atul's bollywood song a day- with full lyrics

Archive for the ‘Guest posts’ Category


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.

A voice that knew no boundaries, knows no boundaries. A voice that spans the entire spectrum of octave range that the music directors dream of. A voice that displays limitless possibilities of emotions and colors. A voice that is alive and true to the very essence of the on screen scenario every moment. A voice such as his can only be explained in terms of a Divine intervention. The voice that is the voice of every performer he sang for. The voice that is Mohammed Rafi – matchless and inimitable.

Remembering Rafi Sb on the anniversary of his passing away today -31st July.

When the young man from Punjab, whose voice was fascinating music directors, came to Bombay, he did have his initial foray into the world of on screen appearances. Brief cameos happened in films ‘Laila Majnu’ (1945) and then in ‘Jugnu’ and ‘Samaaj Ko Badal Daalo’, both in 1947. But when the songs of ‘Jugnu’ and ‘Shaheed’ (1948) and ‘Mela’ (1948) hit the screens, and gained popularity, it was a judicious choice that Rafi Sb made, to continue in the industry as a singer. Judicious I say, because the other examples we see in the industry; artists with singing as their core strength, continued to try their hand at being leading men on screen, did not quite fare so well in their careers as singing stars.

In 1946, Rafi, relatively a novice in the industry as yet, got the famous and fortunate opportunity to sing along with Saigal Sb in the song “Roohi Roohi Roohi Mere Sapnon Ki Rani” in the film ‘Shahjehan’. However, this was not the first time he had met the great singer. His first meeting with Saigal Sb was actually about a decade earlier. He was all of just 12 or 13 years of age then. Since childhood, he was known to be an excellent singer in his family. Sometimes when he used to accompany his elder brother Hamid, to their family shop, he would sit there and sing, much to the delight of the customers and passersby. Hamid was well aware of the talent his younger brother displayed. He would encourage him and made many efforts to get him trained under renowned masters – names like Bade Ghulam Ali Khan, Feroze Nizami (then associated with the All India Radio station at Delhi), and Jeevan Lal Matoo. Whenever there used to be any music program of renowned artists arranged in Lahore and nearby towns, Hamid Bhai would take his younger brother along to listen and learn.

A musical evening was organized in Lahore. The main attraction of the program was Saigal Sb. The crowds had gathered in advance – it was not a program in a hall, but arranged in an open ground. Just a little while before Saigal Sb was to arrive, the sound system arranged for the program, broke down. The crowds got restive when they realized that the loudspeakers were not working. And the organizers, including Hamid Bhai, were at their wits ends on how to manage the ire of the audience. The loudspeaker system would take at least half hour to repair. In the midst of all the clamor of the audience and the confusion back stage, Hamid Bhai got Rafi on stage, and simply asked him to sing. The sight of this sprightly barely-teenager at first seemed to add fire to the irate crowd. But when his voice came down slicing through the din, it captured the attention of every set of ears on the ground that evening, and the din slowly subsided. People slowly fell silent as they were caught unaware by this engaging voice of a child barely in his teens, singing to a crowd in an open ground, sans any mike and loudspeakers. By the time the sound systems was repaired and it was time for the regular program to start, Saigal Sb had already arrived, and had listened to the singing of young Rafi. After the program, he specially called for the child, hugged him, and gave him his blessings – to be a great singer when he grows up. The magic of that evening and the blessings of the great one, himself gifted with Divine endowment was to ring in true in the life of this gifted child.

The song I present today is a gem of melancholia, one of the many genres that Rafi Sb has rendered with impeccable involvement. The film is ‘Namaste ji’ from 1965. The lyrics for this peerless creation are by Anand Bakshi, and the music composition is by GS Kohli. And the voice – that is a wonder unto itself, and an everlasting succor for the listeners.

Listen and enjoy.


Song-Hamen kya jo har su ujaale huye hain (Namaste Ji)(1965) singer-Rafi, Lyrics-Anand Bakshi, MD-G S Kohli

Lyrics

hamen kya jo har su
hamen kya jo har su
ujaale huye hain aen
hamen kya jo har su
ujaale huye hain aen
ke hum to andheron ke
paale huye hain aen
ke hum to andheron ke
hamen kya jo har su
ujaale huye hain aen
ke hum to andheron ke
paale huye hain aen
ke hum to andheron ke

bahaaron ne jaane
kahaan phool baante
hamaare chaman mein
khile sirf kaante
hamaare chaman mein
khile sirf kaante ae
ye insaaf bhi kya
niraale huye hain aen
ke hum to andheron ke
paale huye hain aen
ke hum to andheron ke

kisi aur ka dil
jo yoon toot jaata
to shaayad khuda se bhi
wo roothh jaata
to shaayad khuda se bhi
wo roothh jaata
hamin hain jo ye gham
sambhaale huye hain aen
ke hum to andheron ke
paale huye hain aen
ke hum to andheron ke

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

हमें क्या जो हर सु
हमें क्या जो हर सु
उजाले हुये हैं
हमें क्या जो हर सु
उजाले हुये हैं
के हम तो अँधेरों के
पाले हुये हैं
के हम तो अँधेरों के
हमें क्या जो हर सु
उजाले हुये हैं
के हम तो अँधेरों के
पाले हुये हैं
के हम तो अँधेरों के

बहारों ने जाने कहाँ फूल बांटे
हमारे चमन में
खिले सिर्फ कांटे
हमारे चमन में
खिले सिर्फ कांटे
ये इंसाफ भी क्या
निराले हुये हैं
के हम तो अँधेरों के
पाले हुये हैं
के हम तो अँधेरों के

किसी और का दिल
जो यूं टूट जाता
तो शायद खुदा से भी
वो रूठ जाता
तो शायद खुदा से भी
वो रूठ जाता
हमीं हैं जो ये ग़म
संभाले हुये हैं
के हम तो अँधेरों के
पाले हुये हैं
के हम तो अँधेरों के

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This article is written by Avinash Scrapwala, 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 we remember Mohd Rafi Saab – the ‘divine and soulful voice’, on his anniversary!!
My tributes to this great great great voice, a gentleman, and a humble human being, as he is known to all- Shri.Mohd Rafi Saab !

