atul's bollywood song a day- with full lyrics


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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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
————————————–

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


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.

= = = = = = = = = = = = =

The Many Colors of Love #19 – The Quarrels of Love
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

And so wrote the scribe
badi cheez hai pyaar mohabbat
aisi taisi jhagde ki
ho jaaye sarkaar mohabbat
aisi taisi jhagde ki

And why not? Having ‘chaat pakodi’ and ‘bhel puri’ occasionally is a good break from the routine meals at home, day in and day out. And so it is with the ‘jhagda’. Isn’t that a matter of common everyday experience? A lot of love, spiced with the pepper of arguments and squabbles; add to the value of high spirits and breaks the monotony of goody goody goodness. Adds to the tang in life.

Always waiting to happen, the quarrels and arguments are a natural part of any two people interactions. For who, in this world has found someone, who is 100% agreeable, and thinks exactly on the same lines as the self. No one I know, has found such a friend or companion. And if someone says he or she has, I would say, just hold on to that companion for everything in life, for you have found God.

But an important aspect of this disagreement, this altercation is that it will happen only with someone you care about. The interaction itself expresses in many different ways. And the disagreement is one of the ways that acknowledges the interaction. And more so, more strongly, because you choose to and you dare to differ, with the belief that the underlying foundations are so strong that you can afford to. Of course, as long as the ego is outside the picture, the debate for a healthy cause is the need for a healthy disagreement. Sometimes it simply is a favor, for it leads to better understanding, and even a heightened longing to continue loving each other.

The ‘naraaz hona’ and ‘roothna manaana’, that gets so much significance on screen, is actually a part of life, albeit may not be so zealously overstated. And in real life, it takes much more tact and intelligent handling – it is veritably a learning school for human interactions. All of us recall the recent incident wherein Atul ji had shared about following instructions of his better, on the 10K day, while a load of us were glued to our computer screens, waiting for the 10K song to appear. ;)

The ‘jhagda’ in Hindi films has both the comic as well as the serious flavors. The fun, the miscommunications, the misunderstandings, the confusions, sometimes accompanied with real good music and song, is a staple ingredient of the sub plots of love on screen. Sometimes it is part of a teasing game, sometimes it is a domestic situation, sometimes it is a lover’s tiff – but most importantly, there has to be a song to facilitate the proceedings (as always :) ).

The Hindi film song has a fair share of such song too. The song mentioned in the beginning of this post is from ‘Chacha Chaudhry’ (1959). Other interesting specimens are – a very domesticated jhagda song from the 1953 film ‘Dhun’ – “Hum Pyaar Karenge, Hum Pyaar Karenge, Hum Lad Ke Jhagad Ke Bhi Pyaar Karenge” ; then a request from the lady that says “O Ladke Makkhan Se, Jhagad Mat Appan Se, Hans Kar Kar Le Pyaar, Tera Kya Bigdega” from the 1971 film ‘Ganga Tera Paani Amrit’; and again, a lady trying to make up with her ‘naraaz’ beau, saying “Ye Lo Main Haari Piya, Hui Teri Jeet Re, Kaahe Ka Jhagada Baalam Nayi Nayi Preet Re” from the 1954 film ‘Aar Paar’; then there is this plea for an understanding by the gentleman “Ye Pyaar Ka Jhagda Hai To Pyaar Se Taye Keejiye” from the 1971 film ‘Aag Aur Daag’; another interesting comic piece from the 1961 film ‘Aplam Chaplam’ – “Dil Ka Natak Khel Chuke To Tu Tu Main Main Karna Kya, Jab Pyar Kiya To Ladna Kya”, (seems to be a parody of the famous song from ‘Mughal e Azam’). A very interesting mukhdaa from a song of 1935; the film is ‘Kaarvaan e Husn’ and the line is “Aap Kya Jaanein Muhabbat Kee Ladaai Ke Maze”; should be interesting to get hold of this song.

