atul's bollywood song a day- with full lyrics


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

The year is 1927 and the place is Tellipur in Nagpur city. A boy, aged about 7 year is headed for his home after his school closes for the day. On the way, heavy rains forces him to take the shelter below the staircase of a building. The rains continue and the boy starts singing. An elderly person comes down from the upper floor of the building and takes the boy to his room. He asks the boy to sing the songs again which he was singing a short while ago. He is impressed by the boy’s singing. The rains stop and he accompanies the boy to drop him at his home. The elderly person requests boy’s mother, a school teacher, to let the boy join his music school. Before he completes his sentence, the mother tells him that she had no money to pay the fees. He assures her that he would not charge any fee for his music lessons. The mother is still not comfortable about her son joining the music school. She tells him that she does not want the boy’s schooling to be affected. The elderly person once again assures her that he would teach the boy only after his school timing is over. At last the mother agrees for her son joining the music school. The son was Vasantrao Deshpande and the elderly person was Shankarrao Sapre who was a trained classical singer of Gwalior gharana. For young Vasantrao Deshpande, it was the most important rainy day as it changed the course of his life.
The name Pandit (Dr.) Vasantrao Deshpande may not ring bell for many of the readers of this Blog. This is natural as he was not much associated with Hindi film industry. From http://www.myswar.com, I find that he was the playback singer for only three songs, one each in ‘Nanhe Munne’ (1952), ‘Chacha Chaudhary’ (1953) and ‘Rang Birangi’ (1983). He was a multifaceted artist – Hindustani classical vocalist specialising in Thumri, Khayal, Dadra, Tappa, and Bhajans, an instrumentalist, an actor, a singer and the composer in Marathi films and musical dramas. Begum Akhtar used to address him as ’Guruji’ for his in-depth knowledge about the genres of Hindustani classical music. This was in the 50s and he had not yet become a public concert singer while she was already an established singer of Thumris and Ghazals.

P L Deshpande, one of the most illustrious men of Marathi literature, actor and musician, described Vasantrao Deshpande as ‘Eklavya who had many Dronacharyas as his gurus’. Apart from having a formal training in Hindustani classical music from Gwalior and Patiala gharanas, he got inspirations from the classical singing styles of Kirana and Bhendibazar gharanas. When he matured into a full-fledged classical singer, he developed his own style of singing amalgamating the styles of all the gharanas to which he was exposed. In doing so, he was highly influenced by the singing style of Master Dinanath Mangeshkar. People who had heard Master Dinanath Mangeshkar’s singing were of the opinion that Vasantrao Deshpande’s ‘swar’ and ‘laya’ in singing was very close to that of Master Dinanath Mangeshkar.

I became aware of Vasantrao Deshpande when his rendition of classical and semi-classical songs in the evergreen Marathi musical drama ‘Katyar Kaljat Ghusli’ (Dagger pierced the heart) became very popular. A couple of songs in the musical drama were in Awadhi dialect like lagi karejva kataar. The musical drama, the first show of which was staged in 1967, continued to attract patronage from the drama loving people of Maharashtra and elsewhere. By 1981, the drama completed 527 shows during which Vasantrao Deshpande acted in the role of ‘Khansaab’. His role in this drama became so popular that he was nick named as Vasant‘khan’ Deshpande. I had also heard him on the Doordarshan during its Black & White days rendering some of his popular classical, semi-classical and bhajans.

Pandit Vasantrao Deshpande (02/05/1920 – 30/07/1983) was born in Murthijapur in Akola district of then Berar Province (now in Maharashtra). He was brought up in Nagpur. His mother was a school teacher and an amateur singer who used to sing devotional songs in a local temple. At the age of 7, he joined Sriram Sangeet Vidyalaya in Nagpur which was run by Shankerrao Sapre of Gwalior gharana. There were 5 students including himself in the evening batch, Ram Chitalkar (C Ramchandra) being one of them. Whenever there were shows of the silent movies in the nearby theatre, Vasantrao Deshpande and C Ramchandra would be sent to the theatre to provide background music, the former playing tabla and the latter harmonium. When they were still in music school, both of them got offers to work in silent movies as actor. C Ramchandra was selected for a lead role in a silent film ‘Naganand’ and Vasantrao was selected for ‘Kalia Mardan (1928).’ After completion of films, Vasantrao came back to Nagpur, while C Ramchandra continued his stint with the film industry.

Those days, Dinanath Mangeshkar’s musical dramas were being staged in Nagpur. One day, Vasantrao’s uncle who was acquainted with Dinanath Mangeshkar, took him to his play. The young Vasantrao was so much impressed by the singing of Master Dinanath Mangeshkar that from that time onwards, he started singing in Master Dinanath’s style as if he was mimicking him. In his article, Vasantrao has expressed his gratitude towards Master Dinanath Mangeshkar:

He never got angry with me on my imitating his style of singing…… I have stored this golden remembrance in my chest of memories protecting it as a hidden treasure that I have stumbled upon suddenly.

After passing the matriculation examination in 1938, his maternal uncle who was also fond of classical music called him in Lahore where he was working for Railways. This was a second turning point in Vasantrao’s life as he now embarked upon the musical journey in a real sense. He spent about 2 years in Lahore and travelled extensively in around Lahore to get the right nuances of thumris and ghazals. He also learnt Urdu. He would attend all the concerts of Ustad Bade Ghulam Ali Khan and his brother Ustad Barkat Ali Khan. But he got attracted to the singing of a fakir named Asad Ali Khan who was once the vocalist belonging to Patiala Gharana but renounce the world to become a ‘darvesh’. Vasantrao became his ‘ganda bandh’ disciple and learnt raag Marwa for six months.

After returning from Lahore in 1941, Vasantrao joined Military Account Office in Pune. During his stay in Pune, he had Pandit Sureshbabu Mane (son of Ustad Abdul Karim Khan of Kirana Gharana) as his music teacher from 1942 to 1952 and Ustad Aman Ali Khan of Bhendi Bazar Gharana in 1952-53. During this period, he became playback singer for about 80 Marathi films and 2 Hindi films. His job in Military Account Office did not give him a free hand to pursue his chosen field as a classical vocalist. He had his close inner circle of friends like P L Deshpande, Pandit Kumar Gandhrva, Hirabai Barodekar, Pandit Bhimsen Joshi, Begum Akhtar etc whom he considered to be those who really brought up in him the Hindustani classical music.

In 1962, Vasantrao Deshpande got PhD for his thesis ‘The Transformation of Hindustani Classical Music’ from Gandhrva Mahavidyalaya. In 1965, he resigned from Military Account Office and devoted full time to his chosen field – Hindustani Classical Music. One would have expected from him a lot of public concerts after resigning from the job. But it was not to be as he got involved with Marathi musical play ‘Katar Kaljat Ghusli’ in 1967. The popularity of the play especially his role of Khansaheb and his classical singing virtually hooked him to this play for more than 10 years. Fortunately for the lovers of Hindustani classical music, his renditions in a number of raagas – both traditional and off beat, are available. He also presented in concert form as well as in audio CDs ‘Marathi Natyasangeetachi Vaatchaal’ (The evolution of music in Marathi musical plays) which was well received.

In March 1983, Pandit Vasantrao Deshpande received Sangeet Kala Academy Award in the hands of President of India. He, however, could not enjoy the bask of glory for long time. His death came suddenly and he breathed his last on July 30, 1983. Rahul Deshpande is carrying on the legacy of his grandfather as he is also a Hindustani classical vocalist and singer-actor.

I remember Pandit Vasantrao Deshpande at least once in a year during Ganeshotsav. There are about half a dozen Ganeshotsav Mandal in the vicinity of my residence. The first day-first devotional song played on the occasion every year is pratham tula vandito krupaala…Gajaanana Ganaraaya, (O Ganesh, I bow and pray to you first), a duet sung by Pandit Vasantrao Deshpande and Anuradha Paudwal from Marathi film ‘Ashthavinayak’ (1979). I am sure that other Ganeshotsav Mandals in Maharashtra would also be playing this song.

Note : This profile is based on Vasantrao Despande’s own article on his childhood and Ramkrishna Bakre’s article, both in Marathi which had been translated by Dr. Veena Nayak and made available on a Google Group. After Vasantrao Deshpande’s death, these articles were brought out in a Marathi Book ‘Vasantrao Deshpande – Ek Smaran’ (1984). I had also had the benefit of a Marathi write-up ‘PuLanche Vasantrao’ (P L Deshpande’s Vasantrao) written on the occasion of his 50th birthday by one of his closest friends, P. L Deshpande in his usual witty style.

On the occasion of the death anniversary of Pandit (Dr.) Vasantrao Deshpande on July 30th I was to choose a devotional song Jamuna kinaare mero gaon saanwre aai jaiyyo rendered by him in Dadra style. But I came to know that this was a audio clip recorded at a concert held in late 70s/early 80s. There seems to be no official recorded version. Moreover, the duration of this song is nearly 15 minutes. The interesting part of this concert was Pandit Vasantrao Deshpande’s accompanists were none other than Ustad Zakir Hussain on tabla and Ustad Sultan Khan on Sarangi as mentioned by one of the commentators who had attended this concert. I heard this Dadra for the first time on the recommendation of Mr Avinash Scrapwala who had requested me to write an article on Pandit Vasantrao Deshpande. I would say that this is nothing less than a trance music to my ears with a superb support from Ustad Zakir Hussain’s tabla. What a lovely musical depiction of Radha’s longing for Krishna!