While I was working on finding the songs of ‘Pancham-Rafi Jodi’ since last nine/ten months so far and reading various posts/articles on our blog, I read some posts which mention about the so called ‘lean period’ (1971 to 1976 (or 1974?) of Rafi Saab where the quantity of Songs sung by him is said to be decreased.
For anyone of us it is hard to believe that something of this sort was possible!

Now this so called ‘weak period’ of Rafi Saab’s is cited from 1971 to 1976 so far. And it is said that he made a comeback in 1976 with Laila Majnu. (Whereas some people think he had already made a comeback with ‘teri galiyon mein na rakhenge kadam’ for Hawas in 1974)

What was going through my mind was when did it would have been actually started from? – The decline! Or the weak period for Rafi Saab!

Does the decline started with Rafi Saab singing one song for some movies and that too with the Music Directors whom he already had some great work done earlier and with whom he had a longer association so far?

Some songs easily come to my mind e.g. 1971 Haathi Mere Saathi – he got that ‘nafrat ki duniya ko chhodkar’ (which left everybody watching the movie with tears in their eyes) (HMS ranked at the TOP at the BO that year).
Music for Haathi Mere Saathi was by Laxmikant Pyarelal who has been so far given many hit numbers of Rafi Saab.
Then ‘Abhimaan’ in 1973 where Sachin Da composed the music and Rafi Saab had only one duet with Lata in that film.(Abhimaan ranked 18th at BO)

This is just my estimation and we cannot really judge what would be the circumstances then.
Similar thing must have been happened with other Singers also (and some of these types of songs must have been posted on our blog too).

Take this example of ‘Mehboob Ki Mehendi’ in 1971 where Rafi Saab had 03 solos and one duet, while Kishore Kumar the voice in demand had only one solo. (This movie wasranked 24th at the Box Office)
This was the peak time for Kishore Kumar in those years.

What I can conclude is that Rafi Saab was very much there and he also had sung a good number of songs then, only the films he sung with either performed badly or were in non-Rajesh Khanna movie.

May be, but Rafi Saab continued to give us memorable song till he was there. And I have come across some very good songs from this period up to 1980 which I have noted and which I will share in future.

While this was going through my mind, there was this song in the program ‘Rangoli’ on Doordarshan.

‘Zamaane ki aankhon ne dekha hain yaaron’ …

As I go through this meaningful song the lines repeatedly came back to me and symbolically I start to relate this song with Rafi Saab’s going through that phase at that time ….

This is from the 1972 film ‘Ek Baar Muskura Do’.
Songs sung by Kishore Kumar from this movie were very popular and we are aware of them. Now what about other songs from the movie?

The film had total 07 songs, out which Kishore Kumar had four songs – 03 solos and one duet with Asha Bhonsle. Mukesh had two songs – 01 solo and 01 duet with Asha Bhonsle.

Rafi Saab had one song!!

With O.P.Nayyar being the music director and Rafi Saab singing just one song!
How many such songs are there?
Many of them, I think, have already been posted and we shall be discussing the balance in the days to come;

Till then let us enjoy this composition of O.P.Nayyar Saab, where the beautiful verses are penned by S.H.Bihari and soulfully rendered by Rafi Saab.

Incidentally in the film this song transforms the hero Deb Mukerji to a rich and famous ‘kalaakar/sangeetkar (as he is referred to in the film) – Kumar Saab from a ‘mamooli’ aadmi and gaanewaala Dilip.


Song-Zamaane ki aankhon ne dekha hai yaaron (Ek Baar Muskura Do)(1972) Singer-Rafi, Lyrics-S H Bihari, MD-O P Nayyar
chorus

Lyrics

Nafrat se jinhe tum dekhte ho
tum maarte ho jinko thokar
kya un pe guzarti hai dekho
ek baar kabhi ghaayal ho kar

zamaane ki aankhon ne dekha hai yaaron
zamaane ki aankhon ne dekha hai yaaron
sadaa apni duniya mein aisa nazaaraa
kabhi unko phoolon se pooja hai sabne
kabhi unko phoolon se pooja hai sabne
kabhi jinko logon ne
patthar se maara
zamaane ki aankhon ne dekha hain yaaron

pise na jahaan tak patthar pe mehendi
kisi bhi tarah rang laati nahin hain
hazaaron jagah thokaren kha na le jab tak
koyee zindagi muskuraati nahin hai
bina khud mare kisko jannat mili hai
bina khud mare kisko jannat mili hai
bina dukh sahe kisne
jeewan sanwaaraa
zamaane ki aankhon ne dekha hai yaaron

bhanwar se jo ghabra ke peechhe hate hain
dubo di hai maujon ne unki hi naiyaa
dubo di hai maujon ne unki hi naiyaa
jo toofaan se takra ke aage badhe hain
jo toofaan se takra ke aage badhe hain
bina koyee maanjhi bina hi khivaiyya
kabhi na kabhi to kahin na kahin par
kabhi na kabhi to kahin na kahin par
hamesha hi unko
milaa hai kinaaraa
zamaane ki aankhon ne dekha hain yaaron

yahaan aadmi ko sabak dosti ka
sikhaate huye jo lahu me nahaaya
maseehaa banaa aur Gaandhi banaa wo
hazaaron dilon mein yahaan ghar banaaya
unhi ki bani hai yahaan yaadgaarein
unhi ki bani hai yahaan yaadgaarein
unhi ka jahaan mein
chamka sitaaraa
zamaane ki aankhon ne dekha hai yaaron

————————————————————
Devnagari Script Lyrics (Provided by Avinash Scrapwala)
———————————-
नफरत से जिन्हें तुम देखते हो
तुम मारते हो जिनको ठोकर
क्या उन पे गुज़रती हैं देखो
एक बार कभी घायल हो कर

