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Mandir ho har kadam pe pooja ho subah shaam

Posted on: June 23, 2014


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.

THE JOY OF NFS (song No. 5)
———————————

Somewhere in the late 2011, AK ji of Songsofyore, had written on this Blog about the importance of NFS. After reading his views, I too wrote a rather lengthy comment supporting the inclusion of NFS on this Blog. Our contention was that, prior to the Hindi Film Music becoming popular all over India, it was those gazals, Geets and Bhajans, privately sung and recorded by various artists which had ruled the tastes of music lovers. In fact many famous singers had recorded NFS in the beginning phase of their singing careers. Some names are Talat Mehmood, Saigal, Pankaj Mullik, Jagmohan and JUTHIKA ROY !

I do not think there was a single singer in those days who had not sung a Non Filmi geet in some type like Bhajan or gazal etc. I am sure many senior readers from this Blog must have grown listening to these NFS Bhajans and Geets. In fact more than a filmi song, may be these people have some old geet or Bhajan embeded in their memories with some persons,events or places.

Juthika Roy’s name is to Non Filmi Songs what Lata’s name is to Film songs !

From the 30s to the 50s,Juthika Roy was on everybody’s lips. Born on 12th April 1920 at a small village called Shenhati-near Hawra in Bengal, to Satyendra Nath and Snehlata Roy, she was more interested in singing than studies, but in that small village who would teach her? This was compensated by her father by bringing several records for her to practice.

When she was 7 years old, her father took her to HMV at Calcutta. Satyendranath wanted Juthika or Renu (her Real name) to emulate Master Madan who too had cut records in the 7th year. She passed her audition, but due to her tender age HMV asked her to come after 5-6-years. Her father took her to A I R Calcutta, where she not only passed the audition but also sang her first Bangla geet on Radio.

In 1930, her father was transferred to Calcutta and she was trained by Gyanranjan Sen. Through him her father contacted Kazi Nazrul Islam who liked her songs very much. Kazi was always in Silk Saffron robes and was chewing Paan. He was the Chief Lyricist and music Director at HMV. He insisted and Juthika’s first Record was out. It was a Bangla Bhajan. She also met Kamal Dasgupta in that period. Kamal played a major role in shaping her career as a singer. He composed the music for most of her songs. Together they sang some duets in Bangla and Hindi also. HMV made a contract with her to cut 2 bangla and 9 Hindi song Records every year. Thus during the period 1934/35 to early 50s she brought out many records. Her name became popular all over the country.

She has sung 10 qawalis/Naats and her most famous qawali was ” Mohammad se badh kar koi nabi hai “.

She was offered but never liked to act or sing in films.However she did sing in few Bangla and 2 Hindi films(4 songs in all). Due to her Meera Bhajans,she was called ” Aadhunik Meera “.

She was the most favourite singer of Mahatma Gandhi and Jawaharlal Nehru. She was invited by Jawaharlal Nehru to sing on the eve of Independence day celebrations. She had a pleasant experience of singing in Gandhi ji’s presence in early days.

I reproduce here translation of her own article as published in The Statesman dated 6-8-2006,about her interaction with Mahatma Gandhi ji—

The Statesman 6-8-2006

” We started living in Calcutta permanently in 1930. My first disc of Bengali songs was released by the Gramaphone Company in 1934. The songs were:

Soon after, my rendition of Bengali and Hindi bhajans were released by the Gramaphone Company. Invitations started pouring from different parts of the country in for me to render bhajans. In 1939 I received the first invitation to sing bhajans at the Allahabad Conference. There, I was invited by Professor Deodhar to sing in Bombay at his municipal school’s charity function. From that year onwards, I travelled to Bombay, Ahmedabad, Surat, Baroda, Rajkot and the entire of Gujarat every year.

We went to Hyderabad from Bombay in 1945 to participate in a charity programme there. That was my first visit to Hyderabad. Our stay was arranged at a swanky guest house of a renowned zamindar there. The next day, when I was preparing to rehearse with the accompanist, I heard that Sarojini Naidu had come to listen to me sing bhajans. I was as much scared as elated. Upon entering the hall I saw her sitting on a sofa; her daughter was sitting beside her. I made obeisance to her. She put her hand on my head and made me sit beside her. There was a look of surprise on her face when she saw me.

