Early Days of Roshan

A Tribute to Roshan on his 51st Death Anniversary

Roshan is one of my most favourite composers, and I had planned to open my blog with his post. Though I started my blog on 16th July last year, very near to his birthday which falls on 14th July, I couldn’t do it that time. But better late than never! So here I’m with Roshan’s evergreen melodious songs.
Mention of Roshan brings the memories of his Qawwalis. But it’s unfortunate that, though he composed songs of all genres, he is mainly remembered for it! He firstly got instant recognition with Barsaat Ki Raat (1960), where he composed magnificent Qawwalis. His career got a boost and his work in 1960s was much more appreciated and talked about. But the early years of his career, where he has composed equally melodious songs, goes a bit neglected. So I’ve planned the post in two parts.
Today, we will travel through Roshan’s comparatively less known or less talked about journey, in 1950s.

Roshan Lal Nagrath was born on 14th July 1917, in Punjab (now a part of Pakistan). He graduated from Marris College of Music from Lucknow. There is a very interesting story about young Roshan Lal. It is said that Roshan left his hometown for Maihar in Madhya Pradesh. He was attracted to the town, because he wanted the tutelage of famous music Maestro, Ustad Allauddin Khan. He spotted Roshan’s talent and passion for music, but surprisingly refused to teach him directly. Instead Roshan was allowed to stay at the school, and learn indirectly. Roshan learnt by listening to and observing the maestro, when he used to teach other students. He soon learnt to play some instruments as well.
(Ref: An article by Vinayak Hirlekar)
He worked for a few years in Delhi for All India Radio. He joined as a musician there and used to play जल तरंग.
He was very late to join Hindi films. In 1948, when he had crossed 30, he came to Bombay (now Mumbai). He worked as an assistant to composer Khurshid Anwar, when latter was composing for the movie, Singaar.

It’s a well known fact that, he started his career with Kidar Sharma with the film, Neki Aur Badi in 1949. Actually, Snehal Bhatkar was Kidar Sharma’s favourite composer and he was happy with Bhatkar. But still he told Bhatkar about the new composer, who was in need of a break. And that he wanted to give him a chance. Snehal Bhatkar was perfectly comfortable with it. The film wasn’t a success at the Box Office and Roshan was disappointed. Yet, Kidar Sharma had full faith in him and his creative abilities. He still offered his next film, Bawre Nain to Roshan & he composed for it. And the rest is history!

He got his first hit film with Bawre Nain, featuring Raj Kapoor & Geeta Bali. Mukesh’s ‘Teri Duniya Mein Dil’ was hugely popular. The film had Rajkumari, as lead female singer, who excelled in all the songs (four solos & two duets). ‘Sun Bairi Balam’ has attained an iconic status. It was a major success for any female playback singer, post ‘Lata Mangeshkar’ tsunami. Unfortunately, that was her last popular film as a main lead playback singer. Roshan continued to offer her songs, but not for the main lead.
After this major break in 1950, he worked with Ranjit Studios, for Hum Log (1951) featuring Nutan, Balraj Sahani & Shyama. Again the songs were a success. In the film, Lata was his main female singer, who sang for both the ladies. ‘Bahe Ankhiyon Se Dhaar’, ‘Bahut Bura Hai Haal’ and ‘Chali Ja Chali Ja’ along with ‘Gaye Chala Ja’ were hits. In the film, G M Durrani was offered two duets. He was fading rapidly from people’s’ memory, and of course, even if the songs of Hum log were popular, that could not boost his collapsing career. Mukesh was his favourite playback singer, right from Bawre Nain, he opted for Mukesh’s voice for main lead. The same year, Mukesh produced a film, Malhar and called Roshan for composing the songs. The songs were excellent and phenomenally successful, though the film flopped badly. The lead pair, Arjun & Shammi, was rejected completely by the audience. But the songs, ‘Bade Arman Se’, ‘Ek Baar Agar Tu’, ‘Dil Tujhe Diya Tha’, ‘Tara Toote Duniya Dekhe’ were greatly sung and composed. Till date, the songs are popular.