ज़माने क़ी आँखों ने देखा हैं यारों
ज़माने क़ी आँखों ने देखा हैं यारों
सदा अपनी दुनिया में ऐसा नज़ारा
कभी उनको फूलों से पूजा है सबने
कभी उनको फूलों से पूजा है सबने
कभी जिनको लोगों ने
पत्थर से मारा
ज़माने क़ी आँखों ने देखा हैं यारों

पिसे न जहां तक पत्थर पे मेहँदी
किसी भी तरह रंग लाती नहीं हैं
हज़ारों जगह ठोकरें खा न ले जब
कोई जिंदगी मुस्कुराती नहीं हैं
बिना खुद मरे किसको जन्नत मिली हैं
बिना खुद मरे किसको जन्नत मिली हैं
बिना खुद सहे किसने
जीवन सँवारा
ज़माने क़ी आँखों ने देखा हैं यारों

भंवर से जो घबरा के पीछे हटे हैं
डुबो दी हैं मौजों ने उनकी ही नैय्या
डुबो दी हैं मौजों ने उनकी ही नैय्या
जो तूफ़ान से टकरा के आगे बढे हैं
जो तूफ़ान से टकरा के आगे बढे हैं
बिना कोई मांझी बिना ही खिवैय्या
कभी न कभी तो कहीं न कहीं पर
कभी न कभी तो कहीं न कहीं पर
हमेशा ही उनको
मिला है किनारा
ज़माने क़ी आँखों ने देखा हैं यारों

यहाँ आदमी कों सबक दोस्ती का
सिखाते हुए जो लहू में नहाया
मसीहा बना और गांधी बना वो
हज़ारों दिलों में यहाँ घर बनाया
उन्ही क़ी बनी हैं यहाँ यादगारें
उन्ही क़ी बनी हैं यहाँ यादगारें
उन्ही का जहाँ में
चमका सितारा
ज़माने क़ी आँखों ने देखा हैं यारों


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. 5
—————————————

So far, I have done 16 series here. This is the 17th series. Writing for a series is not an easy job.It not only requires lot of spade work,but also requires a continuous flow,avoiding a long gap between 2 posts,lest the tempo is lost. When I start a series,I am always in lot of tension till it is completed successfully. Every series is a new beginning for me. In spite of all this (and the ensuing allegations of ” neglect ” from the family ) I enjoy doing this work. There are many Blogs on internet which do posts on theme like ” Cycle songs”, Motor songs” or Sawan songs etc. I have always felt that Atul ji’s Blog is not an ordinary one and it must have real specially made exclusive topics for series I could do these posts,because Atul ji has always helped me with the Lyrics and has encouraged me always. Thanks Atul ji.

Talking about Partition and Migration of composers, many MDs left some films half complete and later on other composers had to do the balance songs. Some of the films they did here remained unreleased and few were released much later,after they migrated. However most composers were diligent and completed their work before migrating..

Today we will talk about ” Babaji ” or GUHLAM AHMED CHISTI aka G.A.Chisti. he was known as babaji in the industry because of his simple and good nature.However,at the end of his life,he lived a life of a Fakir.

Born in 1905 in a village Gana Chor, near Jallundhar, Punjab, he was music oriented from childhood. He met Agha Hashr Kashmiri, who employed him as assistant at Rs.50 p.m. Chisti learnt music and writing from him ( he is believed to have written 12 film songs, later in his life). After Agha’s death, Chisti joined H.M.V. and recorded many NFS of Jaddan bai and Amirbai Karnataki. As a composer, his first 2 films were Punjabi-Deena duniya-36 and Sohni Mahiwal-38. His first hindi film was Raavi Talkies’,Punjab’s ” Paap ki duniya’-39. Then he went to Calcutta and worked as assistant to R.C.Boral for some time.

Famous producer/Director R C Talwar had good relations with Chisti and Chisti had composed music fro most of his films. After ‘Pardesi Dhola’-41(Punjabi), Talwar’s first hindi film was ” Khamoshi’-42. Then came Talwar’s Manchali-43,Shukriya-44 and Albeli-45. he also composed music for Kidar Sharma’s ‘Kaliyan’-44
One of the songs of film ‘Shukriya’-44,” Nainon ke teer” sung by Sunder was banned by Govt.,due to its vulgar lyrics.(This song is posted on this Blog). His other films were Zid,Yeh hai zindagi and jhoothi kasme. Chisti decided to migrate to Pakistan and left in 1949. films like ‘Do Baten’-49 (completed by K P Sen),Nai Bhabhi-50 and Jawani ki aag-51 (completed by Harbux singh) were released after his departure.

When Chishti went to Pakistan, he was welcomed there with open arms. He got many films. He became one of the topmost composers of independent Pakistan, becoming the First to cross the mark of 100 films-he composed music for 157 films, about 50 Urdu and the rest Punjabi among them. He was known as Babaji. After retirement,he lived a life of a Fakir. He died on 25-12-1995 at Lahore.

One of his films,” Sassi”- 40s ,remained incomplete in India, but he used the tune and song ” Na yeh chand hoga,na taare rahenge” in a film in Pakistan -named ‘Sassi’-in 1954. At the same time Hemant kumar too used this song/tune in his film Shart-54. We do not know who copied whom. Babaji was also credited with introducing a 9 year old Baby Noorjehan in a stage show in Lahore. he gave singing opportunities to many new singers of Pakistan and many of them became famous singers. When Pakistan won the Cricket World Cup in 1992, Babaji composed one song in honour of the team. ( Thanks to Shri Harish Raghuvanshi ji.)

Today’s song is from the film,” Khamoshi”-42 made by Talwar Production. R.C. or Raghbeer chand Talwar was born in Telgang in western Punjab(now in Pakistan),on 27-4-1910. He established Talwar productions in 1941 and made films like Khamoshi,Manchali,Albeli,Khiladi,Sangdil,Ilzam,Rukhsana.Mem sahib,Ek dil sau afsane and Naya kanoon-65.

