Remembering a Genius…..

There was a genius composer who composed around 100 songs for Hindi films. Unfortunately he could compose for 16 films only in his career. He could have achieved grand success and reached the heights of popularity in no time. But that wasn’t to be. He was a short tempered, outspoken and boastful person. He never cared for anyone in the industry. Perfectionist to the core, as he was, he never had any assistants, he composed tunes, arranged the songs and executed all by himself. Even a slightest mistake by an instrument player would result in retakes leaving the singer and others frustrated. And his tunes used to be difficult to sing, even Lata Mangeshkar used to get a bit nervous during the final takes. You might have guessed whom I’m talking about!

Sajjad
Yes, that genius composer was Sajjad Husain.

Today let’s have a look at his career.

Sajjad Husain was born on 15th june 1917 in Sitamau. His father, Mohammed Amir Khan, who was basically a tailor by profession, taught and encouraged him in music. Sajjad took his early lessons in sitar from his father. Much interesting as he found it to be, later he also learnt veena, violin, jaltarang, accordion, guitar, flute and piano. He could play 30 instruments. He was very much attracted to the mandolin and took a keen interest in the instrument. Soon he was an accomplished mandolin player. Mandolin is a difficult instrument to play, but his dedication to it was so much that he could play Indian classical music on the instrument. And surely he played it throughout his life at various concerts, including the सवाई गंधर्व महोत्सव in Pune.

In 1937, Sajjad Husain decided to try his luck as a film score composer, and came to Bombay (now Mumbai). His first job was at Sohrab Modi’s Minerva Movietone at Rs. 30 a month. He later moved to the Wadia Movietone, working at Rs. 60 a month. To establish as an independent composer, one needs to work as an assistant to an established composer, or so was the tradition those days. So for the next few years, he worked as an assistant to Meer Saheb and Rafiq Gaznavi, and as a contract player for Shaukat Hussain Rizvi.

In the early 1940s, Sajjad was introduced to the composer Ali Baksh (father of the actress Meena Kumari) by a friend. He was impressed with Sajjad’s mandolin skills and offered him to join as an assistant. Sometime later, Sajjad joined music director Hanuman Prasad as an assistant. For A R Desai production’s film Gaali (1944), where Hanuman Prasad was the chief composer, Sajjad composed two songs, Aag Lagi Pe Lagi Sawan, Ab Aaja Dil Na Lage. Both the songs were sung by Nirmala Devi, who was a popular singer of that time. The book ‘Dhunon Ki Yatra’ also mentions, Taras Taras Gaye Beet Baras by Nirmala Devi as Sajjad Husain’s song. The songs are not available at present on the internet.

The complexity of Sajjad’s songs made him a favourite among a certain class of audience. But the songs couldn’t appeal to the masses. The tunes were a bit difficult, certainly not easily hummable. The tunes of mukhda and antara used to be very different and the way he managed to get to the original tune after finishing the antara was wonderful. His usual style of composing involved a pause, which can be appreciated in many of his songs. The rhythm of the song used to be different than the usual ones. He was also fond of lengthening a certain alphabet of a word in the song so that the next word had to be offbeat, adding a certain complexity to the song. The same thing perhaps made the songs difficult to hum.

Dost (1944) was his first film as an independent music director. It was directed by Shaukat Hussain Rizvi, who later married Noorjahan. Sajjad was lucky enough to compose for Noorjahan in his very first film. These songs included wonderful solos by Noorjahan.

Alam Par Alam Sitam Par Sitam – Dost (1944) Noorjahan / Lyrics – Shams Lakhnawi
I was completely mesmerised when I heard the song for the first time. Such a beautiful composition. Deep pathos! That popular pause, after the words Alam Par Alam and a totally different tune for the antara. Still the song sounds different from his later songs. No wonder, the songs of Dost must have sounded refreshingly different from the other songs of the era.

Badnaam Mohabbat Kaun Karen – Dost (1944) Noorjahan / Lyrics – Shams Lakhnawi
I think this is the most popular song of the movie. The song starts with a typical Sajjad prelude, and has the pause after the word, Badnaam. And the way Noorjahan pronounces the word, badnaam, is something that everyone should listen to and experience.

