Daily Times

It is very difficult to spot tuneful singers. In my music journey one such singers I came across was Munir Hussain, a dark complexioned, short man with a beautiful voice that had a little tremor in it like that by Talat Mahmud in India. Both were termed as singers of blue mood, meaning thereby that both sang soft melodies with ease. Singer Saleem Raza and Munir Hussain ruled Pakistani Film Industry’s music scene in 1950s till mid-1960s.

As a general rule, my sensitivities are always linked with a song for a particular singer as my first impression. As the luck would have it, both singers are remembered for Raag Bhagheshri based songs; Munir Hussain for the melody ‘Qarrar Lootene Waaley’ for the film ‘Saat Laakh’ (1957) penned by Saif uddin Saif and music by Rasheed Attre and Talat Mahmud singing ‘Hum Sei Aaya Na Gaya’ for the film ‘Daikh Kabira Roya’ with music by Madan Mohan. For these wonderful melodies, I don’t know whom to give more credit whether to singers, or to the respective music composers,or to the poets or to the Raag selected to compose these everlasting melodies. I think it is the combination that did it all. To my utter surprise Munir’s song was banned by Radio Pakistan for many years as it comprised lyrics of ill-will in frustration for the beloved but in a sophisticated manner. Santosh Kumar and Sabiha Khanum’s unrest was beautifully pictured in this song by Saif Saheb. Munir Hussain’s versatility got established when this song went on air. In his film career as background voice he sung about 217 songs for 163 Urdu and Punjabi films. Munir Hussain died on 27 September 1995. His singing career spread over 38 years.

Tracking Munir Hussain’s singing career: I shall now track Munir Hussain’s singing career through his songs on popular choice. The first one is a duet with Nurjehan ‘Ik Cheez Gawachi Dil Kolon’ from Nujehan-Sudhir starrer Punjabi film ‘Nooraan’. It is a beautiful-sad melody. Sudhir gives a traditional folklore look and sheds even tears in picturing Munir Hussain’s portion. How strange it looked but that was the demand of the song. Nurjehan looks trim and smart surprisingly giving a modern look despite being set up in a rural backdrop.Her popular photograph with focus on her eyes belongs to this song, the credit to be given to the director M. M. Billo Mehra.This film was produced by J. C. Anand and its songs were penned by Hazeen Qadri.The film was released on May 30, 1957. The support cast comprised Zeenat, Nazar, Saleem Raza (actor), Rakhshi, Maya Devi and Ajmal. Music was given by Safdar Hussain, a cousin of singer Munir Hussain who naturally established the latter with five duets apart from Madam’s solo songs. Safdar Hussain was by now an already established music composer with music of the films Heer and Ishq-e-Laila to his credit. Safdar is reported to have recorded 14 songs in 7 days penned by Qateel Shifai for ‘Ishq-e-Laila’ as per poet Mushtaq Shifai). Although Munir Hussain had received popularity from his movie Saat Lakh’s song but technically speaking Nooran was his first movie. These songs are ‘Tere Bolne TeiMerian Nei Bullian’, ‘Vaikheya Howe Ni Kisse Takeya Howe’, ‘Panchi Tei Pardesi, Aa Kei Tur Jande’ (duet with Muneer Hussain – a catchy melody pictured in the suburbs of Nurjehan’s tomb in Shahdara), ‘Phirni Aan Main Labdhi’, ‘Dachi Waleya Lei Chal Naal Vei’, ‘Tere Ishq Nachaya Kar Kei Thaiya Thaiya’ and ‘Kadi Aa Vei Dilbara Waasta Ei’ and ‘Ik Pardesi Ik Mutiar’ (a duet with Munir Hussain).

The next movie I would like to mention is Santosh Kumar-Sabiha Khanum’s Punjabi film ‘Mukhra’ with music by Rasheed Attre. The song ‘Dila Theher Ja Yaar Da Nazara Lain Dei’ is a superb song, rendered both by Munir Hussain and Zubeda Khanum separately. This movie was released on June 28, 1958. This film was directed by Jaffar Malik with support cast comprising Allauddin, Himaliyawala, Darpan, Ilyas Kashmiri, Diljeet Mirza, Nayyar Sultana, Ghulam Muhammad, Nazar and Asha Posley; a huge cast of that time. Screenplay was that by Baba Alam Siyahposh. It was a Crescent Film presentation. Produced by Santosh Kumar, his brother S. Suleman was the Assistant Director. This song enhanced the status of Munir Hussain as a singer of romantic songs.