I have settled for my second choice, a filmy song ‘o mrignayani chandramukhi’ from the film RANG BIRANGI (1983). The song based on Raag Desh is sung by Pandit Vasantrao Deshpande and Kumari Faiyyaz. The lyrics are written by Yogesh which are set to music by R D Burman. The situation for the song in the film is the 40th wedding anniversary of retired Judge Banerjee (Om Prakash) and his wife (Chhaya Devi) while the couple in the making Professor Jeet (Farooque Shaikh) and Anita Sood (Dipti Naval) have come to wish them on this occasion. Though the song is a light-hearted one, the last stanza echoes the ideal wish of most of the old couples adding a bit of pensiveness. They wish to leave for heavenly abode together. This song seems to have been deleted from the film’s VCD/DVD I could not in the movie uploaded on YT.

A word about Kumari Faiyyaz. She is a classically trained singer and actor in Marathi theatres and films. She has also acted in some Marathi serials. Incidentally, Kumari Faiyyaz worked with Pandit Vasantrao Deshpande in the immortal Marathi musical play ‘Katyar Kaljat Ghusali’ as actor-singer for some shows. She also gave playback singing in Hindi films like ‘Bawarchi’ (1972), ‘Jai Radhe Krishna’ (1974), ‘Shaque’ (1976), ‘Aalaap’ (1977) and ‘Jumbish’ (1986).

Video

Song-O mrignayani Chandamukhi (Rang Birangi)(1983) Singers-Pandit Vasantrao Deshpande, Kumari Faiyyaz, Lyrics-Yogesh, MD-R D Burman

Lyrics

o mriganayani chandramukhi
main hoon teraa prem deewaanaa
aa aa aa
aa aa aa
mriganayani chandramukhi
o sun rasiyaa
man basiyaa aa aa mere ae
o sun rasiyaa
man basiyaa aa aa mere
mujhe tu bhool na jaanaa
aa aa aa
aa aa aa
aa aa aa

mriganayani chandramukhi

jab jab mere naino se uljhe ae
mad-bhare tere nainaa
aa aa aa
aa aa aa
jab jab mere naino se uljhe ae
mad-bhare tere nainaa
aa aa aa
aa aa aa
tab tab nain mein mahak uthhe ae
wo pahli suhaag ki rainaa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
mriganayani chandramukhi

armaan yahi hai haathhon se ae ae tere
paan sada main khaaun re ae
teri baahon mein saans loon main
charnon pe mar jaaun re ae

o jaan meri phir aisi kabhi ee
baat zubaan pe naa aa laanaa
aa aa aa
aa aa aa
o jaan meri phir aisi ee kabhi ee
baat zubaan pe naa aa laanaa
aa aa aa
aa aa aa
saath jiyen hain
saath marenge ae
gaate gaate gaanaa
aa aa aa
aa aa aa
aa aa aa
mriganayani chandramukhi

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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Id Mubaarak, to all dear friends and visitors.

The trials and penance of the fasting month, Ramzan come to an end and it is the day to celebrate with happiness. A day of joy, to celebrate with family, and friends. It is a day to greet even the strangers that one meets. A day of fresh new attire, a day of favorite savories, a day of family get togethers, leisure time with friends, shopping ventures, exchange of gifts, and yes, ‘idee’ for the children. (‘Idee’ is the gift that the children received from elders today, when they meet them and pay their respects. It is a token, presented in cash or kind.)

Also the day to celebrate realization and knowledge. The day when the Holy Quran Paak was revealed to Prophet Muhammad (PBUH) as the word of God, by Archangel Gabriel. The days of the month of Ramzan represent the days when he would retreat to a cave in the mountains for seclusion and prayer. Later, he announced that he was visited by Gabriel and had received his first revelation from God. Three years after this event Muhammad (PBUH) started preaching these revelations publicly, proclaiming that “God is One”, and that complete “surrender” to Him is the only way acceptable to God.

A day of universal happiness, a day that represents the revelation of the basic truths of existence, and the relationship between man and God. It is the day for the realization of these basic principles that unify all of mankind under one Supreme. And so, it is the day to greet all, whether friend or stranger, for it is the day of the belief in the principle of the underlying oneness of the human race. Amen.

I present a rare song in the voice of Naseem Bano. The song is from the film ‘Mulaqaat’ from 1947. The lyrics are by Qamar Jalaalabaadi and the music composition is by Khemchand Prakash. Produced under the banner of Tajmahal Pictures, the film is directed by Munshi ‘Dil’, who also shares the credits for writing lyrics for seven of the eleven songs listed for this film. The star cast of the film is Naseem Bano herself, Prem Adeeb, Mumtaz Ali, Ram Shukl, Majid, Kesar Bai, Sunetra, Najma Jafri, Lakshman, Ishrat, Jairam, Shah Nawaz etc. Since Naseem Bano is the lead actress in this film, it can be safely surmised that this song is performed by her on screen.

It is a very simple, and yet a very endearing song of love, as the lady is praising the moon of the day of Id, and requests it to carry her message to the gentleman she is in love with. The words and the melody is lovely. An interesting thing that comes to mind as I was preparing this post – we have read earlier about many exquisite and timeless bhajans that have been created and sung by artists that do not belong to the Hindu tradition. The example of Baiju Bawra is the primary one, wherein the lyricist Shakeel Badayuni, music director Naushad and singer Rafi Sb have teamed up to create some of the most wonderful bhajan ever, on the Hindi film screen. In the case of this song, we have lyricist Qamar Sb (original name Om Prakash Bhandari) and music director Khemchand Prakash, both not belonging to the Islamic tradition, team together to create this lovely song of Id celebration. Praised be the power of the Hindi film song, that has the universal appeal to unify all people under a single umbrella. That is the power of music, that is what the Hindi film song will do to you.

Listen and enjoy.


Song-O chaand id ke (Mulaaqaat)(1947) Singer-Naseem Bano, Lyrics-Qamar Jalalabadi, MD-Khemchand Prakash

Lyrics

o chaand id ke
o chaand id ke
mera payaam keh dena
o chaand id ke
mera payaam keh dena
ye aakhri hai judaai ki shaam
keh dena aa
ye aakhri hai judaai ki shaam
keh dena

jo tujh ko poochen ke ae ae ae
is id ki khushi kya hai ae ae
jo tujh ko poochen ke ae
is id ki khushi kya hai ae ae ae
to chupke chupke
to chupke chupke unhen
mera naam keh dena aa
to chupke chupke unhen
mera naam keh dena
o chaand id ke
o chaand id ke ae
o chaand id ke
mera payaam keh dena

nazar uthha ke jab
dekhen wo pyaar se tujhko o o o
nazar uthha ke jab
dekhen wo pyaar se tujhko o o o
to jhhuk ke un se
to jhhuk ke un se
hamaara salaam keh dena aa
to jhhuk ke un se
hamaara salaam keh dena
keh denaa
o chaand id ke
o chaand id ke
mera salaam keh dena aa
o chaand id ke
mera payaam keh dena

————————————–
Hindi script lyrics (Provided by Sudhir)
—————————————-
ओ चाँद ईद के
ओ चाँद ईद के
मेरा पयाम कह देना
ओ चाँद ईद के
मेरा पयाम कह देना
ये आखिरी है जुदाई की शाम
कह देना
ये आखिरी है जुदाई की शाम
कह देना

जो तुझ को पूछें के
इस ईद खुशी क्या है
जो तुझ को पूछें के
इस ईद खुशी क्या है
तो चुपके चुपके
तो चुपके चुपके उन्हें
मेरा नाम कह देना
तो चुपके चुपके उन्हें
मेरा नाम कह देना
ओ चाँद ईद के
ओ चाँद ईद के
ओ चाँद ईद के
मेरा पयाम कह देना

नज़र उठा के जब
देखें वो प्यार से तुझको
नज़र उठा के जब
देखें वो प्यार से तुझको
तो झुक के उनसे
तो झुक के उनसे हमारा
सलाम कह देना
तो झुक के उनसे हमारा
सलाम कह देना
कह देना

ओ चाँद ईद के
ओ चाँद ईद के
मेरा सलाम कह देना
ओ चाँद ईद के
मेरा पयाम कह देना


This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Chaandni raatein – Song 1
———————————.

Euphoria over the 10000 posts in the blog is yet to settle. It has been an experience to behold to be part of such an exuberant and enthusiastic group of like minded people and to share the historic moment for the blog, virtually.

This was no storm in a tea-cup but had global repercussions. It was difficult to keep quite and wait. It helped that I was fasting and the day being a Sunday. Patience is a virtue which is usually tested during Ramazan. I had a couple of errand to run, a meeting to attend , which successfully prevented me from telling khyati ji that she should before going to sleep partake some ” Sehri ” i.e. predawn breakfast to begin the fast during Ramadhan /fasting days. It appears she did anyway with ‘Kaju Katli ” and ice cream :-) . I am no stranger to mid-night snacking and can completely identify with Khyati ji.

This is the first song of the new series named ‘Chaandni Raaten “. I was preparing for this for the last few weeks, and a few of my personal favourite, newer songs will feature in this series.

Today, it so happened that I got a call from Belgaum. It was my younger sister who is visiting there, wanting to know the recipe of ” Maalpua “. I told her what I knew about it as having made it years ago. It is one more local delicacy native of Mumbai I think. It is a rich dessert dish made of khoya, maida , eggs sugar & ghee. As I gave her my version, she said she was searching all over the net for the recipe and mine sounded much simpler and she will try it. It came to mind, right out of the blue that this recipe was taught to me by ‘Daadi’ (Our paternal grandmother) who has been dead almost 25 years. I was not much into cooking than and I am not into such pursuits now too. It is a mystery why ‘Daadi’ should have told me how to make this dish over my more interested elder sister. In another time I would have told her(younger sister) to ask Apa (our elder sister), without even thinking about it or putting any pressure on my mind/memory. That was the easy solution to all our small/big queries.