Then, she gave me some good news. Mahatma Gandhi used to listen to my songs everyday when he was jailed in Pune. He used to start his prayer meeting every morning playing discs that played my bhajans. I would have never known of these happenings. My pride and joy knew no bounds. I made obeisance to the God within myself and said, “My singing of bhajans has been a great accomplishment. I’m blessed.”
Afterwards, Sarojini Naidu asked me if I had ever met Mahatma Gandhi. Ruefully, I said, “No, that I haven’t had that good luck.” She then said, “Try to meet Bapuji and let him listen to his favourite bhajans.” From then I began to try out means of meeting Bapuji.
My respect for Sarojini Naidu went up many notches. I deemed myself blessed by having her as a near one. She was courageous, a scholar, patriot and poet whom I adored from afar. I still cherish this valuable memory.

It was 1947 (sic). The country was simmering with satyagraha, civil disobedience, non-cooperation, Gandhiji’s Quit India movement and so on. A highly-strung atmosphere prevailed. All were on tenterhooks ~ would the British rule really end? And it really ended. But then Hindu-Muslim riots started. A shiver goes down my spine when I recall those days. No one can believe unless one sees those brutalities, murders, beastliness with one’s own eyes.

Mahatma Gandhi came to Calcutta at that time to quell the situation. He put up at a house in Beliaghata with his entourage. Bapuji was so busy with his work that he did not have even one minute to spare. I heard that he would wake up every day at 6 a.m. and go out for a morning walk. He would join the prayer meeting in the morning and evening. Taking Sarojini Naidu’s advice, my parents decided to take me to the Beliaghata house to meet Bapuji. My mother, brothers and sisters, uncle and I reached Beliaghata at 7 a.m. We decided to have his darshan from afar during his morning walk and offer our obeisance to him. But, unfortunately, when we reached the gate we heard that Bapuji had already taken his morning walk and was resting. We would have to wait three hours if we wanted to see him. Finding no other way, we remained standing outside the gate because it had been locked by then. Many others also remained standing along with us.
The sunbeams were brilliant. But suddenly, black clouds appeared and covered the sky. It began to rain heavily. We were completely drenched. My uncle repeatedly requested the gate-keeper to let us in but the keeper kept saying, “No, Bapuji hasn’t ordered me to do so.” But my uncle was not a man to spare any effort. He then sternly said, “All right, go in and say Juthika Roy has come to meet Bapuji.” The gatekeeper went in. We prayed that he would report correctly. Suddenly, we saw Manu Gandhi and some volunteers rushing towards the gate with some umbrellas. Manu Gandhi accosted me, made her obeisance and opened the gate. “Come in, please, all of you. I’m so sorry you are all drenched. Come inside and sit.”

We all went in and took our seats. Then Ava Gandhi came and said to me, “Bapuji has allowed your mother to go in with you.” We went in and saw Gandhiji writing something sitting on a mat. He was bare bodied, his face and his entire body were radiating some strange light. There was no sign of tiredness on his person even after so much of work. There was a smile on her face, his eyes were shining as if they were full of love and were images of peace.

I felt it was our great good luck that for the first time we had darshan of Mahatma Gandhi. I cannot fully express how elated I was. My mother and I made obeisance to Bapuji. He touched our heads to bless us, smiled and asked us to sit down using sign language. He was observing silence on that day, saying everything in writing. Ava Gandhi was reading out his writings for us. She was of great help.
Ava Gandhi informed us that Bapuji was busy but eager to listen to my bhajans. So, he had decided that I would be singing while he was bathing in the next room. Bapuji went into the next room. I went on singing one bhajan after another without the help of any instrument. The songs were ~ “Maine Chakrar rakhi ji”, “Main Ram nam ki churiyan pahenu”, “Gunghukta pat khol re”, “Main to wari jaun Ram”, “Alo main apne Ram”, “Matja yogi mat ja” and “Pyare gungut bangh Meera nachire”.