Naubahar (1952) was yet another feather in his cap. The success of the song,’ Aeri Main To Prem Deewani’ was so much that, the other songs were overshadowed. My personal favourites are ‘Dekho Ji Mera Jiya’ & ‘Unke Bulave Pe Dole’. The other films in the same year also had some excellent gems, but the films were not popular and the songs could not reach the masses. ‘Anhonee’, ‘Raag Rang’ & ‘Sheesham’ can be cited as representatives. Some of the songs became popular, but still Roshan wasn’t among a popular composers. It was most unfortunate thing! Many of the compositions from these films remained unknown. Anhonee failed at the Box Office, in spite of Raj Kapoor, Nargis in double role, Good story and above all, magnificent music by Roshan. The songs from Raag Rang and Sanskar were also melodious and well composed. The major attraction of Roshan’s songs is the simplicity and the sweetness of the tunes. You can humm them very easily and the appealing tunes leave you with a kind of satisfying happiness. (Dekho Jee Mora Jiya from Naubahar, is a perfect example)

Year 1953, saw him composing for Suraiya for the first & the last time. The film, Mashuqa, is also remembered for Mukesh, who tried the main lead for the second time. (His first attempt was in 1941, opposite Nalini Jaywant, for the film Nirdosh, which was his first ever Hindi film). The film(s) was a box office failure. But His songs were popular that time.
He had two solos and two duets (with Suraiya) in the film, and ‘Jhilmil Taare Kare Ishare’ & ‘Dil Na Lagaya’ were popular. Suraiyya had four solos in addition and were average hits.
Roshan’s second release that year was ‘Malkin’. It also had good songs. Nutan & Sajjan was the lead pair. The memorable feature of this film is that it had Kishore Kumar’s first songs with Mukesh & Rafi. Both the songs were trios, with Ram Kamlani (who was the playback for Gope)
Khush Naseeb Hoga Na Hamsa (Kishore Kumar, Mukesh & Ram Kamlani)
Dhoti Aur Patlun Mein Hui ( Kishore Kumar, Rafi & Ram Kamlani) & Kahin Se Oonchi Kahin Se Nichi (Kishore Kumar & Rafi)
All the songs had a fun element and such light mood songs were rarely found in Roshan’s movies.
But the popular songs from the movie, were by Lata Mangeshkar, ‘Mohhobat Ne Kya Kya Tamashe’ & ‘Unko Apna Banake Chhod Diya’.
For the next 4-5 years, he delivered good songs for a number of films. But the films could not perform well and the songs, though very good, were unnoticed. In 1953, one more of Nutan’s film, Aagosh was released that had songs composed by Roshan. Barring a couple of songs, the other songs were never popular. This mystery with Roshan and Madan Mohan is absolutely puzzling! While many films of the era were popular and performed well at the box office, just because of good music, it wasn’t so with the films by Roshan & Madan Mohan. Even if the songs became a rage, the films flopped. What can I say, Unfortunate composers! Still they pulled themselves together and continued to compose for hindi films.
In coming years as well, Roshan composed for a couple of films per year on average. Some of the songs proved famous, but films remained flop.

The year 1954, three of his films were released. Chandani Chowk is the only film that could create some impact. Barati & Baap Beti, could not create waves. He also composed for the film, Mehbooba. But after completing four songs, he left the project, which was later completed by O P Nayyar.

The same is the case with the films of 1955, except Jashna, the songs from other movies, Ghar Ghar Mein Diwali & Chhora Chhori, were not remembered.

Year 1956, again brought Roshan to his mentor, Kidar Sharma, who asked him to compose for Rangeen Raatein. The film had Kidar Sharma’s find, Geeta Bali, in a different role. Shammi Kapoor & Mala Sinha were main leads. Geeta Bali played a character of heroine’s brother, just to be with Shammi Kapoor. Their love story was in full swing and she wanted to be with him. Another story goes like this. Geeta Bali wanted to visit the shooting location, Ranikhet and hence she forced Kidar Sharma to cast her in the film. As no other role was there to offer, Kidar Sharma offered a male role to Geeta Bali, who accepted it happily. The songs could not reach the masses well and the film flopped. Another film, Tanksaal also took the same turn as Rangeen Raatein. Still the song, ‘Dil Bhi Tera Hum Bhi Tere’ is a relatively known one!