Tomorrow I will call my sister and find out how much of a disaster did her “Maalpua ” turned out to be :-). Unlike me she is much more capable of quick thinking in the kitchen and making the best of such disastrous advice’s from the likes of myself.

Let us move on to the song and this new series. The new series is about some outstanding song old and new, talking about moon, night and moon light, i.e. chaand , raat and chaandni. ‘Chaand’ will feature in all songs but ‘ raat ‘ may in some songs.

First song is for the ‘chaand raat’ the evening / night prior to ‘eid’ when the new moon is sighted. After ‘Ramadhan ‘ next month of ‘Sha’aban’ begins with this new moon. First of ‘Sha’aban’ is the ‘Eid-ul-fitr” which is commonly known as Ramazan Eid. For Eid day wearing of new clothes is a must. It is also a tradition of sorts to go last minute shopping on ‘Chaand raat’ for matching jewellery, footwear, purse etc etc. the accessories we need to dress up are endless. In stories and novels this event in described in detail, so that we ignorant’s know about this, never having personally experienced this. Tailors are in great demand in this season. Sometimes it happened that the Tailor didnt give the clothes on time. And on chaand raat he will send someone to deliver the clothes late in the night. Or go for ‘Mehndi application’ somewhere. All this did amounts to last minute preparation on ‘chaand raat’.

Presenting a song to mark this occasion with a new moon sighting song from the film ‘Sanwariya’ (2007). Parthiv Gohil is the singer of this song composed by Monty Sharma and written by Sandeep Nath. Frankly, I am not impressed with the singer’s prowess, but the song itself is good and nicely picturized on Sonam Kapoor and Ranbir Kapoor, in a glamorous dreamy setting.

The moon has its appeal when it is full and it is infinitely alluring as a silver crescent. Hoping to see the silver lining on the horizon from the window this year despite monsoon, even as the sun sets. It is usually visible for a few minutes only.

‘Chaand Mubarak ‘ and “Eid Mubarak” to all participants and visitors to the blog. May this new moon fill the lives and hearts of all of us with peace, sweetness and happiness.


Song-Yoon shabnami pehle nahin thhi chaandni(Saanwariya)(2007) Singer-Parthiv Gohil, Lyrics-Sandeep Nath, MD-Monty Sharma
Chorus
Unknown male voice

Lyrics

hmmm mmmmm
mmmm mmm
mmmm mmmm
Yoon shabnami ee ee
pehle nahin thhi chaandani
chaand wo bharmaa gayaa
tujh ko dekhaa to
sharmaa gayaa
wo churaane lagaa hai nazar
yoon shabnami ee ee
pehle nahin thhi chaandni
ho o
yun shabnami ee
pehle nahin thhi chaandni ee
chaand wo bharmaa gayaa
tujh ko dekhaa to
sharmaa gayaa
wo churaane lagaa hai nazar ar
yun shabnami ee ee ee

dekho chaand aaya
chaand nazar aayaa aa
dekho chaand aaya
chaand nazar aayaa aa
dekho chaand aaya
chaand nazar aayaa aa
aaya aaya aaya
chaand aaya sharmaaya
haan ji haan
aaya aaya
haan ji aayaa sharmaayaa

tu bhi aa aa jaa
sanwariyaa aa

aaya aaya aaya
dekho chaand nazar wo aaya
dekho chaand nazar
dekho dekho ji
chaand nazar wo aaya
bharmaaya aaya aaya
chaand aayaa sharmaaya

dheere dheere aa ke
hawaa gungunaa ke
har khabar de tumhaari ee
kaisa ye nasha hai
nazar mein ghulaa hai
har ghadi hai khumaari ee
nashe mein qadam mere
udhar kabhi idhar
gumsum nazar
jaayen kidhar
kho gaye tujh mein
ham iss qadar ar
yoon shabnami
ee ee ee ee

ho o
pari ho o
o o
ho o
pari o
o o o


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today, the 29th of July, is the death anniversary of Johnny Walker.

Since he is one of my favourite actors of yesteryear Hindi cinema, I am happy to pay tribute to him on this occasion.

Johnny Walker, whose original name was Badruddin Jamaluddin Kazi, was easily one of the most popular actors seen in Hindi cinema in the 1950s and 60s. It is safe to say that in his genre, i.e comedy, he absolutely ruled that era.

Before joining cinema he was a bus conductor in BEST (Mumbai’s bus service). While on this job, he would often entertain passengers with his gigs. Balraj Sahni is credited with noticing his talent and bringing him to the notice of Guru Dutt, for whom Balraj Sahni was then writing Baazi. Not only was Guru Dutt impressed by his “drunkard” acting, he also gave him the name of Johnny Walker, the Scottish whisky brand.

This was a start of a good friendship and mutual respect between Guru Dutt and Johnny Walker – one that saw Johnny Walker as a regular in most Guru Dutt films such as Baazi, Jaal, Baaz, Aar Paar, Mr. and Mrs.55, CID, Pyaasa, Kaagaz Ke Phool and Chaudhvin Ka Chand. In interviews, Johnny Walker has spoken very highly of Guru Dutt.

As with others who aspired to play lead roles, Johnny Walker did play the lead role in a few films in the 50s. Among the best-known ones is Chhoo Mantar (1956) with the famous “tumhi ne dard diya hai, tumhi dawa dena” song. And of course, the film Johnny Walker (1957) itself, where he was cast opposite Shyama. (Now how many actors can claim to have a film in their name – and one in which they themselves starred!)

But, for all his lead role efforts, Johnny Walker truly made his name when it came to comedy roles.

And how!

Johnny Walker struck gold as a comedian. His very presence as a comedian in a film immediately lightened the mood of the viewers. However serious the film otherwise was, one was guaranteed a few smiles by Johnny Walker. Perhaps one of the best examples of this is “sar jo tera chakraaye” in Pyaasa. An otherwise intense film is provided with a few light moments, thanks to Johnny Walker.

In fact, Johnny Walker was so popular in his time that producers would often throw in at least one song in the film picturised on him. And guess what? Quite often this song would become very popular, thereby only further feeding this practice. ? Most of these songs were sung by Rafisaab – and the voice suited Johnny Walker so much that it almost felt like Johnny Walker was singing himself!

There are many such songs one can think of – songs which come to the top of my mind now are “jaane kahaan mere jigar gaya ji” (Mr.and Mrs. 55), “ye hai Bambai meri jaan” (CID), “sar jo tera chakraaye” (Pyaasa), “jungle mein mor naacha” (Madhumati), “mera yaar banaa hai dulha” and “ye duniya gol hai” (Chaudhvin Ka Chand), “chhedo dhun matwaalon ki” (Ghar Sansar), “pata note karo” (Zara Bachke), “hum bhi agar bache hote” and “ek musafir ko duniya mein kya chaahiye” (Door Ki Awaaz) and “suno suno Miss Chatterjee” (Baharen Phir Bhi Aayengi). But this is just a chhoti jhalki – there are many more songs picturised on him, and loved by film fans.

Johnny Walker had his own style – and people loved him for it. He had a trademark way of walking and a trademark way of talking. He could charm people with just the way he delivered his dialogues. I know he charmed me every single time I saw him on screen. I can never forget the way he delivered his dialogues in Urdu (often reciting shaayri) in the Rajendra Kumar – Sadhana starrer, Mere Mehboob (1963). It was very endearing, to say the least.

Johnny Walker’s comedy was always clean. In later years, one could sometimes see double entendre getting into comedy but Johnny Walker made sure his comedy was always free of such influences. In fact, in one of his interviews, he said this was one of the reasons he began withdrawing from acting in the 70s. Although he did act in the odd role, off and on, his career was primarily a 1950s/60s career.

Another reason why he began withdrawing from acting was that the 70s heralded a new type of cinema. Till then, there were clear roles for various types of actors. The hero, heroine, villain, comedian, vamp – they all had their specific roles. The comedian provided the comedy element, the hero was the good guy, doing the heroic acts, wooing the heroine and defeating the villain.

In the 70s, the heroes began sometimes doing comedy roles too. One could see a Dharmendra or an Amitabh Bachchan or a Sanjeev Kumar doing comedy at times. And the audience loved this. The role of the typical comedian was, in the process, sometimes considered redundant.

Another reason Johnny Walker retired from acting early was that he felt he had earned enough and he wanted to spend time with family . For many years, he was the main bread winner for his family – once his family commitments had been taken care of, he did not care to keep on working and earning more money. I remember an interview where he said that he never wanted more money than he needed. I found this a very interesting thought process – usually one finds people wanting more and more money all the time. :)

So in a sense, Johnny Walker quit acting pretty much on his terms and at a time he felt right to do so. In any profession, one cannot expect more than this. To be able to work on your own terms and quit when you feel like doing so.

Johnny Walker was a much-loved person – and will be always remembered as somebody very special in Hindi cinema. I know that when I was growing up, my eyes used to light up when the name of Johnny Walker would appear in the cast of a film. I would even try to copy his walk and talk. :)

Now for today’s song.

The song that I have chosen to present here is one picturised on Johnny Walker and Shammi. It is a fun song, sung in the outdoors, from the film Kaun Apna Kaun Paraya (1963). Lyrics are by Shakeel Badayuni, the music is composed by Ravi. Needless to mention, the song is sung by Rafisaab.

This film is probably best known for another wonderful Rafi saab song “zara sun haseena-e-naazneen”. The hero of this film is Vijay Kumar (original name Vahiduddin, brother of Johnny Walker), the heroine is Waheeda Rehman.