I would also mention ‘Koi Prem Ka Deke Sandesa’ which is also one of my favourites from Dost. The song has a great pathos, though it lacks the typical touch of Sajjad in my opinion. It’s quite plain as compared to Sajjad’s other song, though very touchy rendition. The songs from Dost were smashing hits across the country. It was expected that Sajjad would get a lot of offers. But that didn’t happen. Allegedly Shaukat Hussain Rizvi credited all the success of the songs to Noorjahan and Sajjad was denied any credit. The incident made him furious and Sajjad vowed never to compose a song for Noorjahan. Of course the loss was of music lover’s. And he lost Shaukat’s next film Jugnu. Of course Sajjad didn’t care about it. His egoistic behaviour later created a lot of trouble for him, alas, he was unchanged.

For the next couple of years, his songs couldn’t achieve popularity. The films, Dharam (1945), Tilasmi Duniya (1946) were not popular. But I found a beautiful chorus backed song, which I decided to add here,

Holi Phir Se Aa Gayi Re – Tilasmi Duniya (1946) Unidentified voices of a male and two female singers & Chorus / Lyrics – ?
I found the song and heard it for the first time. The song starts with a happy mood. There are two female singers and one male singer. If we see the star cast of the movie, the singers could be Sitara Devi and Sarla Devi. The song celebrates Holi and remembers Lord Krishna and the Holi he celebrates on the banks of the river Jamuna. The last minute or so however brings a gloomy mood when a lady all alone remembers her beloved and almost screams in the end. Most likely she’s demanding an explanation from God, or so it appears from the lyrics. A very different kind of song.

In 1946, one of his films, 1857, produced under the banner, Murari Pictures, and directed by Mohan Sinha was released. The film was Suraiya’s first film with Sajjad and she sang three solos and a duet for the film. The songs were popular. The film also starred Surendra.

Gham e Ashiyana Satayega Kab Tak – 1857 (1946) Suraiya / Lyrics – Mohan Singh (?)
It was Suraiya’s first film with Sajjad. She has sung the difficult song with quite an ease. The song has very low notes as well as higher notes, the last stanza goes very high. Suraiya modulates her voice quite effectively. It’s very interesting that though the name of the lyricist is mentioned nearly everywhere as Mohan Singh, the credits of the film don’t mention this name.

Suraiya’s duet with Surendra is also one of the popular songs of the movie.

Teri Nazar Mein Main Rahoon – 1857 (1946) Suraiya & Surendra / Lyrics – Shewan Rizvi
Undoubtedly one of Sajjad’s best compositions. As such he has very few romantic duets to his credit and this one’s the most prominent one. The song has a good tune and Sajjad prolongs the last word of the mukhda and adds aalap and humming immediately after it. That makes the song sound quite unique.

Before I move forward, let me add a Shamshad Begum song, Jhamak Jhamak Liye Tej Chamak from 1857. A chorus backed song that talks about India’s unity and freedom. The song has good dance and fast paced lyrics along with Sajjad’s typical nuances.

In the year 1947, a couple of his films were released, both had Geeta Dutt as the lead singer. It would be interesting to add a couple of songs to explore the lesser known songs composed by Sajjad Husain.

Mujhe Bawari Bawri Log Kahen – Mere Bhagwan(1947) Geeta Dutt / Lyrics – Shewan Rizvi
A cute song, quite fast paced and in Sajjad’s typical style. Geeta Dutt seems to have a hard time managing breathing control during the recording.

Ae Dil Bata Kisko Karoon Pyar – Kasam (1947) Geeta Dutt / Lyrics – Anjum Pilibhiti
A lesser known song from a least known film. Geeta Dutt effortlessly sings this one. Her rendition is perfectly under control. The song has variable pace, mukhda is not slower, but antara has a slightly higher pace. In all, the song has some of the unexpected surprises of Sajjad’s style. You may not like it immediately, but later it grows on you.