The cast of film Khamoshi was Ramola, Gyani, Shyamsundar, Ramdulari, Sunder Singh, Amarnath etc.

Actress Ramola (real name- Rachel Cohen) was born in a Jew family in 1917. Her father Hayam Cohem was a school Teacher. later they shifted to Calcutta where she completed her matriculation and joined films. her first film was ‘ Graher fer’-38,a Bangla film. She did few small roles and then came ‘Khazanchi’-41 from Pancholi of Lahore. This changed her career and she became a popular actress. She did films like Masoom,Khamoshi manchali..almost 30 films.Initially,Ramola was a small actress.It was Jagdish Sethi who introduced her to director/lyricist/dialogue writer Kidar Sharma.

According to Kidar Sharma,
“She was smart and a charming young lady. Her only drawback was her height. She was not tall, but she had lofty ambitions. One day she came to see me and I promised I would personally take her to the director of her choice. She said, “I would like to be introduced to Mr. Nitin Bose, and no one else.” I took her to Mr. Bose, and was sure that her charm and talent would impress him.

Mr. Bose scanned her, from top to toe, while I praised her talent and her choice of a director, like Nitin Bose. After a long silence, Mr. Bose addressed me and said, “When you brought her to me, why did you forget to bring some bricks for her to stand on?” Poor Romola was hurt and heart-broken by this great director’s caustic remark. She quietly said, “Goodbye” and walked away from his office.

I followed her and found that she was in tears. ‘I was moved by the plight of a struggling youngster having high hopes, being ridiculed for something which nature was responsible for. I knew what it felt like to be ridiculed. I had experienced it often enough. I escorted her to the tram junction and there she bid me goodbye. To encourage her, I said, “Please, Romola, don’t be heart-broken. One day, when I become a director, you will be my first heroine, and we will prove to Mr. Bose and the world, what a great star you are.” Romola laughed and said,- “Poor Mr. Kidarnath, the dialogue-writer will never be a director and I will never be a heroine.” So saying, she jumped into the tram.”

However, Kidar Sharma kept his promise and cast her in his first film as director Aulad / Dil Hi Tou Hai (1939). Aulad/Dil Hi To hai was a down-to-earth story of a middle-class father, who had sacrificed all his life to educate his son and is darling daughter, hoping that they would be worthy children to the society and to the family. Little did the old man know that the generation gap would present a different, horrifying reality, which would destroy him completely. The modern college Miss, who destroys the dreams of her old father, the aged struggling middleclass man, was played by Ramola.

After the success of the film, Ramola got romantically involved with R.C. Talwar, Kidar Sharma’s assistant who later became a director in his own right. According to Kidar Sharma, “R.C. Talwar was a classmate and friend so I ignored his relationship with Ramola.”

Later Ramola appeared in many films including Qaidi, Khazanchi, Khamoshi, Swan Aya Re, Rim Jhim etc. After the arrival of new heroines including Madhubala, Nargis, Meena Kumari etc, Ramola’s career got eclipsed and she bid farewell to her film career. Her last 3 films Actor, Jawani Ki Aag and Stage were released in 1951.” (Thanks to Cineplot).

The lyricist of Khamoshi was Himmatrai Sharma who was Kidar Sharma’s youger brother. he was one of the 3 surviving siblings out of 10. They had a sister called Guro. Though Himmatrai wrote lyrics for few films,likeKhamoshi,Jogan,Shokhiyan,Chhora Chhori,Jaldeep etc,he was a famous Urdu Poet in his own right. His 2 books, “Mian Azad filmi duniya mein” and “Mian Azad Siyasat ke maidan mein” were very famous. These were written as a sequel to original book “Mian Azad” by Pt.Ratan nath Sarashar.

Today’s song is sung by Ramola and Sunder Singh. he is the same comedian Sunder, who was a leading man in many early films. Born in Sialkot in Punjab (now in Pakistan), his first film was Veer kesari-1938. After the film Shukriya-44 he shifted to comedy roles and was popular in several films in the 50s. He stopped singing after 1947.

Let us now enjoy this light hearted comedy song from “Khaamoshi” which is composed by Babaji G.A.Chisti.


Song-Chaandni hai mausam e barsaat hai (Khaamoshi)(1942) Singers-Ramola, Sundar, Lyrics-Himmatrai Sharma, MD-G A Chishti

Lyrics

chaandni hai
chaandni hai
mausam e barsaat hai
chaandni hai
mausam e barsaat hai
aao dear
aao dear
kyaa suhaani raat hai
aao dear
kyaa suhaani raat hai

tujhse milne ke liye
tujhse milne ke liye
hoon
beqaraar
aao seene se laga lo ek baar
aao seene se laga lo ek baar

mujhko seene se lagaate kyun nahin
mujhko seene se lagaate kyun nahin
haal e dil apna sunaate kyun nahin
haal e dil apna sunaate kyun nahin

kal to kehte thhe milenge raat ko
kal to kehte thhe milenge raat ko
ab hua kya hai tere jazbaat ko
ab hua kya hai tere jazbaat ko

haal e dil mujhse kaha jaata nahin
haal e dil mujhse kaha jaata nahin
bin kahe
mujhse raha jaata nahin
jaaneman ab lut chuki hai dil ki ship
jaaneman ab lut chuki hai dil ki ship
bhasm kar baithha hoon main
college ki fees
is museebat se chhuda sakti ho tum
is museebat se chhuda sakti ho tum
mujhko aafat se bacha sakti ho tum
mujhko aafat se bacha sakti ho tum

bhool jaao
chhod do is baat ko
bhool jaao
chhod do is baat ko
cheerio
phir kal milenge raat ko 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.