I haven’t seen the film – but that doesn’t come in the way of my enjoying this song. I hope you enjoy the song too. Pesh-e-khidmat hai…

Video(A few lines missing)

Audio (Full)

Song-Aashiq hoon apne pyaar ke jauhar dikhaaoonga (Kaun Apna Kaun Paraaya)(1963) Singer-Rafi, Lyrics-Shakeel Badayuni, MD-Ravi

Lyrics

Aashiq hoon
apne pyaar ke jauhar dikhaoonga
aashiq hoon
apne pyaar ke jauhar dikhaoonga
nazren milaake dil mein tere ghar banaoonga
No jhoot
by God
nazren milaake dil mein tere ghar banaoonga
aashiq hoon
apne pyaar ke jauhar dikhaoonga

dil ki zameen pe daal ke buniyaad pyaar ki
deewaar ik uthhaoonga sabr-o-qaraar ki
dil ki zameen pe daal ke buniyaad pyaar ki
deewaar ik uthaoonga sabr-o-qaraar ki
phir us mein intezaar ki khidki lagaaoonga
fresh hawa aane jaane ko haan
phir us mein intezaar ki khidki lagaaoonga
nazren milaake dil mein tere ghar banaaoonga
aashiq hoon
apne pyaar ke jauhar dikhaaoonga

ulfat ki shaandaar imaarat ke waaste
Laaoonga aasmaan ke taare bhi todke
ulfat ki shaandaar imaarat ke waaste
Laaoonga aasmaan ke taare bhi todke
makhmal na mil sakegi to aankhen bichhaoonga
import band hai na darling
makhmal na mil sakegi to aankhen bichhaoonga
nazren milaake dil mein tere ghar banaoonga
aashiq hoon
apne pyaar ke jauhar dikhaaoonga

naksha badaa ajeeb hai dil ke makaan ka
mushkil se ismein hoga guzar mehmaan ka
naksha badaa ajeeb hai dil ke makaan ka
mushkil se ismein hoga guzar mehmaan ka
aur mera kya hai main to kahin baithh jaaoonga
apun to ghar ka aadmi hai na, aa
aur mere kya hai main to kahin baith jaaoonga
nazren milaake dil mein tere ghar banaaoonga
aashiq hoon
apne pyaar ke jauhar dikhaaoonga
aashiq hoon
apne pyaar ke jauhar dikhaaoonga


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

GEMS FROM THE MIGRATORS…Song No. 4
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When I decided to start this series and my first post appeared here, I had anticipated that there will be several comments from learned readers, who were more knowledgeable than me about the details of Partition and the artistes involved. True to my guess there were many comments on my Fb page immediately. Comments were from people like Ummer Siddique ji, Khawaja Irfan Anwar ji and Dr.Surjit Singh ji. Ummer Siddique ji runs the famous Blog CINEPLOT.

Besides appreciating the post, they have also pointed out certain additions and alterations in the facts mentioned therein.They hav,thankfully, added so much of new information in the comments, that I must thank them heartily.

Oxford Dictionary gives the meaning of the word ” Migrate ” as ‘to move from one place to another’. The Collins Dictionary also gives similar meaning, adding that the migration could be for a job or to live. I have used the word Migration in its simple meaning when people moved from Bombay to Lahore or vice versa. It is well known that many film artistes of those times were initially working in Lahore or belonged to that part of old India, and came to Bombay in search of greener pastures. For example Master Ghulam Haider worked in Lahore from 1934 to 1944 and then came to Bombay. When he left for Pakistan in 1947, it is termed as his Migration. Nissar Bazmi, who was born in Jalgaon area of Khandesh in Bombay Presidency shifted to Pakistan in 1947. This too is Migration.

Partition was truly an injury to both the nations and during that period million lives were lost, property worth billions were looted and destroyed and thousands of families were divided. Post Partition period also saw its impact on contents of films and film making in both countries. All this is described in details in the book ‘Mourning the Nation-Indian cinema in the wake of Partition’ by Bhaskar Sarkar (published by Duke University press-2009). Fortunately,there were few noble souls on both sides to help stabilise matters early.

Today we will talk about Composer RASHEED ABDUL ATRE. he was born in Amritsar in 1919. His father Khushi Mohammed was a well known musician and singer. Rasheed learnt music from Ustad Khan saheb Ashfaq Hussain. Then he went to Calcutta and worked under R.C.Boral. During his stay in Calcutta he is presumed to have composed songs for films “Pardanasheen”-1942 and “Mamta”-1942, under the name R.A.Atra. After coming back to Bombay he joined Jhande Khan and Gobindram in composing songs for “Pagli”-43. He was assistant to composer Amir ali in “Panna”-44. With Pt.Amarnath,he composed songs for “Shirin Farhad”-45. Then came Room No.9-46,Nateeja-47,Paro-47 and Shikayat-48. From 43 to 48 he gave music to 6(confirmed) films. Not much, but then he did not get much time too.

Nateeja was a Muslim social made by Bombay Talkies and he was specially called for it. Nateeja music was his best in India and all its songs became very popular. for Room No 9-46,he worked in Navyug Chitrapat co. where one of the owners was P K Atre, a noted Marathi writer and Dramatist. P K Atre was ,of course a Hindu,but it was a coincidence.

After Partition Atre went to Pakistan. He first served Radio Pakistan, Rawalpindi and then at Lahore. He prospered in Pakistan and gave music in 54 Urdu and Punjabi films. He was awrded the coveted Nigar Award 3 times in a row. He died on 18-12-1967,at the age of only 48 years. The famous Marching song of Pakistan ” Allah o Akbar ” was composed by Rasheed Atre. (Thanks to shri Harish Raghuvanshi ji for information).

Film Nateeja was made by Bombay Talkies and it was directed by Najam Naqvi. The Lyricist was Nakshab Jarachavi and the cast consisted of Yaqub, Shameem, Rehana, Majeed, Maya Devi, Khaleel Aftab etc. All these named persons left for Pakistan later at different times.

Director Najam Naqvi’s full name was Najmul Hasan Naqvi. He was born on 11-4-1913 at Moradabad-UP. When he was working in Bombay Talkies as a continuity man and as a general assistant and an actor (Achhut kanya-36),the Hero of the film ‘Jawani ki Hawa’-35-Najmul Hasan (an extremely handsome man) eloped with Devika Rani, Heroine of the film and wife of the owner Himanshu Rai. Due to similar names, this Naqvi was embarrassed and to avoid Same name Confusion, he changed his name to a shorter verios as Najam Naqvi.

He worked in the Direction department and his first film as an independent Director was PUNARMILAN-1940.

He went on directing films like Raja Rani-42, Tasveer-43, Naya Tarana-43, Panna-44, Prithwiraj Sanyogita-46, Nateeja-47, Parayee Aag-48, Actress-48, Nirdosh-50, Rangili-52 and last film-Samrat-54.

In 1955, Najam Naqvi migrated to Pakistan and directed 7 films there from Kunwari Bewa-56 to Payal Ki Jhankaar-66. Najam Naqvi died on 26-1-82 at Lahore. Due to same name, many sites including IMDB mix up the filmography of these two artistes.

Here is the story of film ‘ Nateeja ‘-1947-

This film was built upon the principle that, the impressions and the environments of childhood mould the life and character of the man. The life and happiness of many an individual have been wrecked on account of the follies of their parents. The so-called pleasant pastimes of the rich father have so often gone to make his son even a criminal. Born in a once rich and high society family of a Nawabs. Aslam (Yaqub) the little kid often witnessed the orgies of gambling, cockfights and dancing girl parties organised by his father. Aslam, the man revelled in such gambling, visited singing girls and had to resort to crooked ways and cheating to make his both ends meet.

He was enamoured by Zohra,a professional singing girl, the latter caring for nothing but the money and jewels the former could bring for her. Aslam succeeded in impressing upon an erstwhile rich Nawab that he was conducting a big business, and the Nawab gave his daughter Suraiyya in marriage to Aslam. The wife was soon disillusioned, because Aslam robbed her of all her ornaments to bestow them on Zohra. Suraiyya’s life was all misery, as Aslam neither cared for her nor for their first born, Salim, and so her father took her and her son to his house.

One day Aslam came across a little boy playing on the road. He lifted him up and went to a jewellers shop. leaving the child there, under the excuse of showing the ornaments to his womenfolk in purdah, waiting in a tonga outside the shop. He decamped with the ornaments. The jeweller took home the child and as he had no issue, he brought him up as his own son and called him Mehmud.

Some years later, on the death of her father, Suraiyya, with her little niece Shabana shifted to a new place, which happened to be adjacent to the jeweller’s residence. By that time Mehmud had grown up into a handsome youth, so much so that he could not be recognised even by his mother. Mehmud and Shabana loved each other, and Suraiyya was about to propose Shabhana’s marriage to Mehmud, when his adopted mother gave out that he was an orphan of unknown parentage.

Mehmud abruptly left the jewellers place and joined a film company in Bombay, where the heroine, was so much infatuated with this handsome youth, that she even spurred and insulted her paramour. The heroine was none else than Zohra and her paramour was Aslam. Neither Aslam knew that the other youth was his son, nor did Mehmud know that the other man was his father. Aslam had satrted practice as a hypnotist, and Suraiyya, seeing an advertisement with his photograph in a paper learnt that he was in Bombay, and so she persuaded her neighbour, the jeweller, to accompany her to Bombay to reclaim her husband. The jeweller did the trick. He once accosted Aslam on the road, and under the pretext of taking him to a new singing girl, he took him to the place where Suraiyya had put up. On seeing Suraiyya, Aslam was astonished. On the other front, the rivalry between Aslam and Mehmud about Zohra had grown into a desperate situation, and very sensational development takes place.

Aslam asks Suraiya about their son Salim and she tells him that he was lost. Listening to this talk,the jeweller realises that Mehmood is no one but Saleem. Suraiyya,Aslam and the jeweller go to the company where Mehmud’s shooting is going on. Zohra is also there. Aslam and the jeweller tell Mehmud that he is son of Aslam. Aslam is now ashamed of what he did in the past and stays with Suraiya. Mehmud is married to Shabana. Zohra goes away and thus the end is happy.