The song that I present today is from the 1959 film ‘Lady Robinhood’. As I mentioned in one of my earlier posts, I got hold of the songs of this film, while searching for the songs of an earlier film (from 1946) with the same name. In the set of songs I got, I found this gem of a song that I was hearing for the first time. And I have heard it again and again many times since. The singing voices are of Mahendra Kapoor and Geeta Dutt. I have a strong feeling that in the on screen performance of this song, the lady’s voice is picturized on Tuntun, simply going by the words in the lyrics, and even by the manner in which Geeta ji has sung the lines, sounding so close to Tuntun, the comedienne on screen. The lyrics are by Bekal Amritsari and the music composition is by Sardul Kwatra.

The film is produced under the banner of Rekha Chitr and is directed by BJ Patel. The cast of actors includes Mehru, Nilofer, Rajan Kapoor, Samar Rai, Miraajkar, Tuntun, Shakila Bano Bhopali, Nazir Kashmiri, Moolchand, Abdul Sattar, Balbir, Ram Raseela, Shri Bhagwan, Nandini, Shiela and many more.

The song starts with a resolve for an all-or-nothing fight to the end, as the gentleman is bent to convince the lady of his intentions. There follows a very rapid fire and a very interesting exchange, that is hilarious and includes threats of physical violence by the lady. The lyrics are quiet an interesting mix of Hindi, some Punjabi that includes a couple of very typical north Indian phrases, with a sprinkling of English words thrown in. About the typical phrases from north India, I explain them here.

One of them is ‘tibri tight’. Before the plastic bottles came, the cold drinks were packaged in glass bottles, with a vacuum sealed metal cap that required a special opener. In Punjabi, this cap is called ‘tibri’. It is a lot of mechanical energy that is used to seal the ‘tibri’’ with lot of fizz and pressure to be contained inside. And the threat of ‘tightening the tibri’ for someone is to warn that person to stay within limits, or good care will be taken of him. Almost akin to threats of physical violence.

The second phrase is ‘do kaanon mein sar’. Literally it simply means ‘the head is between two ears’. Now isn’t that the most normal expectation for anybody, that the head is always in between two ears? Well the usage of this phrase is to warn another person who seems to flying too high, taking too much liberties with words and actions – implying that the person’s head is not in its right place, or that the head is too big meaning the person is very arrogant and conceited. So the warning is that the person will be dealt in a manner such that his high flying or oversized head is placed to fit well in between his ears.

And so the song proceeds with threats being exchanged. But of course, the limitation is that this fight will not last more than three minutes and some seconds (playing length of a 78 rpm record ;) ). So by the time the third antaraa comes to a close, all is well, the anger is gone and the two are making avid promises not to fight again. Ah, blessed be the Hindi film song – a fight cannot last more than three minutes. :D :D

Listen to this very ‘fresh sound’ from more than half a century ago. And what’s more, listen to the rare sound of Mahendra Kapoor yodeling at the end of the song. Listen and enjoy.


Song-Na maanogi fight karenga (Lady Robinhood)(1959) Singer-Mahendra Kapoor, Geeta Dutt, Lyrics-Bekal Amritsari, MD-Sardul Kwatra
Both

Lyrics

na maanogi fight karenga
jhagdaa day and night karenga
jo bhi karenga
ho madam jo bhi karenga
right karenga
hum bhi tum se fight karenga
teri tibrrri tight karenga
maar maar ke
ho mister maar maar ke
right karenga

haaye
na maanogi fight karenga
jhagdaa day and night karenga

tera mera jod hi kyaa hai
tu bhajiya mein pedaa
tera mera jod hi kyaa hai
tu bhajiya mein pedaa
do kaanon mein sar kar doongi
agar mujhe phir chhedaa
do kaanon mein sar kar doongi
agar mujhe phir chhedaa

arre hum se jo hans kar baat karenga
service din aur raat karenga
jo bhi karenga
ho madam jo bhi karenga
right karenga
hum bhi tum se fight karenga
teri tibrrri tight karenga. . .