His next release, Ruplekha (1949) had only a couple of songs by Sajjad. It’s really distressing that Sajjad kept on quitting movies halfway and ruined his own image in the industry. Such unprofessional behaviour was not at all expected.

Tum Ho Jao Hamare – Ruplekha (1949) Rafi & Surinder Kaur / Lyrics – Khumar Barabankavi
The song has a touch of Arabian music and Sajjad employed it in quite a few songs. The mukhda has no pause, the lines are sung at a stretch at a fast pace. Again that makes it impressive and it stands out among the routine ones.

The year 1950 brought Dev Anand and Nigar Sultana starrer Khel, where Sajjad used many playback singers, Geeta Dutt, Meena Kapoor, Shamshad Begum, G M Durrani and Lata Mangeshkar. It was Lata Mangeshkar’s first released songs under Sajjad’s baton. The alliance resulted in a couple of ‘out of the world’ songs, Bhool Ja Ae Dil Mohabbat Ka Fasana and Jate Ho To Jaao. I don’t have words to describe the beauty of these compositions. I’m adding the links here itself. Both the songs are very well known and deserve the appreciation. But today let me highlight other songs of the movie which are less talked about, and are perhaps overshadowed by Lata’s popular songs.

Humein Ab Yeh Jeena Gawara Nahi Hai – Khel (1950) G M Durrani / Lyrics – Behzad Lukhnawi
It’s a good song though Sajjad reused the opening music piece in Aaj Mere Naseeb Ne from Hulchul. The song has Sajjad’s typical orchestration and he intentionally prolongs the word, ‘Hai’. It adds an expression of helplessness and frustration.

Woh Aayenge Woh Aayenge – Khel (1950) Shamshad Begum / Lyrics – Zia Sarhadi
Lata’s songs with Sajjad became so popular that his association with other singers remained on a backfoot. Take the example of this lesser known gem by Shamshad Begum. She had an ability to sing lines at a stretch, in a single breath. Sajjad took it to his advantage and offered her this song. And of course the song also has Sajjad’s typical style.

In addition to Khel, Sajjad also composed a couple of songs for the movie, Magroor (1950). The other songs were composed by Bulo C Rani and Ram Panjwani. Perhaps Sajjad had a rift with someone and left the movie. Such incidents became regular with Sajjad, who continued having differences with many people in the Hindi film industry and shut a number of doors for himself.

Toot Gaya Hay Toot Gaya – Magroor (1950) Rafi, Rajkumari Dubey & Shamshad Begum / Lyrics – Raja Mehdi Ali Khan
I heard the song after a long time. What a beautiful song! The rhythm is similar to the one in Aaj Mere Naseeb Ne. But the song is captivating and very melodious. If I would have remembered it, it would have definitely featured on my trio song’s list.

Lata Mangeshkar became an integral part of his musical team and he had respect for the lady. It is said that Lata’s first song with Sajjad was actually for the film, Hulchul. But it was released later and Khel was released in 1950. Sajjad had differences with K Asif, the producer of Hulchul, and he left the movie after composing three songs (a couple of solos by Lata Mangeshkar and one solo by Rajkumari Dubey). The film was taken over by Mohammad Shafi who composed good duets by Lata Mangeshkar and Rafi.
Out of Lata’s solos, Aaj Mere Naseeb Ne is a well known gem. Let me the other solo,

Loota Dil Mera Haye Aabad Hokar – Hulchul (1951) Lata Mangeshkar / Lyrics – Khumar Barabankavi
A typical Sajjad composition. A word lengthened as usual making the next word fall offbeat. It may not be a popular song, but of course it’s a good song.

One of his bests was also released in 1951, Madhubala, Ajit and Sajjan starrer Saiyan. I had reviewed the film a couple of years back and it was a good film. All the songs were excellent and I had a tough time choosing between the songs.

Tumhe Dil Diya Yeh Kya Kiya – Saiyan (1951) Lata Mangeshkar / Lyrics – D N Madhok
Out of six Lata solos, this one wasn’t a part of the movie. Nevertheless it’s a very good song. Very difficult to sing! I don’t think any other singer would have sung it that perfectly. Sajjad’s songs need to be listened to with a keen attention to understand its nuances. If you haven’t heard it before please do it right away.

