisi kaa diwana na bane from Sargam. It makes me a little sad also when i went to see ” Labela ” some time around 1966-67. Starring bhagwan and belabose. The film was produced by Bhagwan with music by CR.

I think i should close here. Ksbhatia October 12, 2014 at 1:19 am. Bhatiaji, The way you closed you statement# 93 made me think how musical genius C. Ramchandra dropped. There is no doubt that he was a musical genius, I think he should not be judged by what he did post Lata Mangeshkar. If at all we want to judge him without Lata, it should be pre Lata period, he certainly had made his mark before she arrived, that proves that she did not make.

His mistake was that he put all his eggs in one basket and had to pay a huge price for it. I have seen very few people (like SDB and Sahir Ludhyanvi) survive Lata’s wrath. Ksbhatia October 14, 2014 at 11:16 pm. I have been a die hard admirer of the musical duo of Lata & C.Ramchandra and it is true that the best and the sweetest songs have been given by this pair and the sweetness and the melody can not be matched. I did not know the details of their soured relation ship and the break up.But it was a very sad episode for the lovers of ultimate melody.After going through the above comments by the lovers of good music I was convinced that C.Ramchandra was a good human being and one of the greatest music directors and it was Lata who did not value the gem. Ravi Sinha ksbhatia April 8, 2015 at 12:24 am. Akji Today i have completed 3 years in SoY University.

I had taken admission in SoY thru the same post on Dec 7 2012. Yet i am not in a position to ask a bachelor certificate (BSoY) from you bcoz i have not fulfilled the minimum requirements (at least 50% attendance) 🙂 ok i will wait for some more years. I had posted one of the best compositions of CR on that day, but sadly today i couldnt find it on YT. A class poetry of Rajinder Krishan in Hangama (1952) Aye dard e muhabbat aa tujh ko seene se lagaake pyar karu saajan ki nishani hai tujh ko duniya se chhupake pyar karu milne ka samaa kuchh door na tha duniya ko magar manzoor tha duniya ko khabar kya main tujh ko sab kuchh bhi lutaake pyar karu yeh raat yeh thandi mast hawaa is par yeh sitam main tumse judaa kismat men likha hai main tujh se aansoo hi bahaake pyar karu Jignesh Kotadia December 7, 2015 at 1:05 am. Dil lut liya aa aa aa aa Dil lut liya anjaane men Hum aa gaye unki aankhon ke behkaane men.

Wahwah kitna sukun kitna aaram hai in suro men in dhoonon men Teri gali men koi diwana gaata phire ye gaana dil na lagaana dil na lagaana dil na lagaana Na Umeed hokar bhi duniya men jiye jaate hai Dil tut gaya phir bhi hum pyar kiye jaate hai Zara suno suno kya kahe zamaana Tum hame chaaho na chaaho hum tumhe chaahe Jo mujhe rulaake chale gaye mujhe yaad unki sataaye kyun. All masterpieces D P Rangan December 8, 2015 at 8:08 am. Even if I leave Anarkali and Azad, still there are serious omissions here which I would have included if I were to make a top 10 list 1) Aye Chand Pyar Mera from Khazana 2) Katte Hai Dukh Mein from Parchhaiyan 3) Ab Woh Ratein Kahan from Yasmin 4) Ankhon Mein Sama Jao from Yasmin 5) Hawa Hai Sard Sard from Shatranj And I really didn’t get the meaning of this “Interestingly if I try to recall C Ramchandra’s great songs by male singers, there is hardly much beyond his own (Chitalkar) songs.” Seriously there are many great C. Sumantra Roy, Out of 300 CR-Lata songs I selected some, the readers have added many more in their comments, including most of the songs mentioned by you. I think your comment only endorses what I was trying to say: That their combine gave a huge treasure-trove of songs.

Hemant Kumar and Talat Mahmood songs you have mentioned would figure in their greatest songs. Male songs of CR vis-a-vis has to be seen in relative terms – relative within his own total output, and relative to his peers. If you take SD Burman for example, he would figure very prominently in the best songs for Kishore Kumar, Rafi and Manna Dey as also for Lata Mangeshkar, Asha Bhosle and Geeta Dutt; Shankar-Jaikishan for Rafi, Mukesh and Manna Dey as for Lata Mangeshkar. PADMANABHAN R A CHENNAI January 8, 2017 at 9:07 am. HAPPY NEW YEAR TO ALL THE LASTING FANS OF C RAMCHANDRA ADDRESSED AS ANNA BY CLOSE FRIENDS LIKE ME AND DUE TO SUCH BONDINGS FEW LIKE USED TO GO FOR HIS RECORDINGS AT DADAR B N SARMAS BOMBAY LAB OR GEMINI LAB AT CHENNAI, NOT ONLY FOR RECORDINGS BUT ALSO FOR( RR ) RE RECORDINGS MOST IF THE TIME. ALONG WITH ABLE ASSISTANTS DD (DATTA DWAJEKAR) AND JOHNNY GOMEZ HE USED TO FINISH ALL WORK IN A VERY SHORT TIME, EXCEPT IN GEMINI STUDIOS HE USED TO TAKE A MONTH FOR RR ALONE, AS MR S S VASAN PRODUCER DIRECTOR WAS VERY METICU-LOUS AND PERFECT IN OUT COME OF THE MOVIE.

WHERE AS FOR SHROB MODI HIS LONG TIME FRIEND HE GAVE OUT STANDING SONGS IN NAUSHERWAN A DIL LIKE BINI BINI HAI WALTZ, BOOL JAYE SARE GUM, TARONKI ZUBHAN PAR ALL COMPOSED IN ONE SHOT JUST IN 3 DAYS AND R R IN 4/5 DAYS, SAME IN THE CASE OF AZAD BOTH WERE SUPER DUPER HITS NOT ONLT IN MUSIC BUT ALSO IN RUN. January 8, 2017 at 9:26 am. Dea AK ji, I completely agree with you that it was CR who shaped and nuanced young Lata ji’s evolving tonal personality.

It looks as though his compositions take extra care to be gentle to her tender reed-thin voice. What songs of eternal beauty this partnership produced. It’s obviously impossible to be unanimous on their best 10 songs. But you being AK ji, I would like to know whether you had forgotten about ‘aye chand pyar mera’ when you picked your best 10. Or was it a conscious omission? Regards SR August 6, 2017 at 9:16 am.

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