Heer Ranjha – lifeline for Munir Hussain: The next song that keeps Munir Hussain alive as a singer even today is a duet ‘Wanjli Walerya’ with Madam Nurjehan, composed by renowned music composer Khwaja Khursheed Anwar for the movie ‘Heer Ranjha’ released on June 19, 1970. This picture was directed by Masud Parvez. Lyrics were by Ahmad Rahi and the movie was produced by actor Ejaz (hero of the film) and Masood Parvez. Singers used by Khwaja Saheb were Nurjehan, Naseem Begum, Irene Parveen, Munir Hussain, Mujeeb Alam, Masud Rana and Ghulam Ali.

Stars were Firdaus, Ejaz, Zamurad, Munawar Zarif, Zulfi, Razia, Salma Mumtaz, Tani, Aqeel, Ilyas Kashmiri and Ajmal. One song by Munir Hussain ‘Teri Khair Hovey Doli Charh Jaan Waaliye/Qaul Haar Kei Pyar Nu Bhulaan Waliye’ for the film ‘Heer Ranjha’ is fantastic in which instrument Shehnai plays havoc in its sounds depicting cry from heart. Khwaja Khurshid Anwar has done wonders. The lyrics offer best wishes instead of moans to Heer who in Ranjha’s perception has betrayed him.

Before indulging further in the beauties of Khawaja Khurshid Anwar’s music in this film, let me recapitulate the folklore ‘Heer Ranjha’. All lovers of culture and tradition are aware of the fact that ‘Heer Ranjha’ is one of the most popular among four prevalent tragic romances of the Punjab, the other three being Mirza Sahiban, Sassi Punnu and Sohni Mahiwal. Incidentally I played the leading roles in 1968 for PTV’s able producer Kanwar Aftab Ahmad’s LIVE transmission in musicals by the respective names mentioned here. There are several poetic narrations of the ‘Heer-Ranjha’ story, the most famous being ‘Heer’ by Waris Shah written in 1766 though some claim that Damodar’s version is more authentic. Warris Shah tells the story of the love of Heer and her lover Ranjha romantically. The other poetic narrations were written by Damodar Daas as mentioned above, Mukbaz and Ahmed Gujjar etc. Heer is an extremely beautiful woman, belonging to a wealthy Jatt family of the Sayyal clan in Jhang. Ranjha (whose first name is Dheedo; Ranjha is the adopted name), also a Jatt, is the youngest of four brothers and lives in the village ‘Takht Hazara’ on the banks of river Chenab. He happened to be his father’s favourite son.His brothers had to sweat in the lands but Ranjha did not work and only played the flute.

He was considered as a spoiled son of his father. There are different versions as to why Ranjha left his home. One is that he had a quarrel with his brothers over land. In Waris Shah’s version, it is said that Ranjha left his home because his brothers’ wives refused to give him food and taunted him to get married to Heer of Sayal. Ranjha leaves for Heer’s village, takes a nap on Heer’s bed in the afternoon and ultimately falls in love with her. Heer offers Ranjha a job as concierge of her father’s cattle. She becomes mesmerised by the way Ranjha plays his flute and eventually falls in love with him also. They meet each other secretly for many years until they are caught by Heer’s jealous uncle, Kaido, and her parents Chuchak and Malki. Heer is forced by her family and the local priest to marry another man called Saida Khera. That is when tragedy starts. Ranjha is heartbroken and is left to take long walks in the quiet villages on his own until eventually he meets a ‘Jogi’ (ascetic). After meeting Baba Gorakhnath, the founder of the “Kanphata”(pierced ear) sect of ascetics(‘Jogis’), at ‘Tilla Jogian’ (the ‘Hill of Ascetics’, located 50 miles north of the historic town of Bhera, Sargodha District, Punjab (Pakistan)), Ranjha voluntarily becomes a Jogi, piercing his ears and renouncing the material world. Reciting the name of the Lord, “Alakh Niranjan”, on his travels around the Punjab, he eventually finds the village where he is reunited with Heer. The two return to Heer’s village, where Heer’s parents agree to their marriage. However, on the wedding day, Heer’s jealous uncle Kaido poisons her food so that the wedding plans are thwarted. Hearing this news, Ranjha rushes to aid Heer, but he is too late, as she is dead. Ranjha takes the poisoned Laddu (sweet) which Heer has eaten and dies by her side. Khwaja Khusrsheed Anwar’s movie with its outstanding music and excellent picturing by Masood Parvez takes on Warris Shah’s above version. Excellent acting by Firdaus, Ijaz and Ajmal are hallmarks of this picture.Heer and Ranjha are buried in a Punjabi town in Pakistan called Jhang, Punjab. Lovers and others often pay visits to their mausoleum.