Kali Kali Raat Re – Saiyan (1951) Lata Mangeshkar / Lyrics – D N Madhok
For me, the best song of the movie and one of the best by Lata Mangeshkar and Sajjad duo. Very beautifully composed. And Lata and only Lata Mangeshkar could have sung it. Sajjad used to compose the songs keeping in mind Lata’s voice. Even Lata Mangeshkar used to like this song and used to respect Sajjad.

Hawa Mein Dil Dole – Saiyan (1951) Lata Mangeshkar & Chorus / Lyrics – Rajendra Krishan
I particularly added this amazing melody as it’s perhaps the only song in a happy mood that Lata Mangeshkar sang for Sajjad. And what a beautiful rhythm it has got!

It was in the year 1952 that Sajjad composed songs for the film, Sangdil, which I consider his very best. The Madhubala and Dilip Kumar starrer was directed by R C Talwar and had all the masterpieces bunched together in a single post. Lata Mangeshkar and Talat Mahmood were the lead singers of the movie and in addition, Geeta Dutt and Asha Bhosle also sang for it. There were a couple of songs which were not included in the movie, but nevertheless worth listening to. The link has both the solos, one by Asha Bhosle and another by Shamshad Begum.

Yeh Hawa Yeh Raat Yeh Chandni – Sangdil (1952) Talat Mahmood / Lyrics – Rajendra Krishan
The song has achieved an iconic status. The wonderful melody is certainly one of the best songs of Talat Mahmood. Talat Mahmood and Rafi were Sajjad’s favourites, though he was more inclined to the latter. It’s a well known fact that Madan Mohan was impressed by the tune and based his song, Tujhe Kya Sunaoon Main Dilruba from Aakhri Dao on it. When confronted by Sajjad, he just praised the genius. Sajjad bitterly said, “Aaj kal hamare gaanon ki parchaiyan bhi chalne lagi hai.”

Darshan Pyasi Aayi Dasi – Sangdil (1952) Geeta Dutt / Lyrics – Rajendra Krishan
I mainly adore the song for the jaltarang. It’s played throughout the song and makes it extremely sweet and easy on the ears. Geeta Dutt has aptly emoted the devotional expressions. We can easily appreciate her dedication.

Dil Mein Sama Gaye Sajan – Sangdil (1952) Lata Mangeshkar & Talat / Lyrics – Rajendra Krishan
One of the best duets by Lata Mangeshkar and Talat Mahmood. The interludes reminded me of Badnaam Mohabbat Kaun Karen. The major singer of the song is Lata Mangeshkar, Talat is in a supporting role in my opinion. In picturisation as well, focus is (thankfully) on Madhubala. 😉

R C Talwar again chose Sajjad for the Kishore Kumar, Meena Kumari starrer, Rukhsana. Sajjad’s first choice for the movie was Lata Mangeshkar. But after recording a solo for the movie, she was not available due to illness. He then chose Asha Bhosle, who had sung for him earlier for the film, Sangdil. Sajjad wasn’t at all comfortable with Kishore Kumar, yet he had to compose for him. He offered just a couple of songs to Kishore Kumar.

Tere Jahan Se Chal Diye – Rukhsana (1955) Asha Bhosle and Kishore Kumar / Lyrics – Khumar Barabankavi
Kishore Kumar wasn’t a favourite with Sajjad. If we believe the rumours, he used to call him Shor Kumar and considered him suitable only for calling someone. Anyway he had to compose for Kishore Kumar, but he didn’t compose a solo, but both the songs were duets. Out of the duets, I like this one, though perhaps the other one’s more popular.