father se manzoori le le
main hoon abhi kanwaara
arre father se manzoori le le
main hoon abhi kanwaara
naukar chaakar motor banglaa
jo bhi hai so tumhaara
naukar chaakar motor banglaa
jo bhi hai so tumhaara
arre hum ko agar tum bore karenga
tang aa ke hum shor karenga
maar maar ke
ho mister maar maar ke
right karenga

haaye
na maanogi fight karenga
jhagdaa day and night karenga

mujh sa koi na milegaa tujhko
hathni jaisi jaadi
arre mujh sa koi na milegaa tujhko
hathni jaisi jaadi
moti kabhi na hoti khoti
tu kya jaane anaadi
moti kabhi na hoti khoti
tu kya jaane anaadi

achaa
lo phir tum par dil se marenga
champi karenga paani bharenga
jo bhi karenga
ho madam jo bhi karenga
right karenga
ab na tum se fight karenga
aur na tibri tight karenga

jo bhi karenga
karenga
jo bhi karenga
right karenga

doo de leyeeee
(ahaa ha ha)
ao de leyeeee
(o ho ho)
ao de leyeeee
(aa haa)
leyeee
(aaaaa)
leyeee
(aaaaa)
doo de leyeeee
(ahaa ha)
ao de leyeeee
(o ho)
ao de leyeeee
(aa haa)
leyeee
(aaaaa)
leyeee
(aaaaa)

———————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————–
ना मानोगी फाइट करेंगा
झगड़ा डे एंड नाइट करेंगा
जो भी करेंगा
हो मैडम जो भी करेंगा
राइट करेंगा
हम भी तुम से फाइट करेंगा
तेरी टिबरी टाइट करेंगा
मार मार के
हो मिस्टर मार मार के
राइट करेंगा

हाए
ना मानोगी फाइट करेंगा
झगड़ा डे एंड नाइट करेंगा

तेरा मेरा जोड़ ही क्या है
तू भजिया मैं पेड़ा
तेरा मेरा जोड़ ही क्या है
तू भजिया मैं पेड़ा
दो कानों में सर कर दूँगी
अगर मुझे फिर छेड़ा
दो कानों में सर कर दूँगी
अगर मुझे फिर छेड़ा

अररे हम से जो हंस कर बात करेंगा
सर्विस दिन और रात करेंगा
जो भी करेंगा
हो मैडम जो भी करेंगा
राइट करेंगा
हम भी तुम से फाइट करेंगा
तेरी टिबरी टाइट करेंगा ॰ ॰ ॰

फादर से मंज़ूरी ले ले
मैं हूँ अभी कंवारा
अरे फादर से मंज़ूरी ले ले
मैं हूँ अभी कंवारा
नौकर चाकर बंगला मोटर
जो भी है सो तुम्हारा
नौकर चाकर बंगला मोटर
जो भी है सो तुम्हारा
अरे हमको अगर तुम बोर करेंगा
तंग आके हम शोर करेंगा
मार मार के
हो मिस्टर मार मार के
राइट करेंगा

हाए
ना मानोगी फाइट करेंगा
झगड़ा डे एंड नाइट करेंगा

मुझसा कोई ना मिलेगा तुझको
हथनी जैसी जाड़ी
मुझसा कोई ना मिलेगा तुझको
हथनी जैसी जाड़ी
मोटी कभी ना होती खोटी
तू क्या जाने अनाड़ी
मोटी कभी ना होती खोटी
तू क्या जाने अनाड़ी

अच्छा
लो फिर तुम पर दिल से मरेंगा
चंपी करेंगा पानी भरेंगा
जो भी करेंगा
हो मैडम जो भी करेंगा
राइट करेंगा
अब ना तुमसे फाइट करेंगा
और ना टिबरी टाइट करेंगा