Let us now enjoy a song by Zohrabai Ambalawali, from this film. This had become very popular in those day.


Song-Ho mori baali umariya saanwariya (Nateeja)(1947) Singer-Zohrabai Ambalewaali, Lyrics-Nakshab Jarachavi, MD-Rasheed Atre

Lyrics

Ho o o
moree baalee umariya
ho o o
moree baalee umariya
saanwariya
saanwariya
dekho maaro naa
o dekho maaro naa tirchhee najariya
dekho maaro naa tirchhee najariya
najariya
saanwariya
saanwariya
haay baalee umariya
ho o o
moree baalee umariya

tore nainan mein jaadu hai o bekhabar
ho tore nainan mein jaadu hai o bekhabar
yahee darr hai ke dil mein naa kar jaaye ghar
haan yahee darr hai ke dil mein
naa kar jaaye ghar
rahe apnee naa mohe khabariya
rahe apnee naa mohe khabariya
O sanwariya
dekho maaro naa
O dekho maro naa tirchhi najariya
najariya
sanwariya
sanwariya
haay baalee umariya
ho o moree baalee umariya

miley naina se naina
jiya kho gaya
haay jiya kho gaya
miley naina se naina
jiya kho gaya
haay jiya kho gaya
yeh aankhon hee aankhon mein
kya
ho gaya
ho gaya
jaane aankhon hee aankhon mein
kya ho gaya
more baanke sajeele sanwariya
more baanke sajeele sanwariya
O sanwariya,
dekho maaro naa
O dekho maaro naa tirchhi najariya
najariya
saanwariya
saanwariya,
haay baalee umariya
ho o moree baalee umariya


T This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Ek Teri Nishaani” (1949) was directed by B K Sagar for Kwatra Arts Productions. The movie had Meena, Trilok Kapoor, Azmal, Zahoor Shah, Johar, Maruti, Urvashi, Tara Sinha, Shyama, Usha Rani, cuckoo, Om Prakash etc in it.

This movie had two music directors in it, viz Pt Aamrnath and Sardul Kwatra. One song (composed by Sardul Kwatra) has been discussed in the past.

Here is the second song from the movie. This song is sung by Uma Devi (Tuntun).Batish. Listening to the song, it is clear that the song is sung by Uma Devi and not S D Batish. It could mean that the source material giving details of the songs of this movie itself had errors leading to incrrect information and faithful reproduction of this incorrect error by all sources.

Lyrics of this song were sent to me by Avinash Scrapwala.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Dil deke pachhtaa gaye ham (Ek Teri Nishaani)(1949) Singer-Uma Devi, Lyrics-Sarshar Sailaani, MD-Pt Amarnath

Lyrics(Provided by Avinash Scrapwala)

Dil deke pachhtaa gaye ham
dil deke pachhtaa gaye
haaye re dhokha kha gaye ham
haaye re dhokha kha gaye ham
ho o o
dil deke pachhtaa gaye ham

pyaar mein thokar haaye
khaa gayaa dil
pyaar mein thokar haaye
khaa gayaa dil
kis ki chaal mein
aa gayaa dil
dil ki chaal mein aa gaye ham
haaye re dhokha kha gaye ham
ho o o
dil deke pachhtaa gaye ham

aas bharaa dil haaye
toot gaya
aas bharaa dil haaye
toot gaya aa aa
sabr ka daaman chhoot gaya
ro ro ke ukta gaye ham
haaye re dhokha kha gaye ham
ho o o
dil deke pachhtaa gaye ham

preet ik haaye rog lagaana hai
preet ik haaye rog lagaana hai ae
jeete jee mar jaana hai
preet ke bhed ko paa gaye ham
haaye re dhokha kha gaye ham
ho o o
dil deke pachhtaa gaye ham


This article is written by Aparna H M, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

My first post was about a girl singing about how she is feeling after falling in love. The next post was about the feelings of a girl about to be married. This one is about a girl who is being teased for her strange behavior after falling in love with the eternal one, “Krishna”. Hindi films are mostly about love in different settings, situations. Some probably think that this limits the scope of our films. But I say, why not? We should celebrate the strongest of emotions which is love, isn’t it? If all people start loving each other and there is no hatred …… This belongs to an utopian world, like my favorite song “aa chal ke tujhe”. If only this is possible….

The song has been listed as one of his favorites by AKji of “Songs of Yore”. The simple lyrics are by Rajinder Krishan and music composition is by the hugely talented Chitraguptji. I think I have loved almost all the songs that I have listened to which are composed by him. Music sounds simple but when you try to sing along, you know the difficulties. Sung by Lata, it sounds as though it is sung by a very young innocent girl. She also sounds so sweet that she gave me diabetes. :)

This dance-song is from a movie called Kangan which was released in 1959. The star cast includes Ashok Kumar, Nirupa Roy, Poornima, Naaz, Daisy Irani etc. The movie seems to be full of enchanting songs and I hope that the regulars find this song enchanting too. The song is picturized in a restaurant in which Naaz is performing on stage. She is just dancing and not lip-synching. It is sung by Poornima who is also playing sitar. The guests include Ashok Kumar, Nirupa Roy, Daisy Irani and a person who looks like a villain. There is a small snippet during which Ashok Kumar tries to become romantic and is admonished by his wife Nirupa Roy. PDA is not welcome though she enjoys it secretly. Poor thing, Dadamoni, what did he do to deserve it!! But our heroine allowed herself to dream. She takes the position of Poornima and starts singing in snatches. She does not take the place of Naaz as probably she, in reality thought she cannot dance :)

The love mentioned here is between Radha and Krishna. Radha, eager to meet her beloved pretends that she has to fetch water from Jamuna. Alas, today’s girls don’t get to do this. Simple bahaanas don’t work nowadays, girls have to be innovative. By pretending so, Radha becomes the target of teasing by her sakhis. Sakhis very well know that her intention is to enjoy and make merry with Krishna. Her anklets make pleasant sounds as she walks. She has adopted the “thumak thumak” style of walking. Her friends have seen that Radha is always lost in thoughts and has become a puzzle for them. Poor thing, she has forgotten her body and soul and also forgotten about the mirror. Mirror is of no use to her since she has lost the habit of make-up (let us say that this is a bad translation of ‘haar singaar’ :). There is another kind of love in which the girl is perpetually worried about looks and dress. She is always sitting in front of the mirror, either “make-up” lagaatee rehti hai yaa aayina ghoorti rehti hai aur sapne dekhti rehti hai. But Radha is so smitten in love that she thinks only about Krishna and has blissfully forgotten her being itself. This is perhaps an example of devotion/love of the highest standards.

The sakhi who is singing is cautioning others girls that love is bad, it makes you forget your hearth and the earth. Only who has gone through it understands the pain of love. So girls, beware of love !


Song-Dekho paniya bharan ke bahaane (Kangan)(1959) Singer-Lata, Lyrics-Rajinder Krishan, MD-Chitragupta

Lyrics

dekho paniya bharan ke bahaane
bahaane
dekho paniya bharan ke baahane
bahaane
chali jamuna ki oar
radha us chit chor sang raas rachaane
dekho paniya bharan ke baahane

paayal chhamke ghunghru chanke
thumak thumak chale chaal albeli
preet mein kho ke ban gayi raadha ek paheli
saanwre ne dekha kya raadhika kaahe jaani
dekho paniya bharan ke bahaane
bahaane
dekho paniya bharan ke bahaane

tan man bhoola
darpan bhoola
bhool gayi hai raadha haar singaar bhi
tan man bhoola
darpan bhoola
bhool gayi hai raadha haar singaar bhi
sun ri sakhi
ye pyaar bura hai
ghar bhi chhuda de aur sansaar bhi
jis tan laage ji wahi tan jaane
dekho paniya bharan ke bahaane
bahaane
dekho paniya bharan ke bahaane
bahaane
chali jamuna ki oar
raadha us chit chor sang raas rachaane
dekho paniya bharan ke bahaane
baahaane
dekho paniya bharan ke baahane


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

GEMS FROM THE MIGRATORS….song No. 3
——————————————

Private life of a celebrity has always been a matter of curiosity for the common man and if the celebrity is from the show world like films ,then there is all attempts to dig out the ‘ behind the scene’ stories about the famous people.

In the early era, the female artistes were from the courtesan or the singing families. The males too were not much educated. Thus there were many cases of illicit relationships and children out of wed locks. For the rich producers, having an ‘extra facility’ was a matter of a few thousands. In those days the social medias and the film magazines were not common hence such matters hardly came into the open. The insiders, however, knew many stories. few personalities like actor Shyam, Rafiq Ghaznavi, Prem Adeeb,C.Ramchandra were some of the artistes who were claimed to be involved in ‘ extra-curricular activities ‘. So were some Producers and Directors.

When careers are on the rise,talents are bright and the work is extraordinary, it hardly matters what the artistes do in their private lives. People are happy with their work. Yesteryear Actor,Singer and Music Director RAFIQ GHAZANAVI was one such person.

Rafiq was a singer from his school days and he became famous by the time he completed his Matriculation. He had learn music from a blind expert. He was called by H.M.V. to Lucknow and several records were made of his songs. He completed his graduation. He was an expert in Hindi, Urdu, English, Punjabi, Pushtu and Afghan Persian languages fluently. he was a voracious reader of English books. He edited a magazine “Raavee”. His stage shows were always housefull. He was honoured by the American Art Society with a Gold Medal. He was famous in the art circles of Lahore.