Amongst various phases that we go through in life, childhood, though the earliest of our conscious phases, usually manages to imprint some memories in our brain that seem to be indelible right through our life. We might forget what we had for lunch earlier today but we remember a seemingly inconsequential event that occurred when we were ten!

For many people, these childhood memories include films and music that they were exposed to at that time. Years later, they recall (usually) fondly these films and this music – often associating them with childhood events. Success or otherwise of these films or music is immaterial – what matters is that they were part of the person’s growing up years.

For me, those years would be, say, from 1969 – 1981.

In 1981, things changed in my life – and probably changed me too a bit. I remember Love Story, Rocky and Ek Duuje Ke Liye being released in 1981. All of these films turned out to be huge hits – and their songs were a rage on radio every day. I listened to them – but could not muster any interest in the films themselves. A bunch of new actors for the Hindi film industry – all heavily promoted – and here I was, totally indifferent. Yes, for me, personally, 1981 marked the end of an era.

The start of the era was probably 1969. I have a few memories of pre-1969 but they are rather hazy , so I will not set the marker for before this year. I do remember 1969 though – Aradhana’s popularity is a clear memory though at that time I did not know it was 1969. Another clear memory is the death of President Zakir Hussain and it being declared a school holiday. Later I realized it was 1969.

I remember seeing an issue of Madhuri magazine in 1970. In our family we did not subscribe to film magazines but our neighbour did. I happened to be at their place and chanced on the magazine. The main story was about the top three heroines of the time, with their pictures.

They were Sharmila Tagore, Asha Parekh and Waheeda Rehman.

I remember this as if it were yesterday.

Of course these were the big names at that particular moment, especially after Aradhana and Kati Patang for Sharmila and Asha respectively. I’d guess Waheeda would have in the top 3 for much of the 60s, and even in 1970, she produced an outstanding performance in Khamoshi.

But I reckon, if a similar top-3 had been produced 2-3 years later, a different name might have made it to the list.

Mumtaz.

Today is Mumtaz’s birthday (or birth anniversary as some prefer to refer to the day).

So this post is dedicated to her, as we, in this blog, wish her a very happy birthday.

Personally, I’d like to thank Mumtaz (or Mumu as she is fondly called by her fans) for many of my fond childhood film memories.

“Dekho dekho dekho, bioscope dekho…Dilli ka Qutub Minar dekho, Bambai sheher ki bahaar dekho, ye Agre ka hai Taj Mahal, ghar baithe saara sansaar dekho”.

This was Mumu in Dushman (1971). Even as she was singing this song on screen (Lata’s playback), a little boy was enthralled. That was me. ? This song got stuck in my head.

“Sun champa sun taara, koi jeeta koi haara”.

Mumu in Apna Desh (1972). Another song that enthralled me at the time and got stuck in my head.

During that period (1970-1975), I saw a number of Mumtaz movies. She was at the top of her career at the time and was extremely popular amongst the masses.
It is well-known that she and Rajesh Khanna enjoyed a terrific chemistry on screen. Many of their films became hits, many of them had songs featuring both of them, which are popular to this day. Songs like “chhup gaye saare nazaare” and “ye reshmi zulfein” (Do Raaste), “yunh hi tum mujh se baat karti ho” (Sacha Jhootha), “maine dekha tune dekha…dushman dushman jo doston se pyara hai” (Dushman), “kajra lagaa ke” and “duniya mein logon ko” (Apna Desh), “gore rang pe na itna gumaan kar” (Roti), “karvatein badalte rahen” and “jai jai Shiv Shankar” (Aap Ki Kasam) and “prem kahani mein” (Prem Kahani).

I saw all these movies during that 1970-75 period. And loved the Rajesh-Mumu pairing. But apart from these films, I also saw other Mumu films like Pardesi, Ek Nari Ek Brahmachari, Apradh, Hare Rama Hare Krishna, Tere Mere Sapne, Tangewala, Mela, Loafer and many more.

Yes, during that period, with the possible exception of Hema Malini, I don’t think I saw as many movies of any heroine as I saw of Mumtaz.

So to me, just like Rajesh Khanna was very much part of my early growing up years, so was Mumtaz.

Only later I got to know that it had not always been like this for Mumtaz.

I’d first known her when she’d already stepped into the big league. But well before that, she’d had many years of working her way up the ladder. She started when very young – for example, she can be seen in the famous “pankh hoti to ud aati re” sequence (Sehra-1963). Already by this time, she’d been acting for a few years. And this, for somebody, born in 1947.

Through the 1960s, Mumtaz worked as a heroine in B-movies (notably with Dara Singh, who was one of her favourite co-stars at the time and encouraged her a lot during that period).

When she wasn’t playing B-movie heroine, she was playing the secondary actress role in A movies – often wanting the hero, but not getting him, as in Aadmi Aur Insaan and Patthar Ke Sanam. Through the sixties, she could be seen in well-known films but not as the main heroine – films like Khandan, Sawan Ki Ghata, Humraaz, Brahmachari and Mere Sanam come to mind.

With V. Shantaram’s Boond Jo Ban Gaye Moti (1967) opposite Jeetendra and Ram Aur Shyam (1967) opposite Dilip Kumar, she made the transition to a different league – that of a lead actress in a non-B film.

Ram Aur Shyam (1967) became a huge hit. It had Dilip Kumar in a double role – one was paired opposite Waheeda Rehman, the other opposite Mumtaz. And though Waheeda Rehman had more screen time, Mumtaz had her moments too, with the popular “o baalam tere pyar ki thandi aag mein jalte jalte” picturised on her and Dilip Kumar.

From then on, things began looking up for her. Do Raaste (1969) was again a big hit. And for Khilona (1970) she even won a Filmfare award. After that, the lead roles began coming her way fairly comfortably. Once you are seen as a saleable star, producers line up at your doorstep.

So it was indeed quite a journey for Mumtaz. From being a starlet to becoming a star. It is to her credit that she persevered all the way. Some people (like Rajesh Khanna) achieve stardom very early in their careers – others have to work for years for it.