After Rukhsana there was a long gap of about 7 years. A gap of seven years for an artist is too long. In the Hindi film industry, where people easily forget you once you’re out of the spotlight. Sajjad had himself shut doors for his progress. The egoistic, self centred, man had to pay for his outspoken nature. He had differences with Shaukat Hussain Rizvi, K Asif, Dilip Kumar, D N Madhok, Ram Narayan and many more. He rejected an offer by Shashadhar Mukherjee of Filmistan, who allegedly asked him if he guaranteed the success of his tunes. Angry Sajjad asked him if he guaranteed the success of his film.
He also lost Mughal e Azam, due to differences with K. Asif. He regarded Noorjahan, Lata Mangeshkar and Rafi only as singers. Others were not on his list. If the alleged stories are true, he used to call Talat Mahmood as Galat Mahmood, Geeta Dutt as Juta Dutt, Shor Kumar for Kishore Kumar etc. According to him, there were only two great composers of Hindi cinema, Ghulam Haider and himself. And he never hesitated to say it openly. He would cut sarcastic jokes, pulling a serious face, without turning a hair. This used to hurt people who preferred to stay away from the boastful man. Slowly his temperament became a topic of discussion and Sajjad became more and more paranoid, casting himself in his own shell.
Finally he got a chance to compose for a film, and he was back with a bang! The splendid songs of Rustam Sohrab became popular across the nation.

Ae Dilruba – Rustam Sohrab (1963) Lata Mangeshkar / Lyrics – Jaan Nisar Akhtar
One of Lata’s best with Sajjad. The Arabian tune, the wonderful (and difficult) aalap, such a breezy atmosphere it creates! It’s said that Lata Mangeshkar was a bit nervous during the recording. But of course, Lata Mangeshkar being Lata Mangeshkar, she did it perfectly. The song is picturised on Yasmin (Vinita Bhatt) who had appeared before in Mr & Mrs 55.

Yeh Kaisi Ajab Dastan Ho Gayi – Rustam Sohrab (1963) Suraiya / Lyrics – Qamar Jalalabadi
Suraiya’s swan song. Surely one of her best songs. It was a coincidence that she sang her last for Sajjad. What a beautiful song! Even after listening to it so many times, the song maintains its appeal and charm.

Sajjad was regarded highly by his contemporaries, including Anil Biswas and Naushad. Anil Biswas called him the only original composer. Naushad always praised his compositions despite the caustic comments Sajjad allegedly passed about him. In a 2012 interview, Lata Mangeshkar named him as one of her favorite composers.

Sajjad got only 16 films in his 34 year long music career. However, one notable milestone in his career as music Director was his Sri Lankan film Daiwayogaya (1959). DaiwaYogaya was filmed in Prasad Studio, Pune and was a box office hit in Sri Lanka mainly owing to the songs he composed. His last Hindi films as a composer were Shikar (1973) and Aakhri Sajda (1977). He however continued participating in concerts till the 1980s.

Sajjad’s Mandolin was popular all over India as he was considered as the best mandolin player. He has rendered it for a few films as well.
Here’s a Mandolin played for background music by Sajjad for a Telugu movie, Mutyala Muggu (1975).

Sajjad Hussain lived in the Natalwala Building at Mahim in the last years of his life. He had five sons and one daughter. All five of his sons (Mustafa, Yusuf, Noor Mohammad, Nasir Ahmmad and Abdul Karim) went on to become musicians. All of them are popular mandolin players. They used to play for the popular composers.

Sajjad Husain died on 21st July 1995. Khayyam and Pankaj Udhas were the only notable film personalities to attend his funeral.

Before I end,

  • Sajjad was perhaps the only composer who never had an assistant. He used to do all the things, including the notations for the instrument players.
  • Sajjad considered himself the best composer in Hindi films
  • He was an ace mandolin player and he spent 14 years achieving mastery over the instrument. It was very difficult to play Indian classical music on it. But Sajjad took it as a challenge. He used to play in the classical music concerts all over India.
  • Due to his outspoken nature, he hurt his companions and other people around him. Finally everyone started ignoring and avoiding him.
  • He was a perfectionist and used to have clashes with instrument players. One of his rifts was with the renowned Sarangi player, Ram Narayan whom Sajjad humiliated in presence of other players.
  • His egoistic nature, and differences with the stalwarts caused a lot of trouble for him. Slowly the exaggerated stories of his rude behaviour and rifts spread in the industry. His assignments went down to zero.
  • His compositions were brilliant, but I think there was repetition of tunes and style of composing. As the number of songs was very less, the similarity became obvious.