Three films were released in 1957 and met the same fate, as the films from previous year. The films Agra Road and Coffee House had no songs by Lata Mangeshkar. This could be a distinctive feature of those films. Agra Road was the first crime based film, Roshan composed for! Geeta Dutt was the main female singer for the movie and ‘Unse Rippi Tippi Ho Gayi’ was the song, Rafi tried yodelling for. Coffee House had Geeta Bali & Shammi Kapoor (after their marriage), but Shammi had no songs in the film. Asha Bhosle & Geeta Dutt were the main singers and majority were club songs. Suman Kalyanpur also sang her first song for Roshan, ‘Ghir Aaye Re Kare Badra’. It is the only song, known to me from the movie. Even if Roshan was never known for western type songs, when needed, he composed club songs. Also tried changing his music style for crime thriller Agra Road. It’s unfortunate that the films and the songs went unnoticed.
The film, Do Roti had Nirupa Roy as main lead and really had good songs. If you want a pleasant surprise from Roshan, listen to the songs of Do Roti.

Aji Bas Shukriya was the only film to release in 1958. ‘Sari Sari Raat Teri Yaad Sataye’ is one of the most popular Hindi songs. Lata Mangeshkar sang this song, along with ‘Bedardi Nazre Milake Kehde’. All the other songs had Asha Bhosle with Three duets (two with Rafi & one with Usha Khanna) and two solos. Still, the film is best known for ‘Sari Sari Raat’.

Year 1959, saw his six films getting released. Still, the proportion of success was unchanged. I think, Madhu, Maine Jeena Sikh Liya & Heera Moti are somewhat known to music lovers. Others (CID girl, Deep Jalta Rahe & Aangan) are less known to majority of us. It’s surprising that he remained neglected even after offering such wonderful songs over the years.
The film, Madhu is best known for ‘Bata Do Koi Kaun Gali’ & ‘Tumse Lagan Lagi’, the latter being one of the first hits by lyricist, Naqsh Lyallpuri. Heera Moti, was a story about, two bullocks named Heera & Moti. Roshan had composed six songs, with a melodious folk based song as well. Perhaps the only better known song from the movie is ‘O Bedardi Aa Mil Jaldi’ picturised on Shubha Khote. Balraj Sahani & Nirupa Roy were the main lead. Again for Deep Jalta Rahe, Asha Bhosle was his preferred singer. Again at this point, I remember the similarity between the careers of Roshan & Madan Mohan. During the same phase, Madan mohan tried some different kind of songs, like western songs, club songs etc and majority of the films had no songs by Lata Mangeshkar. For Roshan too, the films from 1958-59 had a different kind of music. Unfortunately, the songs were unnoticed and his western style songs could not reach the masses.

The year 1960 brought an absolute revolution in Roshan’s career. He worked for the first time with Sahir for the film, Babar. Except for a few songs, the history based film, had no spark. It’s mainly remembered today for the songs. Along with Salam E Hasrat, ‘Tum Ek Baar Mohabbat Ka’ and a wonderful qawwali, ‘Haseenon Ke Jalwe Pareshan Rehte’ were the best songs from Babar. The qawwali was sung by Asha Bhosle, Sudha Malhotra, Rafi & Manna Dey. Though it was a good song, it was not a success. The film had no songs by Lata Mangeshkar. A point worth noting is that, in 1960s as well, Roshan did not offer any qawwali to Lata Mangeshkar.
Then Barsaat Ki Raat was released and Roshan’s career took a turn for best. Sahir’s excellent lyrics, Madhubala & Shyama, along with power packed qawwalis and other songs, what else you need for a hit film? All the songs were successful, including the credits song ‘Garjat Barsat Sawan Aayo Re’. The song had its roots in ‘Garjat Barsat Bhijat’ from Malhar, which was a credits song from Malhar. The song could not gain popularity that time, but Roshan reused it for Barsaat Ki Raat and it’s popular till date. In the film as well, Lata had a solo and a duet. For qawwalis, Roshan choice was Manna Dey, S D batish, Shankar Shambhu Qawwal, along with Rafi, Asha Bhosle & Sudha Malhotra. This set of artists is more or less same for all his qawwalis. After, the phenomenal success of Barsaat Ki Raat, Roshan never looked back. Out of around 55 films Roshan composed for, about 34 films were released in the first part of his career.
His most popular and well known songs are from 1960s. Of course, here I conclude this part. His further journey in next post.