Mumtaz enjoyed her stardom years in the early 70s. But then, just when she was still very much on top, she got married and left the film industry in the mid-70s. She wrapped up her remaining assignments and settled abroad with her businessman husband. It was a Hindi film industry version of a Bjorn Borg retirement. ?

Anyway, now onto today’s song.

The song for today is from Khandan (1965).

The film was one of the biggest grossers of the year and its music became very popular. Ravi won a Filmfare Award for it, as did Sunil Dutt for his acting. While the heroine is Nutan, Mumtaz stars in the film as second lead opposite Sudesh Kumar, who plays Sunil Dutt’s brother.

The role Mumtaz plays is actually a negative one, where she and her brother, Pran, try to win over Sudesh Kumar and break his family, with the help of Lalita Pawar, who is the matriarch of the family.

It is a fun song that allows us to see Mumtaz dancing in her typical 1960s “western” style, reminiscent of her in “O meri maina” from Pyar Kiye Jaa. That Sudesh Kumar doesn’t seem to quite match up to Mumtaz in the dance, doesn’t detract from the fun of the song.

I hope you enjoy this song too – ao dance karein.
And once again, we wish Mumtaz a very happy birthday.


Song-Aa dance karein (Khaandaan)(1965) Singers-Asha Bhonsle, Rafi, Lyrics-Rajinder Krishan, MD-Ravi
Both

Lyrics

Aa dance karein
aa dance karein
thhoda romance karein
nazar nazar mein hua hai sauda
tere mere dil ka
O aa dance karein
thhoda romance karein
nazar nazar mein hua hai sauda
tere mere dil ka

aa aa
aa dance karein

pheeki hai zindagaani
dum bhar mein ho suhaani
thhodi si meherbaani
kar do honey
pheeki hai zindagani
dum bhar mein ho suhaani
thhodi si meherbaani
kar do honey
raahi hoon door ka main
banda huzoor ka main
zulfon ki chaahta hoon
chhaaon ghani

dil hai mera bhi
O sanam tera pyaasa
a haa ha ha
aa dance karein
aa dance karein
thhoda romance karein
nazar nazar mein hua hai sauda
tere mere dil ka

haaye
aa dance karein
La la la
La la la
La la la la la la la laa

mausam hai aashiqui ka
masti ka bekhudi ka
phir kyun na zindagi ka
aaye mazaa
mausam hai aashiqui ka
masti ka bekhudi ka
phir kyun na zindagi ka
aaye mazaa

thhukra ke ye zamaana
kar le kahin thhikaana
apna to hai iraada
tera hai kya
dil hai mera bhi
O sanam tera pyaasa

haa
aa dance karein
thhoda romance karein
nazar nazar mein hua hai sauda
tere mere dil ka

aaa
aa dance karein


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 is the 31st of July(2014).

For many Hindi film music lovers, this date makes an immediate connect in their brain. To one of the most beloved persons to have ever been part of the Hindi film industry.

Yes, I am talking about Mohammad Rafi (or Rafisaab, as he is often respectfully referred to).

Today is the death anniversary of Rafisaab.

34 years ago, in 1980, a day that I remember vividly as if it were yesterday, Rafisaab left our midst.

Only in a physical sense, of course. In every other sense, he is still very much here with his fans, connecting with them through his voice.

And there are legions of his fans. All over the world.

Like me. One of the many millions.

I’ve written about Rafisaab many times on this blog. About how I grew up in a Kishore Kumar era and how I first realized the quality of Rafisaab’s voice. From the time realization hit me, there was no going back. I was hooked for life.

I do not want to repeat all of it again. So I’ll keep it brief.

Like most children growing up in the early 70s, I was a huge Kishore Kumar fan in my childhood. He ruled at that time – and was constantly on radio with one hit or the other. For a child growing up, it was therefore only natural that he would live and breathe Kishore, as I did.

Then one day, I happened to hear a certain voice on radio. The song was “o duniya ke rakhwaale”.

And suddenly something happened within me. As it started with “bhagwaan…bhagwaan” , it took complete control of me. As it went on, I was transfixed. By the voice, the variations, the depth of emotion.

From that moment onwards, I became a Rafisaab fan for life.

(For the record, I am still a huge Kishore fan. And a Talat fan. And a Hemantda fan. And a Manna Dey fan. And I love many Mukesh numbers. I have never believed in the narrow thinking that if you are a Rafisaab fan, you cannot appreciate Kishore. Or the other way round. Fortunately the world of music is far more embracing and open-minded).

Back to Rafisaab. After that realization, I wanted to hear that song again. But those were pre-internet days and, where I lived, we had limited access to cassettes. Radio was my source of music, other than watching films of course.

But even if I didn’t get to hear this particular song that often, I got to hear more of Rafisaab. I heard “suhani raat dhal chuki”, “maine rakha hai mohabbat”, “jaane kya dhoondhti rehti hain”, “caravan guzar gaya”, “sau baar janam lenge”, “madhuban mein Radhika”, “hum bekhudi mein” and many more songs on radio. And everytime, I fell in love with the voice and the song.

There were the duets too. “Jeevan mein piya tera saath rahe”, “laagi chhoote na”, “tujhe jeevan ki dor se baandh liya hai”, “tum hi tum ho mere jeevan mein” and many more.

The more I listened to Rafisaab’s voice, the more I fell in love with it.

Come to think of it, we have been gifted to have such variety of voices available to us.

From Kishore’s baritone voice to Mukesh’s soulful voice to Talat’s silken voice, each one has its place in the pantheon of Hindi film music.

Looking for an appropriate adjective for Rafisaab’s voice, I can only think of “divine”. Yes, on one level, it is not very descriptive – but in another sense, it covers it all.

There is a lot of information about Rafisaab available online. I will therefore steer clear of repeating what’s already there. I will just mention one thing – Rafisaab is supposed to have been a very good human being too. And in my book, that places him on a very special level. It is one thing to be exceptionally good in your profession. It is another to be an exceptionally good human being. There are very few who can claim to be exceptional in both of these.