जो भी करेंगा
करेंगा
जो भी करेंगा
राइट करेंगा

डूऊ ड॰॰ए लेयी ई ई
(आहा हा हा)
यू ड॰॰ए लेयी ई ई
(ओ हो हो)
यू ड॰॰ए लेयी ई ई
(आ हा)
लेयी ई ई
(आ आ)
लेयी ई ई
(आ आ)
डूऊ ड॰॰ए लेयी ई ई
(आहा हा)
यू ड॰॰ए लेयी ई ई
(ओ हो)
यू ड॰॰ए लेयी ई ई
(आहा हा)
लेयी ई ई
(आ आ)
लेयी ई ई
(आ आ)


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. 2
——————————————-

When I was planning this series about composers who opted for Pakistan,I was wondering,why must have people prepared to shift to unknown locations,when obviously there was so much opportunity here in India ?

If one considers the atmosphere during the Partition,it was natural that some people gave weightage to things other than their careers. The First and overpowering reason could be to go to a place which would be exclusively theirs, and where they would be in a majority. Secondly, few must have thought of greater opportunities in a New country where everything had to start from scratch. Thirdly, specially for the composers, they found very keen competition in India, having established composers around, like Khemchand Prakash, Naushad, C.Ramchandra, Pt.Amarnath, Husnlal Bhagatram, Shyamsunder, Bulo C Rani, Vinod etc etc. It was easier to shine and get established in a maiden field. Whatever the reasons, Partition did take away a sizable chunk off the film industry. India being a vast country, there was no dearth of talent here and the void was filled up without delay.

Today we will talk about Master Ghulam Haider, who had changed the face of HFM, with the history making music to Khazanchi-41. Till Khazanchi-41 happened, the Hindi films were under the influence of Marathi, Parsi and Gujarati Natya sangeet and classical singing. Hindi films from Calcutta were heavily influenced by Rabindra Sangeet. People listening to this brand of music for almost a decade were now fed up and they craved for something new. Khazanchi music brought the Punjabi theka and zest into hindi film music and then there was no looking back, because the audience immediately lapped it up.

Master Ghulam Haider was also known for discovring hidden talents, developing them and using them for HFM. Singers like Umrao Zia Begum, Shamshad Begum, Noorjehan, Lata Mangeshkar, Mohd.Rafi and Surinder Kaur are examples of talents discovered, nurtured and presented by him. Though these singers were already singing songs, Masterji gave them All India exposure and helped them establish their careers. Shri Harjaap Singh ji says in his article:

” Born, brought up and trained in Amritsar, Master Ghulam Haider became the first iconic music director of Punjab. Before him Rafiq Ghaznavi and Ustad Jhande Khan entered the field of music direction, but they quickly left Lahore to explore the greener pastures of Bombay. Ghulam Haider established himself as a popular film music director in Lahore between 1934 and 1944 and after attaining stardom he moved to Bombay. Ghulam Haider was considered a great discoverer of vocal musical talent. His first discovery was Umrao-Zia Begum, a singing actress, who later on became his better half. In 1939, Ghulam Haider discovered a child singing sensation Noor Jehan while composing the music of a Punjabi film ‘Gul Bakawli’. He had heard the versatile voice of a radio singer Shamshad Begum and featured her voice in the 1940 blockbuster Punjabi comedy ‘Yamla Jatt’. In 1943, Ghulam Haider spotted two more great voices of Muhammad Rafi and Surinder Kaur. His fame in Lahore took him to Bombay.

But, Ghulam Haider’s biggest discovery of singing sensations was in Lata Mangeshkar, whom he discovered not in Lahore, but in 1947 in Bombay. It was a chance meeting between a future singer and a brilliant talent hunter. Like everyone else high and low, while commuting between one recording studio and another in Bombay’s famous electric railway, Master Ghulam Haider saw a frail and anaemic looking female teenager mumbling something, perhaps in Marathi. The voice appeared to be very shrill and sweet. Ghulam Haider asked her to sing on his tune. He quickly improvised a tune and asked the girl to sing. The girl rendered the raw tune quite proficiently. An obviously elated Ghulam Haider introduced himself as a music director and asked the girl to show up on a given day for an audition in one of the recording studios. The excited girl reached the studio much before time and waited patiently for her turn. The audition went off smoothly and the girl was approved as a playback singer. The teenager was none other than the famous icon Lata Mangeshkar. This is how the honour of discovering India’s most brilliant and most prolific singer Lata Mangeshkar went to a music director from Lahore.