Roshan’s lyricists for 1950s –
Roshan’s first lyricist was of course Kidar Sharma himself, who used to pen lyrics for his films. Later he worked with a number of lyricists in 1950s. He worked with Shailendra for not less than 12 movies, but unfortunately, the success rate for their association was very less. Occasionally a few songs did stand out, like the songs from Naubahar (nearly all the songs), a couple of songs from Heera Moti, Madhu and Surat Aur Seerat. The other films, Sanskar, Aagosh, Mashuqa, Chandni Chowk, Coffee House, Deep Jalta Rahen, also had other lyricists, and had less number of memorable songs. So his association with Shailendra was never much talked about, though individually both were genius.
Roshan worked with Kavi Pradeep (for Baap Beti – 1954), Rajendra Krishna (for Jashna -1955, Aangan – 1959 etc) and Prem Dhawan (for Ghar Ghar Mein Diwali, Agra Road, Coffee House, Aji Bas Shukriya etc), Khumar Barabankavi (for Do Roti – 1957),
Roshan helped to boost careers of a few lyricists –
Faruq Kaiser (for Aji Bas Shukriya, who witnessed success for the first time with ‘Sari Sari Raat Teri’) who struggled for success for nine long years. He wrote his first in 1949.
Indeevar also had his first major hit with Malhar, where he penned six popular songs, including – Bade Arman Se Rakha Hai & Ek Baar Agar Tu Kehde. He was in the industry struggling for four years for a big break. Roshan was equally responsible for the success.
Naksh Lyllapuri (For Madhu, with a couple of songs- Dhani Chunar Mori & Tum Se Lagan Lagi), He started with Jaggu in 1952 for Hansraj behl and got his first popular song with Madhu in 1959.
Kaif Irfani is a totally forgotten name from the Golden Era, though many of his songs are still popular. He worked with Roshan for Malhar for the first time and his songs also got popular along with other songs. He later wrote for Roshan in few films-
Shisham (Banai Hai Itnni Badi Jisne Duniya)
Raag Rang (Dil E Beqarar Soja, Aur Hai Dil Ki Lagi etc)
Aagosh (Mohabbat Ek Shola Hai)
He worked for a few films till late 50s, and disappeared in thin air.
The film Hum Log was unique in a way! Usually, we are aware of pair of composers. But the film had a pair of lyricists. They worked as a team and wrote the songs together. But despite the success of the songs, never penned songs together again! The pair was ‘Vishwamitra Adil & Uddhav Kumar’ They wrote all the eight songs for Hum Log. Later they worked separately for a few films, but never worked with Roshan. Again a mystery!
For the film Anhonee, Roshan had four lyricists, Satyendra Athaiya had maximum, three songs with a song each by J Nakshab, Shailendra & P L Santoshi.
Anand Bakshi was a struggling lyricist in late 50s, Roshan gave him a opportunity for Deep Jalta Rahe and C I D girl in 1959, where he penned four songs. The other songs from C I D girl were written by Hasrat Jaipuri. He also had a brief association with D N Madhok, Jaan Nisar Akhtar and Raja Mehdi Ali Khan.
Finally he worked with Sahir for the first time for Babar in 1960, by the time Roshan had composed for more than 30 films. But after the spectacular success of Barsaat Ki Raat, their association lasted till Roshan’s death and celebrated success throughout.

Roshan’s playback singers in 1950s –
In his early days, Roshan chose Talat and Mukesh as his lead male playback singers and Lata Mangeshkar as female playback singer. He offered songs to Geeta Dutt and Asha Bhosle, mainly for ‘other’ characters and rarely for main lead. I think he would have decided about it as per the demand of the subject or the budget of the film. This fits into his choosing Geeta Dutt and Asha Bhosle for films demanding club songs and western style songs. He offered Asha Bhosle some films as the sole female singer in 1958-59.
I’ve discussed this in my write up as well. Though he offered Rafi a song in Bawre Nain itself, which was a duet for other character, and for a few years, he didn’t consider Rafi for main lead. In mid 50s, for Jashna and Ghar Ghar Mein Diwali, he started calling Rafi for main lead as well and slowly he became his main lead singer, so that in 1960, for Babar and Barsaat Ki Raat, Rafi was his preferred male voice. He called for Manna Dey occasionally, and for qawwalis in majority of cases. After Bawre Nain, he offered Rajkumari a few songs, in Anhonee and Naubahar. But that couldn’t support her career further. And as I’ve mentioned earlier, he never chose Lata Mangeshkar for any qawwali.