So, on this death anniversary, we remember not just an exceptional singer but an exceptional human being. Rafisaab will always be in our hearts for as long as we live.

Now onto the song for today.

This is a song from the film Bewaqoof (1960). I remember seeing this film a few years ago – but except for a very long aeroplane sequence in the end featuring IS Johar, I don’t remember very much about it. I think it is full of antics of Kishore Kumar and IS Johar.

The song is “hum to hain tum par dil se fida”. Written by Majrooh Sultanpuri and composed by SD Burman. It is picturised on IS Johar and an actress I am not able to identify. I am sure one of our knowledgeable readers will be able to enlighten us about her identity.

It is a light song, sung by Rafi saab in a “controlled” voice. I find it is a pleasant song to listen to. Hope you like it too.


Song-Ham to hain tum per dil se fida(Bewaqoof)(1960) Singer-Rafi, Lyrics-Majrooh Sultanpuri, MD-S D Burman

Lyrics

Hum to hain tum par dil se fida
yaar le lo chaahe kasam-e-khuda
hum to hain tum par dil se fida
yaar le lo chaahe kasam-e-khuda

khaadim hum ulfat ke hain
aap ke hain deewaane
phir hum se
kaho kis liye
jhuki aankh lage sharmaane
khaadim hum ulfat ke hain
aap ke hain deewaane
phir hum se
kaho kis liye
jhuki aankh lage sharmaane
aaha thhodi
to keeje
khayaal hamaara
hum to hain tum par dil se fida
yaar le lo chaahe kasam-e-khuda

jis din se
toone dil mera
loot liya hanste mein
usi din se
tera dilwaala
gaya baithh tere raste mein
jis din se
toone dil mera
loot liya hanste mein
usi din se
tera dilwaala
gaya baithh tere raste mein
zara mudke
to dekho
kisi ne pukaara
hum to hain tum par dil se fida
yaar le lo chaahe kasam-e-khuda

sach maano
ye galat nahin
hum hain tumhaare bas mein
arrey jitni
hain adaayen teri
kha sakta hoon utni kasmen
sach maano
ye galat nahin
hum hain tumhaare bas mein
arrey jitni
hain adaayen teri
kha sakta hoon utni kasmen
aji vallah
nahin hai
jawaab hamaara
hum to hain tum par dil se fida
yaar le lo chaahe kasam-e-khuda
hum to hain tum par dil se fida
yaar le lo chaahe kasam-e-khuda
hum to hain tum par dil se fida
yaar le lo chaahe kasam-e-khuda


This article is written by Satyajit Rajurkar, 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.

Two songs from this movie “Tu Hi Meri Zindagi” (1965) have already been discussed in this blog. I would like to present two of my most favourite songs of this movie. The first one is presented here, and am sure the other one (Maayus Na Ho Aye Mere Watan) will be posted in the near future.

“Tu Hi Meri Zindagi” (1965) was produced under the Filmalaya banner by Sashdhar Mukharjee, and directed by his eldest son Rono Mukherjee, who also composed music for this movie.

The movie starred Deb Mukherjee (Rocky), Nivedita (Maria), Salome, Darshan, Lata Sinha, Chhaya Devi, Amar, Gajanan Jagirdar, Paul Sharma, Shetty, Heera Sawant, Uma Khosla, Pradeep Gupta, Sudarshan, Devraj, Jaffar, Raj Bakshi, Mohan Sharma, Master Akhtar, Rummy, Tingo, Shyam Chatterji, etc.,

I have checked the first two posts and it does not provide any story info. So here goes (as per IMDB).

FREEDOM IS MY BIRTH RIGHT shouted one of the glorious sons of the motherland and he would not rest until he cut all the shackles of bondage.
This was the spirit which inspired our hero who belonged to the masses. Rocky, the last unsung patriot in the Gomes family which was well known for its tradition of having sacrificed everything for the cause of liberation of Goa, was unlike his ancestors because his grandmother, the only survivor of the family had very cautiously kept away Rocky from the influence of politics and revolutionary movement. But he was born to be the liberator of Goa and all circumstances worked up to provide him a field so that he could become immortal.
The happy go lucky Rocky turned into a maniac when his love was frustrated with the death of his beloved Maria who fell a victim to Portuguese atrocities. Rocky avenged her death by killing Portuguese tyrants. Then by force of circumstances, Rocky was dragged into the revolutionary movement and he identified himself with the ideal of his country’s freedom. Thus he found an opportunity and an altar to pour out all his suppressed attachment and love for his country providing his people a life of honour and grace.
His sacrifices kindled a fire of freedom in each hear which was enough to burn down the malicious designs of those who do not honour the people right to be free to govern themselves.

This is a bar song and Asha Bhosle’s voice is lip synced by Salome, AKA Salome Roy Kapur nee Aaron, Miss India 1972 (Eve’s Weekly) who did modelling, acted in this film, before becoming a film choreographer, known for choreographing the song, “Main Shaayar Toh Nahin” in Bobby (1973). She married a Punjabi businessman and bore him three sons – Siddharth Roy Kapur (who recently married noted Bollywood actress Vidya Balan), Kunaal Roy Kapur and Aditya Roy Kapur.

Her father-in-law was Raghupat Roy Kapur, who acquired the pseudonym G Rakesh and produced by his first film, Shahenshah Akbar (1943), with K.N. Singh as the lead. Soon his wife and children joined him and he went on to produce films like Zanjeer (1947), and even directed films like Lekh (1949), with Motilal and Suraiya and Banwra (1950) with Raj Kapoor and Nimmi. Salome’s parents, Sam and Ruby Aaron were qualified dance teachers, who introduced the Sama dance form to India, and also taught actor Bhagwan for film Albela (1951).