Ghulam Haider shared the news of his new discovery with two other great composers of film music Anil Biswas and Khem Chand Prakash. Soon the word of mouth spread in Tinsel Town and the first set of music directors who came forward to groom Lata as a playback singer included mostly Punjabis, who had migrated to Bombay from Lahore during the 1940s. “

It was Master ji who took Lata to S Mukherjee of Filmistan for songs of Shaheed, but Mukherjee rejected Lata. Master ji told Mukherjee,”one day you and all the industry will run after her,remember this.” From there, going with Lata to Goregaon station to board a train for Malad (to go to Bombay Talkies studios), Master ji used his 555 cigarette tin for tapping and Lata sang a tune on that music. This song was “Dil mera toda” from film Majboor-48.

Many write ups and articles are available on sites and internet about the Biography of Master Ghulam Haider, but I will not use them in this series, instead I will borrow from Pakistani articles and sites,so that we get a different perspective on the personality and also know how they fared in Pakistan, after leaving India.

Master Ghulam Haider was born in 1908 in Hyderabad, Sind, Pakistan. After passing his intermediate examination, Ghulam Haider took admission in the college of dentistry. However, he left his dentistry education incomplete because of his aptitude for music.

Ghulam Haider took music lessons from honorific ustaad, Babu Ganesh Lal. During those days, it was a matter of great honor and privilege for a musician to be hired by a gramophone company. Ghulam Haider landed a job of a harmonium player in the Alfred theatrical company in Calcutta, India.

After a while, Ghulam Haider was hired as a musician in the Alexandra theatrical company. Later, he worked for the Jeno phone recording company as a music composer.

A singing- star by the name of Umra-o-Zia Begum was the talk of the town in those exciting times. In fact, she was renowned for her melodious voice than as a film actress. Further, she earned the title of ‘Bulbul Hazaar Dastaan’ from the music buffs.

Ghulam Haider composed music for Umra-o-Zia Begum and recorded songs and ghazals in her voice. Her name appeared on the gramophone records as well. Perhaps, Umra-o-Zia Begum’s greatest achievement was the recitation of one of the most popular Naat, ‘Yathrib ko janay walay mera paigham lay ja’, composed by Ghulam Haider.

Ghulam Haider debuted as a music composer in a 1935 movie, ‘Swarg ki seedhi’, in which Umra-o-Zia Begum was also cast in a major role. ‘Swarg ki seedhi’ was released under the banner of National Modi Tone, Lahore and directed by Syed Imtiaz Ali Taj.

With the passage of time, Ghulam Haider and Umra-o-Zia Begum developed immense love and understanding for each other, which reached its peak during the movie shoot of ‘Swarg ki seedhi’. Ghulam Haider, who worked for Pancholi Art pictures at that time, soon married Umra-o-Zia Begum.

After marrying Ghulam Haider, Umra-o-Zia Begum said farewell to the show business. She was never seen again even in a public gathering. Reverting to Ghulam Haider’s music, he was more then just a music composer. He was the embodiment of soul and passion in music.

In the year 1935, Ghulam Haider also composed songs for director Roshan Lal Shori’s film ‘Majnu’, which was released under the banner of Kamla Modi Tone.
Ghulam Haider came out distinctly powerful in the song ‘Ray Aaj mein hoash ruba day saaqi khoon kar kay katora pila day’, composer, Ghulam Haider, film, ‘Majnu.’
He contributed wholesomely to each of his musical piece to what is now known as the best of Ghulam Haider.