His first film as a composer was ” Pavitra Ganga”-1932. Then came Prithviraj Sanyogita-33 and Deewaani-34 etc. He was a good friend of producer Director Mehboob Khan. The voice accompanying the Mehboob Productions Logo is that of Rafiq Ghazanavi, “Muddai lakh bura chaahe to kya hota hai, wohi hota hai jo manzoor-e-Khuda hota hai”. The famous Logo consisted of a Hammer and Sickle, indicating the socialistic inclination of Mehboob Khan, who was a great follower of Pandit Nehru’s idealogy. When 14 year old Nargis was offered the heroine’s role in Mehboob’s ” Taqdeer ” the music was entrusted to Rafiq Ghaznavi. Shamshad Begum was brought from Lahore specially to sing her first songs in Bombay for “Taqdeer” and Rafiq Ghaznavi was directing her songs.

Famous writer Saadat Hasan Manto, in his book “Stars from another sky “, had devoted a full chapter to Rafiq. Manto, in his inimitable style has described all his ‘extra ‘ activities in details,as he was an observer for most of them. Rafiq was tall and handsome and had the magical quality to attract women. Wine and women were his weaknesses. But there was much more to Rafiq than only running after lowly women. He was never a one woman man. He had married 3 sisters, one after another, but never remained faithful to any one of them. As far as his music was concerned, he was very strict and never mixed these two things. He always tried to give his best in every film. Here is a short Bio from a Pakistani source-

” Born to an enlightened family in 1907, in Rawalpindi, Rafiq Ghaznavi was full of life since his earliest days. He passed his childhood amidst scenic, natural beauty, surrounded by mountains, valleys and lakes.

After receiving his matriculation examination degree, Rafiq Ghaznavi moved to Lahore. In Lahore, he completed his intermediate examination from Islamia College, Lahore. Then he graduated from the Punjab University in 1933.

During those days if a handsome, enthusiastic young man was endowed with acting talents, he was more inclined towards the glamorous movie business. Rafiq Ghaznavi was no exception. Let us go seventy-five years back in time and see how movies were made in that time period.

Those were the days of silent movies. Though the vocal film ‘Alam Ara’ was released in 1931, still silent movies were in vogue for quite sometime, just like black and white movies continued to flood the market after the advent of color movies.

Visionary movie director, Mian A.R. Kardar, is considered the discoverer or ‘Columbus’ of the Lahore film industry. Moved by Rafiq Ghaznavi’s powerful voice and good looks, Kardar signed him as hero for his silent movie, ‘Brave heart’, while the latter was studying in college.

Thus, Rafiq Ghaznavi debuted in the film ‘Brave heart’ in 1931 at the age of twenty-four. Soon Rafiq Ghaznavi began to outlive his town and his time while his companions were thinking what to make of their lives.

Perhaps, Rafiq Ghaznavi was one of Indo-Pak sub-continent’s most admirable, attractive, capable, good-natured, handsome and happy-go-lucky artists to grace films. He attained enormous respect and renown because of his versatility.

Director A.R. Kardar, on the other hand, made his first talking film, ‘Hoor Punjab’ in 1932. Later, he changed its name to ‘Heer Ranjha’ and it was released under the banner of Play art photo tone.

Handsome, as Rafiq Ghaznavi was, Kardar picked him up for the romantic lead role of ‘Ranjha.’ While actress Anwari played the lead romantic role of ‘Heer Seyaal’. Additionally, Rafiq Ghaznavi composed music and lent his impressive voice to all the songs. Hence, he was the hero-composer-singer in the film ‘Heer Ranjha.’ Since all the songs were pictured on him he was also the singing star.

In private gatherings, Rafiq Ghaznavi often said that whether it is a beautiful face or a lilting voice, gorgeous dress or demeanor, wonderful environment or a great moment, tasty food or an interesting conversation, one should always live to the fullest and makes life easier for others. He himself was a great talker an optimist, and expected others to talk and think positively.

After working in ‘Heer Ranjha’, Rafiq Ghaznavi migrated to Bombay and worked diligently for the Bombay film industry. Meanwhile, a world of new ideas had taken shape in an all-new era, as Rafiq Ghaznavi appeared in ‘Bharat movies’ film ‘Roshan Ara’, directed by G.R. Sethi.

Rafiq Ghaznavi was acclaimed for his character and music in director Shanti Dev’s movie ‘Jawani deewani’, which was released under the banner of Junaid pictures.

He eventually attained stardom with his convincing part in movies like ‘Samaaj ki bhool’, directed by Somi Master, and released under the banner of Imperial Film Company.

Rafiq Ghaznavi was doubtlessly a high-energy, first-rank film star, though; through his acting he exudes an old world formality. He acted in the film ‘Behan ka prem’ and composed the songs as well. It was released under the banner of Prosperity Film Company.

Though Rafiq Ghaznavi was the actor-director-composer in the film ‘Prem pujari’ such was the versatility of the man and his artistry. His best subject was music, which he anatomized in movies. ‘Prem pujari’ was released under the banner of Junaid pictures in 1935.

Essentially, Rafiq Ghaznavi was a lovable man whose hatred of hypocrisy was legendary. He learned a lot from his colleagues. But he was his own man, always. He was such a smart actor.

Below are examples of his intelligent acting-
‘Ghulam daku’, ‘Lail o nahaar’, Mere laal,Prem bazaar,Do auraten,Us ne kya socha,Bhaedi trishool,Kis ke liye,Chalti duniya,Chal chal re naujawan,Shyam savere,Manjhadhar,Pavitra ganga,Sanyogita,kala Naag,kaun kisi ka,Sitara,bahu Rani,Apni nagariya,Sikandar e azam, Prithvi Vallabh etc.

Most definitely, Rafiq Ghaznavi’s career was magnified with the coming of sound and he thrived in the new talkie age. Basically, he was a party-hearty man and his scrumptious personality added flavor to the stew. Besides, his vast experience in the films also added credibility to his performance. Below are three more movies in which he acted and also composed music:
The Minerva Movie tones film ‘Aik din ka Sultan’, director, Sohrab Modi.
The Sarko productions film, Swami, director, A.R. Kardar.
The Hindustan pictures film ‘Kajack’, director, Nazeer.

A lover of laughter, Rafiq Ghaznavi was not witty or humorous in only single instances or small quantities. He was full of mirth and fun. His was a gallant soul. The two movies below proved both their breadth and depth:

The Hindustan pictures film ‘Society’, director, Nazeer.
The Hindustan pictures film ‘Laila Majnu’, director, Nazeer, assistant director, Shareef Nayyar.

Like the character he played in the film ‘Mazaaq’, Rafiq Ghaznavi was a genuine actor, triumphing over roles in movies like ‘Najma’ and adding zest to such great films like ‘Taqdeer’ and ‘Nadaan’ in 1943.

The film ‘Mazaaq’ was released by Zahoor Raja’s film production, Raja Modi tone.
The film ‘Najma’ was the first Muslim social film directed by Mehboob Khan and released by Mehboob Productions.
Mehboob Khan directed the film ‘Taqdeer’.

In some ways, Rafiq Ghaznavi’s character is just as deluded and committed to his art as possibly it could be. A quick example is director Shaukat Husain Rizvi’s film ‘Naukar.’ It was released by V.M. Viyas’s film production, ‘Sun Rise pictures.’

After partition, Rafiq Ghaznavi migrated to Lahore. Later, he moved to Karachi. In Pakistan, he composed music for director Ashfaq Malik’s film ‘Pervaaz’ and director Aziz Ahmed’s film ‘Mandi.’ Next, he joined Radio Pakistan and dedicated himself whole-heartedly to the cause of Radio programs.

Dwelling on his personal life, Rafiq Ghaznavi married film actress Zehra and had a daughter, Shahina, from her. Shahina grew up and made her mark as an actress in movies like ‘Beli’, ‘Nigar’, ‘Aankh ka nasha’, ‘Bharosa’, and ‘Intiqaam.’

Rafiq Ghaznavi also had a son, Murad, from his first wife, Zehra. In due course of time, Rafiq Ghaznavi divorced Zehra. She married director A.M. Mirza and was known as Zehra Mirza.

Actress Anwari was the second wife of Rafiq Ghaznavi with whom he had a daughter, Zarina Agha. Later, Zarina changed her name to Nasreen and worked in director A.R. Kardar’s movie, ‘Shah Jehan’ and Daud Chand’s movie, ‘Aik Roaz.’
After Rafiq left Anwaribai, she married Jugal Kishore Mehra ( Raj kapoor’s Mama), who converted to Islam and became Ahmed Salman. He was also the director of Radio Pakistan. He adopted Nasreen and got her married to Agha Liyaqat Gul Tajik. He settled in London doing Diamond business.

Further, Nasreen Agha’s daughter, Salma Agha, achieved great name and fame as a singing star.

Actress Anu Radha, whose real name was Khursheed Akhtar, was the third wife of Rafiq Ghaznavi, with whom he had a son, Ayaz Mehmood. Furthermore, one of Rafiq Ghaznavi’s daughter married popular writer-director, Zia Sarhadi. Zia Sarhadi’s two sons, Khayam Sarhadi and Bilal Sarhadi attained fame in show business.

Interestingly enough, all three wives of Rafiq Ghaznavi were real sisters and they hailed from Amritsar.

Rafiq Ghaznavi, who was such a charismatic figure, a talented composer of the highest grade and a visionary, passed in 1974, in Karachi, at the age of sixty-seven. “

Today’s song is sung by Rafiq Ghaznavi and Menakabai. Menakabai was born in 1915 at Lahore in a professional singer family. Those days,such girls could easily enter films. Her debut was with ‘Bhedi Raajkumar’-34, a film by Saraswati Cinetone, Poona and the MD was Annasaheb Mainkar. After singing in Pyara Dushman, Krishna Shishtai, Sunehra Sansar etc, she joined Minerva movietone and sang in films like Pukar, Bharosa Main Haari, Sikander, Phir Milenge, Prithvi Vallabh, Bhakta Raidas, Dr Kumar, Sapera, Paak Daaman, Ulti Ganga etc. Her last film was Gul Bakavali-47. In the wave of new female playback singers she was pushed out and forgotten.