I want to thank Mr Arunkumar Deshmukh for sharing his article on Sajjad and also answering my queries from time to time.

Please add your favourites composed by Sajjad.

Disclaimer –
Mehfil Mein Meri, claims no credit for any image, screenshots or songs 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 shared from YouTube, only for the listening convenience of music lovers. The copyright of these songs rests with the respective owners, producers and music companies.

24 Replies to “Remembering a Genius…..”

  1. Anup ji,

    As always, well presented.

    Sajjad, is a classic case of ‘ apne hi pair par kuladi marna ‘. An angry genius!

    Strongly, my personal favorite Suraiya’s song is her Swan song
    Ye kaisa ajab dastan ..

    Today being Suraiya’s birthday, too, I would add

    Ummeedon ke tara kismet se
    Kuchh der chamak ke toot gaya
    1857.

    And, possibly the most popular song from
    RUSTOM SOHRAB…

    Phir tumhare yaad aayee ae sanam.

    Liked by 1 person

    1. “Sajjad, is a classic case of ‘ apne hi pair par kuladi marna’ “

      Yes,
      I agree.

      And thanks for adding beautiful songs.

      Ummedon ka tara

      Phir tumhari yaad aayi

      Thank you for visiting and commenting.

      🙂

      Like

  2. Anup ji ,
    A gr8 tribute to a gr8 music director .

    A special thnx for adding
    अलम पर अलम by नूरजहाँ from दोस्त .

    In Ur excellent narration , U hv wonderfully brought out the beauty of each nd every song .. it had made the songs more enjoyable .

    All other songs r melodious too .

    I wud like to mention 2 more .
    1 वो तो चले गये ऐ दिल – संगदिल
    2 माझंदरा माझंदरा – रुस्तम सोहराब

    Thnx a lot for this tribute .

    With best wishes ,
    Pramod Godbole .

    Liked by 2 people

  3. Anup ji,
    A good tribute to the unlucky genius, who uniquely caused self nemesis.
    Your narration is very good.
    Some songs I heard after a very long gap.
    My favourite song is Badnaam muhabbat kaun kare.
    Thanks.
    -AD

    Liked by 1 person

  4. It is interesting to see that I have the same favorite Sajjad song as Arunkumar Deshmukh! 🙂 I LOVE “Badnaam Mohabbat Kaun Kare”! I know a few of the other Noor Jehan songs on the Dost soundtrack, and they are wonderful.

    I have long been aware that Saraiya and Sajjad have the same birthday, June 15. When I think of films they worked on together, I tend more to think of 1857. I had almost forgotten about Rustam Sohrab. I agree that the song by Suraiya in that film which you included here is one of her best – but in my mind, she had many best.

    Of course, the Lata Mangeshkar songs are all very good too.

    Anup, I knew most of the soundtracks that you mentioned in this post, and now I am inspired to look into two or three that I didn’t know so well.

    I didn’t know that Sajjad’s music was considered difficult, only that his personality was. I’ve taken very quickly to most of the music of his that I’ve heard. I don’t know if that would be baffling to some… Since I’ve almost always lived here in New York City, U.S.A., there are a lot of people who don’t quite understand how I took to Hindi film music in general so much. But I did very easily.

    Thank you for this enjoyable and informative post!

    Liked by 1 person

    1. Richard,
      Thank you for visiting and commenting.
      It’s really baffling that someone from New York City would be interested in Hindi film music so much. And I appreciate you for that!
      👍

      Like

      1. Thank you for the appreciation, Anup. But I don’t agree with you. There is nothing baffling about it to me. 🙂 I have had different chances to be exposed to this music, and it just happens to be one very good kind of music that I took a liking to. There are several bloggers (or former bloggers) living in the U.S. in places that are not even cosmopolitan melting pots like New York City (which does have the old Indian neighborhood known as Jackson Heights – which was a huge source for me at the beginning of my Indian film/music blogging days 15 years ago) and who have no Indian heritage, or even knowledge of the Hindi language (as I had no knowledge when I first took to all of this stuff – not that I am all that much better at it now 🙂 )… But they obviously got to like this music/film/dance quite a lot too. Also a few YouTube posters…including one whose videos I see you have been using quite a lot.