Subsequent hits: Munir Hussain rendered a song ‘Jo Dil Ko Torte Hain Unka Bhi Jawab Nahi’ in S. M. Yousuf’s film ‘Ashiana’ with music by A. Hameed. Actor Kamal pictured this song in intoxicated state. Quality lyrics were provided by none other than Fayyaz Hashmi for this song. In another song ‘Zindigi Tum Sei Milli Tum Sei Mila Pyar Mujhe’ Mala joined Munir Hussain. Shamim Ara and Habib pictured this song that has been composed off-beat. Both the actors were not proficient dancers but they managed well with their awkward dance movements. Even Munir Hussain seems to be amateurish in his voice. Having said that, the song’s overall impression is catchy. It was from Iqbal Gul’s film ‘Dil Kei Tukre’. Mala and Munir Hussain rendered another duet ‘Aei Raat Bata Kaya Un Sei Kahain’ for music composer Master Inayat Hussain’s film ‘Devar Bhabai’. The screenplay and direction of this Santosh Productions film was by Hasan Tariq. The story of this hit film revolved around the motherly love of Bhabi, a role played very effectively by Sabiha Raza with her ‘dever’ (husband’s brother) Waheed Murad. This film had other hit songs like Ahmad Rushdi’s ‘Three Cheers For Bhabi Hip Hip Hurrey’ and Mehdi Hasan’s ‘Yei Kaghazi Jaise Phool Chehre Mazaq Urate Hain Aadmi Ka’. Rani played romantic pair with Waheed Murad.

Popular music composer Nisar Bazmi used Munir Hussain with Malafor the song ‘Tera Dar Chor Kei Diwana Kahan Jaye Ga/Shama Roshan Hei Tau Parwana Kahan Jeye Ga’ for director Hassan Tariq’s historical film ‘Laila Majnu’ released on October 18, 1974. The movie was produced by Attaullah Shah Hashmi and songs were penned by Saifuddin Saif. Singers were Nurjehan, Runa Laila, Mala, Mehdi Hassan, Masood Rana, Munir Hussain, Shaukat Ali. Rani and Waheed Murad were supported by Masood Akhtar, Zamurad, Talish, Rehan and Allauddin. For the same film Masood Rana joined Munir Hussain for a Qawwali number ‘Allah Hoo’ while Majnu drifts towards a shrine in a lookout for Laila.

One less heard song ‘Jab Sei Dikhai Tu Nei Ulfat Ki Rahain’ is a duet by Munir Hussain and Mala pictured on young and slim Muhammad Ali and Neelo. The film was ‘Naghma-e-Sehra’. Support cast was Sudhir and Lehri. Now I must come to Riaz Shahid’s film ‘Zarqa’ and mention Munir Hussain singing with Mala ‘Aei Gham-e-Jahan Nach’ filmed on Neelo and Ejaz. Music was given by Rasheed Attre but was completed by his son Wajahat Attre when Rasheed Attre expired during filming of this film. Surprisingly, this was not much heard song despite excellent lyrics and filming. However, Munir Hussain’s song ‘Nisar Main Teri Galiyon Pei Aei Watan Kei Jahan’ by Faiz Ahmad Faiz for the movie ‘Shaheed’ was very much heard. Music was by Rasheed Attre with good acting by Ejaz and facial expressions of character actor Allauddin. It is a protest by a young man against the occupying Western force and the lifeless citizens. The lyrics try to inspire the citizens to revolt against the occupation. Surprisingly Munir Hussain’s voice always sounds strong and tuneful when sung in the music of Rasheed Attre as compared to the songs of other music composers where his voice sounds raw. Although Santosh Kumar, Sabiha Khanum, Meena Shori and Rehan starrer film ‘Mausiqar’ is more famous for Salim Raza-Nurjehan’s song ‘Tum Jug Jug Jiyo Maharaaj Re’ but when it came to a classical based song, his choice was Munir Hussain who rendered ‘Mitwa Tarsain Mori Akhian’ filmed on Santosh Kumar. Another song ‘Hei Koi Aisa Jis Ko Mujh Sei Pyar Hei, Koi Nahi’ from this film stands out in the voice of Munir Hussain. Sarangi playing helps in the tunefulness of this melody. Hit song by Nurjehan and Munir Hussain ‘Rim Jhim Rim Jhim Pare Phoohaar’ in the film ‘Koel’ is a hit song.

Talking of songs with a little classical base Munir Hussain has sung many songs. Starting this way, he drifts to a typical folk dancing tune with Mala in the song ‘Jithey Marzi Bulwaei Tera Pyar’ for Firdaus and Habib pair in a Tufail Farooqui tune in the film ‘Patola’. Nurjehan and Munir Hussain sang ‘Ashiq Tei Parwana Donwain Ishq Piche Mar Jaande Nain’ from the film ‘Tere Ishq Nachaya’ with music by Wajahat Attre who composed in a morning Raag Todi, filmed on Alia and Yousuf Khan. The wonderful Alaap in the beginning of the song establishes Nujehan’s prowess on singing such kind of songs.