This song is shot on Meena and actor Al Nasir. This Meena is same ” Lara lappa girl “, but she had not yet become Meena Shorey. This was only her second film in Minerva Movietone. Her name was Khursheed Jehaan which was changed to Meena by Sohrab Modi. Her “Riches to rags” story was given by me in the earlier song of Prithvi Vallabh ,so I am not repeating here.

Let us now enjoy this duet from a talented singer/composer Rafiq Ghaznavi and Menakabai, shot on Meena and Al Nasir on screen. Rafiq and Al Nasir migrated to Pakistan after Partition and Meena in the 50s.


Song-Panchhi ud chal apne desh (Prithhvi Vallabh)(1943) Singers-Rafiq Ghaznavi, Menaka Bai, Lyrics-Pt Sudarshan, MD-Rafiq Ghaznavi
Both

Lyrics

Panchhi
ud chal apne desh
panchhi
ud chal apne desh
panchhi
ud chal apne desh
panchhi
ud chal apne desh

apne desh ki tujhko dhun hai
tere desh mein kya kya gun hai
jiski khaatir tujhko panchhi ee ee
jiski khaatir tujhko panchhi ee ee
bura lage pardes
bura lage pardes
panchhi
kaisa tera des
panchhi
kaisa tera des
panchhi

mere desh ki ajab adaayen
mere desh ki door balaaye
mera desh hai swarg ka tukda aa aa
mera desh hai sawarg ka tukda aa
phoole phale hamesh
phoole phale hamesh
panchhi
ud chal apne desh
panchhi
ud chal apne desh
panchhi

raste mein sankat aayenge
pag pag par bhay dikhlaayenge
raste mein sankat aayenge
pag pag par bhay dikhlaayenge

hum panchhi parchaayin bankar
hum panchhi parchaayin bankar
oopar se ud jaayenge
oopar se ud jaayenge
madad karenge dev hamare ae ae
madad karenge dev hamare ae ae
Brahma Vishnu Mahesh
Brahma Vishnu Mahesh
panchhi
ud chal apne desh
panchhi
ud chal apne desh
panchhi
ud chal apne desh
panchhi
ud chal apne desh


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Some songs do this to you. You may be reading the mukhdaa, off and on, for days, or even months. And still it does not ring a bell anywhere. The memory of that song is so well buried under layers and layers of other things that merely the words do not mean anything. But put it on the player and let the sound come to you. The connect is immediate, and suddenly the miles thick layer of forgetfulness evaporates in one blink of the eye. You will immediately want to get up, and just move – OMG, this is the song. . . after so many years. . . literally in my face for oh so long . . . goodness. And if the song is as full of delight as this one, you will not be able to control the urge to dance along, or may be just tap your feet, or maybe just drum with your fingers, and surely you will want to sing along. And all the while, thanking whoever makes such things happen, that you have re-discovered this song. Like meeting a very very dear friend, unexpectedly, after years of being away. Isn’t that feeling. . . just simply absolutely fantastic.

That is what happened recently, with me and this song. Searching for a song to add to my post for music director Robin Bannerjee, I was looking at the Geet Kosh, and lists of songs in my collection. I would have glossed over this one so many times, before I just decided to play a list of Robin Bannerjee’s songs in sequence. And when this song began to play, I simply had to get up from my chair, so euphoric was the feeling inside, and it required a great force to keep my voice to myself, but could not keep my emotions from welling out of my eyes. A very old friend from the radio listening days, and even then, not heard too frequently, since both the film and the artists are of that category, which is crowded out of the playing lists by other ‘hits’. But yes, counting the blessings; I am so glad to be re-joined with this song, after decades of separation. And I am just not being able to replay it enough. It is like the 10K Yipeeee. . . of Pradeep ji, ten times over. :)

Remembering Robin Bannerjee on the anniversary of his passing away (27th July).

Robin Bannerjee – a prodigal son of Bengal. A music director whose name is associated with such wonderful and everlasting gems like, “Tum Jo Aao To Pyaar Aa Jaaye” (‘Sakhi Robin‘, 1962), “Aankhon Aankhon Mein Har Ek Raat Guzar Jaati Hai” (‘Marvel Man’, 1964), “Tujhe Doon Main Kya” (‘Insaaf Kahaan Hai’, unreleased film from 1950s), “Hamen Un Raahon Par Chalna Hai Jahaan Girna Aur Sambhalnaa Hai” (‘Masoom’, 1960), ‘Anjuman Sitaaron Ki, Ye Mehfil Bahaaron Ki” (‘Rocket Tarzan’, 1963), “Iraada Na Tha Aap Se Pyaar Ka” (‘Aandhi Aur Toofaan’, 1964). . . and many more. His destiny was to be confined to stunt films of the type that reminds one of Tarzan and circus and space travel. But I get ahead of myself.

As I tried to search for information about him, there is not too much that I am able to collect. Most sources simply present a brief about his work, and not much about his life. But then what little is available, when combined with the quality of music he created, it makes a very fascinating reading. Born in Calcutta, he had an intense passion for music and films right from childhood. At the age of 15, he ran away from home and travelled to Bombay, with the dream making in big in Hindi cinema. One reference notes that he reached Bombay with just the clothes on his back. For period of time, he simply used to take bath at Juhu beach, late in the night, so he could wash and dry the only set of clothes he had. Sometimes, it is a wonder, the type of struggle and the circumstances some of these artists had to go through. Apparently, true passion is a driver that many of us armchair audiences will not be able to comprehend.

Months of visiting studios, producers and any friendly references that he could muster up, slowly paid dividends. He made an entry into the stage and theatre world in Bombay, and started getting work as a musician and a singer. A notable assignment at this time was with Sunil Dutt, who staged a play as part of a competition at Bombay’s St Xaviers College. The young Robin worked as the music director for the play, and also got to sing in the play. As connectedness and references led him forward into the film world, he got his first assignment as a music director with the banner Film Trust of India, for the bilingual film ‘Insaaf Kahaan Hai’ that was simultaneously to be made in Hindi and Sindhi. The songs were prepared and recorded in 1958, but the film itself could not be completed for release. Thankfully, the songs of this film are available, and in the voices of Hemant Da and Geeta Dutt, it is a string of some very lovely melodies that Robin created for his debut venture. Songs like “Tujhe Doon Main Kya, Ye Tu Hi Bataa”, “Hey Babu, Hey Bandhu” and “Sainyaan Bedardi” still have the power to stir the listener’s emotions and interests.

His next film is ‘Masoom’ (1960). The music direction for this film was actually assigned to Hemant Kumar. After recording the iconic “Naani Teri Morni Ko Mor Le Gaye” , Hemant Da had to be away out of the country for some reasons. The mantle of composing the remaining songs for the film was handed to Robin, who created such timeless classics like “Hamen Un Raahon Pe Chalna Hai” and “Ye Haath Hi Apni Daulat Hain” .

The songs captured the attention of listeners and producers and new assignments found their way to him. 1961 saw the release of ‘Wazir e Azam’. The film was a disaster. However, the music once again stood out amidst the flop, and two songs by Suman Kalyanpur garnered some attention – “Tu Kahaan, Main Kahaan, Moonh Chhupaaye Huye Chandni Ro Rahi Hai” and “Na Hum Tum Na Zaalim Zamaana Rahega”. This was followed in 1962 with what can be considered Robin’s most successful film – ‘Sakhi Robin’. The soft paced composition of “Tum Jo Aao To Pyaar Aa Jaaye” sounds fresh and ticklish even today, half a century later. In 1963 came ‘Rocket Tarzan’ and with it came the peerless melodies like “Yaa Rabba Rabba Ho, Kahan Jaata Hai Dil Le Ke Mera Ai Ai Yo”, “Unko Humse Badi Shikayat Hai, Pyar Karna Humari Aadat Hai” and the oh so lilting aria of “Anjuman Sitaaron Ki, Ye Mehfil Bahaaron Ki”. 1964 saw another hit with the Dara Singh and Mumtaz starrer ‘Aandhi Aur Toofaan” with wonderful songs that caught the attention of listening public – songs like “Iraada Na Tha Aapse Pyaar Ka” and “Dil Laya Main Bachaa Ke Punjab Se”.

Despite a body of work that sparkled with melody and impressed the listeners, the career of Robin Bannerjee remained confined to films whose names would immediately identify them to be B/C grade stunt movies. Names like ‘Hukam Ka Ekka’, ‘Marvel Man’, ‘Tarzan and Delilah’ all from 1964, ‘Flying Circus’ and ‘Tarzan and King Kong’ in 1965, ‘Rustom Kaun’ and ‘Spy In Goa’ in 1966, and ‘London Express’ in 1968. Sampling the music from these films is a like a trip through the garden of sweet and endearing melodies. But alas, his elevation to grade A films was just not to be.

Seventies was not a good time for Robin. He had one release in 1973 – ‘Phir Aaya Toofaan’, and another film – ‘Raaz Ki Baat’ remained unrleased. Interesting to note that the latter film has recently become available on the internet. There followed two accidents in his life, which confined him to bed and for recuperation for most part of the 1970s. As his life slowly ebbed away, so did his career. He passed away this day in 1986.

‘Sakhi Robin’ is a film from 1962, produced under the banner of People Pictures and directed by BJ Patel. The word ‘Sakhi’ (with an extra emphasis on the ‘kh’ sound) is actually an Urdu word with the meaning generous, helpful, beneficent. The cast of actors is Ranjan, Shalini Chonkar, Rajan Kapoor, Nilofer, Babu Raje, Vishwa Mehra, Shri Bhagwan, Dalpat, Habeen, Shyam, etc.