Bapuji came out after having his bath and stood in front of us. I stopped singing made obeisance to him. He flashed a broad smile and blessed us by raising his hand. I said to myself that my life was blessed today, so was my singing of the bhajan. My mind was filled with bliss.
Later, Ava told us that Bapuji had asked us to join the afternoon prayer at 4 p.m. We arrived at the Maidan from the Beliaghata house soon after 4 p.m. with Bapuji to attend a prayer meeting. There was Ava Gandhi, Manu Gandhi and many others among us. The Maidan was crowded and there was not an iota of space left in the ocean of people.

The two sides of the road were also crowded. Bapuji’s car slowly proceeded towards the Maidan. People welcomed him by throwing flowers and petals. A large number of people were conveying their respect to Bapuji. That was an unforgettable spectacle and cannot be expressed in words ~ it can only be felt. I still remember that living picture of crested reverence and euphoria for a leader of the people.
Our car stopped next to the dais in the Maidan. Bapuji climbed on the dais quickly, flinging his arms on the shoulders of Ava and Manu. I was sitting at a corner of the dais. The prayer meeting started with Ramdhum, then readings from the Gita. Then, Bapuji appealed to people to maintain peace throughout the country. The prayer meeting ended with my singing of a bhajan.

Soon, we came to the Beliaghata house with Bapuji. A car was provided to drop us home. My long cherished ambition to see Bapuji and to see him listen to my bhajans was fulfilled. I still consider that day as an auspicious day in my life. ”

She was selected to sing on Delhi AIR on the 15th August 1947,when Pandit Nehru was unfurling India’s National Flag.

In 1984, Juthika Roy stopped singing and she was leading a peaceful and contented life in Calcutta till she died on 5th February 2014.

Today’s NFS is a duet of Juthika Roy and her one time Mentor Kamal Dasgupta. Here is an article on Kamal Dasgupta,by A.R.Qureshi…

” Kamal Dasgupta a legend in Music Composition and Direction of the last century was born in a family belonging to Kalia Distt Jessore Bangladesh on 28Th July 1912*. I first met him at Dhaka in the late sixties. When I knocked at his flat situated on first floor, he himself opened the door and welcomed me – “I am Kamal Dasgupta”. He was a graceful but simply dressed person. His wife Firoza Begum had gone to Barisal. We discussed his masterpiece compositions and legendary singers of that period. I met Firoza Begum at Rawalpindi when she was rehearsing at Radio Station with local musicians and Mr. Kamal Dasgupta with a Chadder on his shoulder was standing as an observer. The ignorance of the local music team about the great music director was apparent. He was the creator of Chupke Chupke Bol Mena, Aye chand chhup na jana, Tasweer teri dil mera, Yeh chand nahi teri arsi hai, Tum bhulay na gaye. He brought up many talents like Kumari Juthika Roy, Jag Mohan, Talat Mehmood, Hemant Kumar… Jag Mohan was later on awarded title of “Sur Sagar”.

Re-collecting about Kumari Juthika Roy, Mr. Kamal Dasgupta said “she came for audition a number of times and failed but when she sang “Ami Bhorer Juthika” every one present was spellbound – although she had left but being enchanted with her singing the song was embedded in our senses”. He praised her with high tribute. A number of duets were sung by them including Bhajans and Naats. Some orthodox become annoyed with her when she sang Naats – they respected her as a living Meera Bai.”Akhon main Muthara Hai” sung by Juthika and “Ankhon main Madiana hai” – duet by Kamal and Juthika are the examples.

When asked about the compositions of Sm. Kamla Jharia’s Ghazals, Mr. Kamal Dasgupta disclosed that she mostly sang under the direction of Professor Zamiruddin Khan. He mentioned Prof. Zamir as his Ustad / Guru. This relationship was a very pleasant disclosure for me. Kamla Jharia, Indobala and Angurbal rendered ghazals in unique and distinct style with perfect pronunciation. Professor Zamiruddin Khan was one of the greatest music directors of the Gramophone Co. Dum Dum before Mr. Kamal Dasgupta. Mr. Kamal Das Gupta recalled Khemchander Parkash, “Woh hum sab say bazi legeya”. This may be true but it shows humbleness of Kamal Dasgupta – named as “Kitto” by Anil Biswas.