Let me present my favourites by Roshan from 1950s, as usual the songs are in no particular order

1. Main Dil Hoon Ek Armaan Bhara – Anhonee (1951) Talat / Lyrics – Satyendra Athaiya
Raj Kapoor sings it in a party, where he impresses Nargis, even after some misunderstanding. Roshan has aptly used a piano tune. Talat had sung the song in his soft, silken voice

2. Ari Main To Prem Deewani – Naubahar (1952) Lata Mangeshkar / Lyrics – Shailendra
The popularity of the song was unbelievable. It was based on a Meerabai bhajan, starting with the same refrain. The next lines were written by Shailendra, some sources mention it as Satyendra Athaiya. It expresses the devotion of a woman to her loved one. It overshadowed the other songs which were equally melodious. The song has three parts, as probably that runs throughout the film as a theme song. The link added has all the parts.

3. Tera Dil Kahan Hai – Chandani Chowk (1954) Asha Bhosle / Lyrics – ? Majrooh
The song is preliminary tune to ‘Rahen Na Rahe Hum’. I am completely in love with this one! Just look at the subtle but perfect use of instruments to create the sensuous, seductive atmosphere. Roshan has kept the vocals also to near whisper, Asha excels in it. The softly played Mandolin creates wonders, and the actress Smriti Biswas is shown to play it on screen and she is singing to Shekhar. Roshan reused the tune was in Mamata in the song, Rahe Na Rahe Hum. Enjoy the wonderful melody!

4. Dil E Beqarar Soja – Raag Rang (1952) Lata Mangeshkar & Talat / Lyrics – Kaif Irfani
Only a couple of songs from the movie that have survived the attacks of time. Other songs, though good, have been forgotten. The melody is soothing with Talat’s soft voice. Lata’s entry brings a new freshness to the song.
The film was about a singer and the crew had high expectations from it. Roshan also had a pure classical song, Ae Ri Aali Piya Bina, by Lata Mangeshkar, which had a long starting music with aalaps than actual words.

5. Mujhe Sach Sach Bata De – Baware Nain (1950) Mukesh & Rajkumari / Lyrics – Kidar Sharma
A delightful song, in dialogue style or rather in question answer style. Kidhar Sharma uses such informal conversational phrases in the song.

6. Bade Armanon Se Rakha Hai – Malhar (1951) Lata Mangeshkar & Mukesh / Lyrics – Indeevar
Indeevar got instant recognition by this song which became a overnight sensation. A delightful song describing the innocent confession of love. Roshan’s catchy flute piece is the main attraction for me. We actually find ourselves waiting for it, such an energetic song. The onscreen pair of Arjun & Shammi couldn’t create the same magic and Roshan got a flop film in spite of composing marvellous songs.

7. Chhun Chhun Chhun Baje Payal – Hum Log (1951) Lata Mangeshkar / Lyrics – Vishwamitra Adil & Uddhav Kumar
Lata sings for Nutan and Shyama both in the film. This one’s picturised on latter. It’s one of my favourites from the movie. Roshan has composed the song so beautifully, the melody just flows and we are spellbound in astonishment! How wonderful a song can be!

8. Salam E Hasrat Kabul Karlo – Babar (1960) Sudha Malhotra / Lyrics – Sahir
Picturised on Shubha Khote, this is the most popular song from the movie and most well known song of Sudha Malhotra. She is singing actually her friends emotions, who only smiles and blushes. Roshan offered three songs to Sudha Malhotra, along with the qawwali. Roshan used Sarangi in a beautiful and effective way, maybe a little unconventional, to use it in a song with happy mood. But his compositions could not bring success to him or the film. Today the film’s name has survived due to this song. Click here for the video.