This song, a duet by Asha Bhosle and Mohd. Rafi is penned by Raja Mehndi Ali Khan and as mentioned above, composed by Ronodeb Mukherjee.


Song-Jidhar bhi main dekhoon udhar tu hi tu hai (Tu Hi Meri Zindagi)(1965) Singers-Asha Bhonsle, Rafi, Lyrics-Raja Mehdi Ali Khan, MD-Ronodeb Mukherji
Both

Lyrics

Jidhar bhi main dekhoon
udhar tu hi tu hai ae
udhar tu hi tu hai ae ae
jidhar bhi main dekhoon
udhar tu hi tu hai ae ae
udhar tu hi tu hai
ye meri kahaani
meri zindgani
meri kahaani meri zindgaani
teri aarzoo hai ae ae
jidhar bhi main dekhoon
udhar tu hi tu hai ae ae
udhar tu hi tu hai

mohabbat pe aayi ye kaisi tabaahi ee
kaisi tabaahi ee ee
mohabbat pe aayi ye kaisi tabaahi ee
kaisi tabaahi
qayaamat se pehle qayaamat ye aayi
qayaamat se pehle qayaamat ye aayi
qayaamat se pehle qayaamat ye aayi
jo tujhko pukaare
wo kiska lahoo hai ae ae
kiska lahoo hai
ye meri kahaani
meri zindgani
meri kahaani meri zindgani
teri aarzoo hai ae ae
jidhar bhi main dekhoon
udhar tu hi tu hai
udhar tu hi tu hai

Maria Maria aa
Maariyaa

mohabbat ka dushman zamaana hua hai ae
zamaana hua hai ae
mohabbat ka dushman
zamaana hua hai
zamaana hua hai
koi aaj hampe deewaana hua hai
koi aaj hampe deewana hua hai
koi aaj hampe deewaana hua hai
deewaane ko hardum
teri justzu hai
teri justzu hai
ye meri kahaani
meri zindgaani
ye meri kahaani meri zindgani
teri aarzu hai ae ae
jidhar bhi mai dekhoon
udhar tu hi tu hai ae ae
udhar tu hi tu hai

ye kisne mohabbat ka
khoon kar diya hai
khoon kar diya hai ae
ye kisne mohabbat ka
khoon kar diya hai
khoon kar diya hai
zameen ro rahi
aasmaan ro raha hai
zameen ro rahi
aasmaan ro raha hai
zameen ro rahi
aasmaan ro raha hai
ye kis begunaah ki luti aabroo hai ae
Luti aabroo hai
ye meri kahaani meri zindgaani
meri kahaani meri zindgaani
teri aarzoo hai
jidhar bhi main dekhoon
udhar tu hi tu hai
udhar tu hi tu hai


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 Raaten – song 2
—————————–

chaand mera dil
chaandni ho tum
chaand se hai dur
chaandni kahaan

The moon and moonlight is poetically morphed to express many emotions. We will see many moods and faces of Chaand & Chaandni Raat in this series, hopefully.

This is a beautiful comment by ‘derubala ji’ which appeared recently on this song thread

” This is a beautiful memorable song by Rafisaab…Song is based on haunting lyrics and captivating harmonies. His vocals shift and bend with a vibrato effect, so this one makes fine treat for the ears. Rafisaab continues channeling music at transcendentally stratospheric levels! He knew the full value of words in relation to music.”

The song incidentally is the one fitting the theme of this series.

main ne chaand aur sitaaron ki tamanna ki thhi
mujh ko raaton ki siyaahi ke siwaa kuchh na mila aa

Mohammed Rafi sahab was blessed with a beautiful soul and a voice to match. He made the words sing. He made the song fly away and his voice is surrounding the listeners.

This is 31st July 2014 today , and in memory of Late Mohammed Rafi Sahab, this song is presented as a tribute on his 34th death anniversary.

The song, second of this series is a Rafi solo from ‘Saajan’ (1947). It is a sales pitch song written by Qamar Jalaalabaadi and the music is composed by C. Ramchandra. Only one song from the movie is posted till now. As per the excel sheet it is picturized on Ashok Kumar.


Song-O baabu gali mein teri chaand chamkaa(Saajan)(1947) Singer-Rafi, Lyrics-Qamar Jalalabadi, MD-C Ramchandra

Lyrics

o baabu
aji baabu
o baabu gali mein teri chaand chamkaa
dekho chaand chamkaa
o baabu
aji baabu
o baabu
gali mein teri chaand chamkaa
dekho chaand chamkaa

sapnon ki paalki mein
aaya hai kaun
sapnon ki paalki mein
aaya hai kaun
thhandi thhandi chaandni ye
laaya hai kaun
thhandi thhandi chaandni ye
laaya hai kaun
chamka wo kaajal
baaji wo paayal
sarkaa wo aanchal
shor huaa chham chham kaa
shor huaa chham chham kaa
ho
ho baabu
aji baabu
o baabu
gali mein teri chaand chamkaa
dekho chaand chamkaa

paas hamaare gori
solaah singaar hai ae
paas hamaare gori
solaah singaar hai
jodhpur ki choodiyaan
jaipuri ke haar hain
ye jaipur ke haar hain
awadh ka taala hai
kaashi ka pyaala hai
mathura ki maala hai
tohfaa hai ye mausam kaa
tohfaa hai ye mausam kaa
ho
ho baabu
aji baabu
o baabu
gali mein teri chaand chamkaa
dekho chaand chamkaa

aa jaao gori tujhe
jaadoo sikhaaun
aa jaao gori tujhe
jaadoo sikhaaun
roothhe huye piyaa ko
teraa banaaun
roothhe huye piyaa ko
teraa banaaun
madh bhari ankhiyaan tori
baalam se chori chori
le le ye haar gori
miley pyaar baalam ka
miley pyaar baalam ka
ho
ho baabu
aji baabu
o baabu
gali mein teri chaand chamkaa
dekho chaand chamkaa aa


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


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


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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

10035

Number of movies (All songs covered)

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