        I think people from anywhere can get to like any nation’s (or subcontinent’s) )musical culture if they have the right exposure. As the old saying goes, music knows no borders. (And I think that can apply to film too – if it’s translated well – and certainly to dance.)

        Liked by 1 person

          1. Yes,
            I agree with you. With right exposure one can enjoy music of any country. But it’s amazing that you’ve taken so much liking into Hindi film songs. It’s of course worth praising.
            And
            Yes I got your point.
            🙂

            Like

  5. Anupji you have done more than full justice to this genius. My felicitations on an excellent post you have given to us followers. When I did his biography in SOY, I concentrated more on his idiosyncracies and the incidences in his life and less on giving an expert comment on songs, which I consider incompetent to do so. The beauty is he never had an ill feeling against the film magnates whom he offended for refusing to give him further chance. He trained his children in music and used to drop them at the studios and pick them up and never entered the studios himself. Saiyan is two men competing for the girl, one good and one not so good. The lady is naturally attracted to the bad one and here is a song from the film on the point. This film is based on a Hollywood movie which I had seen but do not remember the title.

    Us paar is deewar ke jo rahte hain by Rafi, lyrics D N Madhok

    Liked by 1 person

  6. Dr. Anup,

    An excellent tribute to Sajjad Husain on his birth anniversary, complemented by his wonderful compositions
    He was indeed, a maverick composer, who tried to work by his own rules. It is unfortunate that no write-up or discussion on him is complete without the mention of his outspoken and hot-tempered nature and tantrums.

    A small correction – The 1973 film is titled Mera Shikar and not just Shikar.
    Though certified, it is unclear whether it was released or not.
    Here’s one song from the film sung by Rafi:

    Liked by 1 person

    1. Dr Rajesh,
      Thank you for your appreciation. Glad you enjoyed the list.
      I’ll correct the mistake, thank you for pointing it out.
      Here’s a better quality YouTube link for Mera shikar song.

      Like

  7. Anup Ji…

    A very well written article.
    Sajjad Saab as a composer was ahead of times.. A genius gem… But as they TALENT has its own share of Temperament…
    Sajjad Saab was NO different…

    Today after so many years of the composing such great TUNES we listen to them so attentively..

    Sajjad Saab didn’t get his share of fame..

    Yet, we will always remember his सुरैया and लता दीदी numbers।।

    Wonder research and presentation।

    Liked by 2 people

  8. Namaskaar Dr. Anup ji,

    This is the first time I am commenting on your posts, though I have been reading them for a while now. Thanks for a wonderful and detailed post on Sajjad saab.

    I had the fortune of meeting him at his Mahim residence in March 1995 just before he passed away, something that I only used to dream since listening to his songs for almost 10 years before meeting him! Our meeting was planned for an hour, but turned out to be a 4 hour long meeting. I still cherish and remember it

    My personal favorites of Sajjad saab are – “Jaate ho to jaao” from Khel and “Badnaam Mohabbat” from Dost.

    Thanks again.

    Regards,
    Dhananjay Sapre

    Liked by 1 person

    1. Mr Sapre,
      Welcome to Mehfil!
      Thank you for visiting and commenting on the blog. You’re so fortunate to visit Sajjad Husain in person and had a long interview. Indeed moments to cherish.
      Badnaam Mohabbat Kaun Karen and Jaate Ho To Jaao are indeed very good songs.
      I visited your blog and read your post on R C boral. An excellent post!

      🙂

      Like

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Rekha's Sousaphone

"Geet, beet, bazao baajaa!"

Trivia

The spice of life

Evergreen Indian film music

Great film music and great music directors

Conversations Over Chai

A Journey Through Golden Era Of Hindi Film Music

Songs Of Yore

A Journey Through Golden Era Of Hindi Film Music

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