The six songs in this film are written by Yogesh (aka Yogesh Gaud). Two wonderful melodies from this film are already posted here. This is the third song from this film – song that is going to surprise and steal your heart away. The pace is terrific, and the changeover between the main singer and chorus is just delightful, as is the percussion beat when the singer sings the half line – ‘dekho re aaya’. A very wonderfully crafted song.

A word about the singer. The voice is that of Suman Kalyanpur. A very very interesting note at this point is the fact that Robin did never get Lata to sing for him. However, the manner in which he has used other signers, especially Suman Kalyanpur, one does not feel the lack of Lata ji’s voice in his body of work.

This is a song of the farmer, who is expressing delight and happiness on seeing the waves of golden crop in the fields. Not just that the song has been crafted so beautifully, it has also been presented on screen with real good taste. I am sure as you listen to it, you will not be able to stop yourself from pressing the replay button.

Simply wonderful. Listen and enjoy.


Song-Dekho re aaya mausam suhaana (Sakhi Robin)(1962) Singer-Suman Kalyanpur, Lyrics-Yogesh, MD-Robin Bannerji
Chorus

Lyrics

dekho re aaya mausam suhaana
dekho re aaya mausam suhaa. . .na
kaise kahoon sone ka rang aaj lehrayaa
dekho re aaya
dekho re aaya mausam suhaana

saji huyi aaj hariyaali
jaise koi dulhan matwali
saji huyi aaj hariyaali
jaise koi dulhan matwaali
jhool rahaa pawan hindolay
ho jhool rahaa pawan hindolay
jaise koi sapna chhaaya
dekho re aaya
dekho re aaya mausam suhaana
dekho re aaya mausam suhaa. . .na
kaise kahoon sone ka rang aaj lehrayaa
dekho re aaya mausam suhaana

udne lagey rang bhare baadal
goonj uthi kheton mein paayal
udne lagey rang bhare baadal
goonj uthhi kheton mein paayal
jhoom uthi phir se umnagen
o jhoom uthi phir se umnagen
dil ne naya geet gaya
dekho re aaya
dekho re aaya mausam suhaana
dekho re aaya mausam suhaa. . .na
kaise kahoon sone ka rang aaj lehrayaa
dekho re aaya mausam suhaana

dharti ki aaj hai diwaali ee
jhoome har ek phool har ek daali
dharti ki aaj hai diwaali ee
jhoome har ek phool har ek daali
door kahin boley papiharaa
o door kahin boley papiharaa
mann ye mera sharmaaya
dekho re aaya
dekho re aaya mausam suhaana
dekho re aaya mausam suhaa. . .na
kaise kahoon sone ka rang aaj lehrayaa
dekho re aaya mausam suhaana
oh ho o ho o ho
aa ha aa ha aa haa
oh ho o ho o ho
aa ha aa ha aa haa
oh ho o ho o ho
aa ha aa ha aa haa
aaa aaa aaaa aaa

—————————————
Hindi script lyrics (Provided by Sudhir)
—————————————-

देखो रे आया मौसम सुहाना
देखो रे आया मौसम सुहा ॰ ॰ ना
कैसे कहूँ सोने का रंग आज लहराया
देखो रे आया
देखो रे आया मौसम सुहाना

सजी हुई आज हरियाली
जैसे कोई दुल्हन मतवाली
सजी हुई आज हरियाली
जैसे कोई दुल्हन मतवाली
झूल रहा पावन हिंडोले
हो झूल रहा पावन हिंडोले
जैसे कोई सपना छाया
देखो रे आया
देखो रे आया मौसम सुहाना
देखो रे आया मौसम सुहा ॰ ॰ ना
कैसे कहूँ सोने का रंग आज लहराया
देखो रे आया मौसम सुहाना

उड़ने लगे रंग भरे बादल
गूंज उठी खेतों में पायल
उड़ने लगे रंग भरे बादल
गूंज उठी खेतों में पायल
झूम उठीं फिर से उमंगें
ओ झूम उठीं फिर से उमंगें
दिल ने नया गीत गया
देखो रे आया
देखो रे आया मौसम सुहाना
देखो रे आया मौसम सुहा ॰ ॰ ना
कैसे कहूँ सोने का रंग आज लहराया
देखो रे आया मौसम सुहाना

धरती की आज है दिवाली
झूमे हर एक फूल हर एक डाली
धरती की आज है दिवाली
झूमे हर एक फूल हर एक डाली
दूर कहीं बोले पपीहरा
ओ दूर कहीं बोले पपीहरा
मन ये मेरा शरमाया
देखो रे आया
देखो रे आया मौसम सुहाना
देखो रे आया मौसम सुहा ॰ ॰ ना
कैसे कहूँ सोने का रंग आज लहराया
देखो रे आया मौसम सुहाना
ओह हो ओ हो ओ हो
आ हा आ हा आ हा
ओह हो ओ हो ओ हो
आ हा आ हा आ हा
ओह हो ओ हो ओ हो
आ हा आ हा आ हा
आs आs आss आs


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

I had listened to most of the audio clips of Begum Akhtar’s ghazals and other semi-classical songs uploaded on YT. She had rendered ghazals of many well known Urdu poets like Ghalib, Mir, Daagh, Momin Khan Momin, Faiz Ahmed Faiz, Jigar Moradabadi, Firaq Ghorakhpuri, Behzad Lucknowi etc. In the later part of her singing carrier, she sang ghazals of the then emerging poets like Shamim Jaipuri, Shakeel Badayuni, Kaifi Azmi, Sudarshan Faakir, Amir Qabalbash etc. Jigar Moradabadi was one of her favourite poets. Begum Akhtar started singing his ghazal sometime in the second half of 30s when Jigar was already popular among the mushiara audience because of his captivating style of rendering his poetry. Because of his popularity, he was called ‘people’s poet’.

Begum Akhtar fell in love with Jigar Moradabadi’s Diwan when she first started reading it for selecting a few ghazals for composition and renditions in the concerts. From the poetry, she surmised that the poet must be a romantic person. Eventually, she fell in love with him without even meeting him. At one time, she used to sing only his ghazals in concerts with great fondness. Despite requests from the audience for singing some other poets’ ghazals, she would shrug off by saying that she had prepared to sing only his ghazals.

Her ‘crush’ for Jigar Moradabadi was so intense that one day after finding out Jigar’s residential addressed, she sent him a letter expressing her admiration of his Diwan and proposing to marry him. She said ‘you are a poet and I am a singer. We should unite and make a great couple’. Jigar Moradabadi sent his reply telling her that she had only read his Diwan but had not seen him. He advised her not to dream about looking at him as he was not the one suited to be her lover. The reference to ‘not to look at him’ was a pointer to the fact that Jigar Moradabadi did not consider himself to be a good looking person. On the day she received his ‘letter of rejection’ one of the ghazals she sang in her concert was a gloomy ghazal of Ghalib:

Ye na thhi hamaari kismat ke visaal-e-yaar hota
Agar aur jeete rehte yehi intezaar hota

[I was not fortunate to join with my beloved.
If I had lived longer, it would have been an endless wait.]
Note: The source of the anecdote mentioned above is ‘Ae Mohabbet… Reminiscing Begum Akhtar’ written by Prof. Rita Ganguli, one of her senior disciples.

Jigar Moradabadi remained one of her favourite poets and she continued to sing his ghazals until her death in October 1974.

I have selected for this write-up one of Jigar Moradabadi’s ghazals which she composed and sang in the concerts during the days of her ‘crush’ for the Poet. The ghazal is ‘koi ye keh de gulshan gulshan’. Begum Akhtar had composed this ghazal and sang in concerts sometime in latter half of 30s, but it was recorded for HMV sometime in early 50s (Record No. N.88304). Five out of 19 couplets of the ghazal have been included in the record version to fit in 78 RPM disc space.

Enjoy this khushnuma (joyous) ghazal in a sonorous voice of Begum Akhtar in her birth centenary year 2014.


Song-Koi ye keh de gulshan gulshan (Begam Akhtar NFS)(1950) Singer-Begam Akhtar, Lyrics-Jigar Muradabadi

Lyrics

aa aa aa
aa aa aa
aa aa aaa
aa aa
aa aa aa aa
koi ye keh de gulshan gulshan
koi ye keh de gulshan gulshan
laakh balaayen aen
laakh balaayen
ek nasheman
laakh balaayen
ek nasheman
koi ye keh de

phool khile hain gulshan gulshan
an an
lekin apna apna daaman
lekin apna apna daaman
koi ye keh de

aaj na jaaaane
raaz ye kyaa hai
ae ae ae
hijr ki raat aur itni raushan
hijr ki raat aur itni raushan
koi ye keh de gulshan gulshan

rahmat hogi ee
aa ee eee
taalib e isyaan
rashk karegi paaki e daaman
rashk karegi paaki e daaman
koi ye keh de

kaaaanthon kaa bhi
haq hai kuchh aakhir
kaun chhudaaye apna daaman
kaun chhudaaye apna daaman
kaun chhudaaye
koi ye keh de gulshan gulshan
ko…i

——————————————–
Meaning of some words used in the ghazal

Laakh balaayen = Plenty of trouble
Nasheman = Nest, Resting place
Hijr ki raat = Night of separation
Rahmat = Mercy, Clemency
Taalib-e-isyaan = candidate/aspirant for rebellion
Rashk = Envy
Paaki-e-damaan = sanctity or purity of character

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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where "new" songs are added every day, and that has been the case for more than six years. This blog has over 10000 songs post by now.

Total number of songs discussed

10025

Number of movies (All songs covered)

481

Total visits so far

  • 5,724,203 hits

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