Munir Hussain also sang songs with other singers. One such song is ‘Asmaani Tare Nain’ with Mala, Naseem Begum and Roshan for the film ‘Mun Mauji’. Naseem Begum joined hands with Munir Hussain for Bolian type of song ‘O Sajna Aei Do Din Mauj Baharan Dei’ filmed on Firdaus and Habib. Another song ‘Heer Nu Le Jaan Walia Tu Tei Lagna Aein Heer Da Mamaan’ is pictured on confronting female and male crowd in village fair led by Sabiha and Ilyas Kashmiri. It sounds like a war of beautiful lines called Tappe. Credit is given to Naseem Begum although to me it does not sound like her voice. Such songs depict the music of rural Punjab.

Decline: Munir Hussain was a soft voice. His decline would not have occurred had there been no change in the mood of films that were made subsequently despite that he was a versatile singer. Also fresh voices like Akhlaq Ahmad, A. Nayyar and Mujeeb Alam were introduced by various music composers like Robin Ghosh, M. Ashraf and Nisar Bazmi. Mehdi Hassan, Ahmad Rushdi and Masood Rana were already there. In the years to come, Munir Hussain was made to sing duets or choruses (eight songs in six films in 1972; three Urdu films Kaun Apna Kaun Paraya, Zindigi Kei Maile and Meri Zindigi Hei Naghma and three Punjabi films, Tha, Dhol Jawanian Maane and Patola). Munir’s songs comprised three duets (for example, Aise Na Mil Mahiya with Mala in Kaun Apna Kaun Paraya). Rest of the songs was either in Qawwali format or in Chorus form (for example Akh Sukdi Tei Jindri Mukdi with Mala and Ustad Fateh Ali Khan composed by Safdar Hussain).

1973 was a lean year again; only three songs, notable were a Qawwali ‘Sab Tur Gaye Khan Vadaire Tera Mera Daur Aa Gaya’ with Runa Laila and Masud Rana with music by Baba Chishti for actor Habib. For the films Ghairat Da Nishan and Maan Tei Qanoon, nothing worth mentioning efforts was visible as far as Munir Hussain is concerned. Akhlaq Ahmad now entered the background voice in Pakistani Film Industry this year. In 1974, Munir bagged eight songs in eight films (a better year); Pyar Khud Jeene Kei Andaz Sikha Daita Hei filmed on Nadeem for A. Hameed’s film Samaj, Wafa Ka Wa’ada Kis Nei Tora with Mujeeb Alam and Mala for A. Hameed film ‘Jawab Do’ filmed on Darpan. We have already mentioned Munir Hussain’s songs for Nisar Bazmi’s film Laila Majnu above. Another song ‘Paseena Poonchiye’ with Ahmad Rushdi got noticed because this song was filmed on Munawar Zarif and his brother Rasheed Zareef for the film Namak Haram. Munir’s Punjabi films this year were Sohna Mukhra and Saiyon Ni Mera Mahi. At this span of time singer A. Nayyar entered Lollywood in competition with Munir Hussain. 1975 was the last notable year for Munir Hussain with Nisar Bazmi’s song ‘Dildara Tera Ik Ishara’ with Mala filmed on Naghma and Habib. Another male voice Ghulam Abbas entered Lollywood this year.

In the subsequent years Munir Hussain was not treated well by the music composers. He was asked to sing certain difficult phrases in Qawwalis which Mehdi Hassan could not, on higher notes. For example, the same music composer A. Hameed who had given maximum songs to Munir Hussain earlier now imparted partial treatment in a Qawwali ‘Shama Sei Kehta Tha Parwana, Ik Haqeeqat, Ik Fasana’ for the film Suraiya Bhopali in which main singers were Mehdi Hassan and Nahid Akhtar. Poor Waheed Murad had to lip-synch two singers at a time. It was funny! Till 1979 Munir Hussain bagged only one or two songs per year. In 1990s Munir got only five songs. He became involved with PTV but that too in Rafique Ahmad Warraich’s programmes or by rendering non-film songs.

I can quote many more songs rendered by Munir Hussain but shall give some names of the movies he sang for. These were: Saat Lakh, Ishq-e-Laila, Nooraan, Heer, Mukhra, Naya Zamana, Bodi Shah, Aalam Araa, Bacha Jamora, Naji, Jhomar, Sathi, Shama, Sohni Kumharan, Sache Moti, Gulfaam, Gulbadan, Salma, Aanchal, Shaheed, Aulad, Daman, Choriyan, Aashiyana. It has been quoted by some critics that when Saleem Raza and Munir Hussain were touching the heights of the glories of their success, Mehdi Hasan, a struggling artist at that time even rendered a chorus behind Munir Hussain. His 21st anniversary shall fall on September 27, 2016. Despite having a successful career, his wife complained to me on telephone of him leaving no monetary help for his family when he died on September 27, 1995.

Published in Daily Times, November 11^th 2018.