9. Mujhe Mil Gaya Bahana – Barsaat Ki Raat (1960) Lata Mangeshkar / Lyrics – Sahir
I know this song since my childhood, the song was a part of a cassette, we had at home. The song has an infectious energy that spreads instantly. Such a delightful song! If you listen carefully, it has beautiful Dholak played throughout the song.
When I saw the video of this song, I was a bit disappointed and then I was angry with the director. Couldn’t he picturise it on the gorgeous Madhubala? How could one think of anyone else? Later when I realized that Shyama had excelled in her expressions and her presence has added a charm to it, I was a bit calmer.

10. Na To Karwan Ki Talash & Yeh Ishq Ishq Hai – Barsaat Ki Raat (1960) Rafi, Manna Dey, S D Batish, Asha Bhosle, Sudha Malhotra & Chorus / Lyrics – Sahir
A twin qawwali, or a back to back qawwali. For me, this is ‘The most successful and the most popular qawwali of Hindi cinema’. Rafi enters the song in second part, and steals the show. Sahir has erased the boundaries of religion in the song. He mentions about Radha, Krishna, Meera and Seeta, from Hindu mythology. This wonderful fusion adds a different dimension to the qawwali. Madhubala listening to it on radio, comes running to the mushiara, and Shyama can’t withstand the tension and faints. Roshan has woven it in typical qawwali style.

11. Tere Pyar Ko Is Tarah Se – Maine Jeena Sikh Liya (1959) Mukesh / Lyrics – Rahil Gorakhpuri
Roshan composed a number of memorable songs for Mukesh. His expressive voice was most suitable for soulful songs. This particular song has again succeeded to keep the film name alive.

12. Hum Jage Jag Soye – Rangeen Raaten (1956) Lata Mangeshkar / Lyrics – Kidar Sharma
The song is very similar to ‘Dekho Ji Mera Jiya’ from Naubahar. A peaceful song, reminds me of Meerabai bhajan. The lyrics and the style of the song also support my assumption. Nothing more to say! Just listen.

13. Brij Ke Nandlala – Tanksaal (1953) Lata Mangeshkar / Lyrics – Shailendra
A wonderful bhajan. I know, we don’t call a bhajan wonderful. But how can a song be so sweet? What a sweet melody! The devotion and dedication, Lata has put into it, is heart touching. A typical bhajan, but its presentation is superb.

14. Muskurahat Tere Hothon Ki – Sheesham (1952) Lata Mangeshkar / Lyrics – Indeevar
After the success of Malhar, Indeevar again penned songs for this film. Sheesham had Nutan and Nasir Khan as main lead. It’s a completely forgotten film, which is occasionally remembered for its songs. Lata Mangeshkar has sung the song with deep dedication. The lady in the song is praising her love, his smile is the key to her happiness. She has no expectations from him and wants to love him beyond limits. Roshan has woven it in a simple but sweet melody. Roshan used to have very less orchestration in 50s, the song fits perfectly in it.

15. Mohabbat Ek Shola Hai – Aagosh (1953) Lata Mangeshkar / Lyrics – Kaif Irfani
Again Nutan but singing in agony. She is disappointed with her destiny and is cursing love. She suggests to stay away from love, it’s only a fire, with no happiness. Excellent lyrics, with sad tune. Roshan crates an atmosphere perfect for a heart break story.

And now, a bonus song

§§ Khayalon Mein Kisike Is Tarah – Bawre Nain (1950) Geeta Dutt and Mukesh / Lyrics – Kidar Sharma §§
The song is one of the most popular Roshan songs from 1950s. I couldn’t neglect it. I added it at the last moment. He implemented the matka rhythm, so much popular that time, in this song. And the rhythm never disappoints you. In the song, she is a true romantic while he has a realistic view of looking at the things. Again a sort of conversational song. I usually avoid repeating the film, unless it’s my absolute favourite. This time it is so!

Which song would you add?

Disclaimer –
Mehfil Mein Meri, claims no credit for any image posted on this site. Images on this blog are posted to make the text interesting. The images and screenshots are the copyright of their original owners. The song links are from YouTube and have been used here only for the music lovers. The copyright of these songs rests with the respective owners, producers and music companies.