He was a non-assertive person but when asked about his distinct performance as a composer he mentioned about a special five-unit (shorthand) music notation devised by him.

An outstanding accomplishment of Kamal Dasgupta is evident in “Nazarul Geetee” rendered by Firoza Begum. Her incomparable singing on composition of Kamal was also re-conducted by others music directors e.g geet – “Birhan ke ghar badari barsey” by Pakistan Television and her long play record released by EMI Pakistan . Some songs of Kumari Juthika Roy were also included in Firoza Begum’s voice in that LP. But the golden voice of Firoza glitters on the music of Kamal – “Chupkey chupkey row lun” & ” Tum bhulay na gaye”.

After leaving New Theatres, Kanan Devi sang many songs on Kamal’s compositions “Duniya yeh dunyia toofan mail” “Meri Majbooriun ne Mera Daman Chak Kar Dala” – Kanan Devi ……

Dear Kamal passed away on 20th July 1974 at Dhaka* and was laid to rest in Bangladesh – God bless him – Ameen. His sons are – Mohammed Tehsin, Mohammad Hamin and Mohammad Shafin. God bless the family.”

After films stopped coming to him and NFS were no more popular, Kamal started feeling neglected at Calcutta. His friend Faiyaz Hashmi had already left for Pakistan and here he was hoping to get due recognition. Frustrated he decided to shift to Dhaka,Bangladesh,in the early 60s. In order to marry his long standing love, Firoza begum,he embraced Islam and became Kamal Islam. The bangladesh Govt,in the begining,gave him all the honours,but later it was cool about him. he died ruing his luck.

he will always be remembered for not only his Music ,but also for the Shorthand method of writing Notations (Swarlipi), which he developed,on his own.

He and Juthika had sung many duets like,Bhajans,Geets, Naats etc in Hindi and Bangla.

Today we will hear one such duet from them……


Song-Mandir ho har kadam pe pooja ho subah shaam (Juthika Roy NFS)(1941) Singers-Juthika Roy, Kamal Dasgupta, MD-Kamal Dasgupta
Both

Lyrics

Mandir ho har kadam pe ae ae
pooja ho subah shaam
pooja ho subah shaam

jai raadhe krishn ??
jai raadhe krishan ??
ho jaago siya raam
ho jaago siya raam
Mandir ho har kadam pe ae ae
pooja ho subah shaam
pooja ho subah shaam
Mandir ho har kadam pe ae ae
pooja ho subah shaam

ghar ghar mein ayodhya ho
galiyon mein mathura ho
ghar ghar mein ayodhya ho
galiyon mein mathura ho
phir raaj dharm ka ho
?? ??
ho phir se ye tamanna
jeevan ko koi kaam
Mandir ho har kadam pe ae ae
pooja ho subah shaam
pooja ho subah shaam
Mandir ho har kadam pe ae ae
pooja ho subah shaam

laksman se ho ??
arjun se ho balshaali
laksman se ho ??
arjun se ho balshaali

ho kiran(?) se bhi nyaari
aur ?? se bhi pyaari
ho kiran(?) se bhi nyaari
aur ?? se bhi pyaari
ham sab yahi pukaare
bhakti ka beej daal
bhakti ka beej daal
Mandir ho har kadam pe ae ae
pooja ho subah shaam
pooja ho subah shaam
Mandir ho har kadam pe ae ae
pooja ho subah shaam

ho aarti hriday se
pooja ho madhur lay se
ho aarti hriday se
pooja ho madhur lay se
goonje dason dishaayen
Sri Raam ji ki jai se
Sri Raam ji ki jai se
wo krishna roop ham sab

sansaar ho brijdhaam
sansaar ho brijdhaam
Mandir ho har kadam pe ae ae
pooja ho subah shaam
pooja ho subah shaam
Mandir ho har kadam pe ae ae
pooja ho subah shaam
pooja ho subah shaam

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1 Response to "Mandir ho har kadam pe pooja ho subah shaam"

Thanks for this vintage numer and write-up on Kamal Dasgupta and Juthika Roy.

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