Ghulam Haider raised the status of fellow music composers in those days. He insisted on huge sum of money for his compositions. The filmmakers agreed to his demand. Ghulam Haider’s big break came in 1939 when he composed songs for D.M.Pancholi’s Punjabi film, ‘Gul Bakawli’, which was released under the banner of Pancholi Art Pictures and directed by Barkat Mehra.

Seth Dilsikh M.Pancholi had invited Syed Shaukat Husain Rizvi from Maiden Theater, Calcutta, to Lahore for the inauguration of ‘Gul Bakawli.’

He also composed songs for Noor Jehan’s 1939 Punjabi film ‘Sassi Pannu.’

Ghulam Haider’s genius in succeeding was largely due to patience, self-discipline, rationality and inner resolve. Ghulam Haider composed songs for the 1940 Punjabi film ‘Yamla Jatt’, which was released under the banner of ‘Pancholi Art Pictures.

Ghulam Haider’s breathtaking command on tempo and rhythm made him the most sought-after composer in the 1940s and early 1950s. As time passed by, Ghulam Haider’s music played more forcefully and energetically.

One of his considerable achievements was the 1941 film ‘Khazanchi’. In reality, ‘Khazanchi’ was the first Indian film in which Ghulam Haider had introduced the sound of ‘Dholak’, which enhanced the quality of the song. ‘Khazanchi’ was also the singing debut of Shamshad Begum. Prior to that, Shamshad Begum had been rendering songs for the gramophone company.

Ghulam Haider was that one composer who excelled at all the attributes. Moreover, he devoted much of his time to invent tunes. Ghulam Haider’s compositions for the 1941 Punjabi film ‘Chaudhry’ was the melody of a grateful heart. With hope and belief in him, Ghulam Haider composed music for the film ‘Chaudhry.’
The first Muslim social film ‘Khandaan’ was released in 1942. Incidentally, ‘Khandaan’ was also the first film of Noor Jehan as lead actress and the directional debut of Syed Shaukat Husain Rizvi.

Ghulam Haider used his skill to invigorate every musician who shared the stage with him. Director Barkat Mehra’s film ‘Sehti Murad’ was released under the banner of ‘Nadiran India Pictures.’ Ghulam Haider composed its music.

The believability and humanity in Ghulam Haider’s music was powerfully manifested in the 1942 film ‘Zamindar’. It was a feeling Ghulam Haider had given to millions of music lovers. ‘Zamindar’ was directed by Moti B. Gadvani and released under the banner of ‘Pancholi Art Pictures.’

It seemed Ghulam Haider knew just how to create magnificent musical masterpieces. He composed songs for the film ‘Bhai’, which was released under the banner of ‘Karavan Pictures’ and directed by K.D.Mehra. For the first time in ‘Bhai,’ Ghulam Haider recorded songs in the voice of Naseem Akhtar. Naseem Akhtar’s two elder sisters, Sardar Akhtar and Bahar Akhtar happened to be the wives of renowned Indian film directors, Mehboob Khan and Kardaar respectively.

Ghulam Haider had the savvy to motivate the singers. Additionally, he reached the pinnacle by following his own instincts. He composed music for director Vishnu Pancholi’s 1943 film, ‘Poonji.’

As a music composer, Ghulam Haider took great interest in his profession. He composed songs for director K. Asif’s 1944 film, ‘Phool.’

The attraction and the lasting effect of Ghulam Haider’s songs are reflected in the sweetness of his music compositions. Included in the list of illustrious films are the four below:

Director Gayan Mukherjee’s 1944 film ‘Chal chal ray naujawan.’
The film ‘Bairam Khan.’
Director Sibtain Fazli’s film ‘Shama’ which was released under the banner of Minerva Modi Tone.
Director Sibtain Fazli’s film ‘Mehendi.’

His efforts took on a new intensity and Ghulam Haider proved his worth in the music scene. The ability of the man and his music really hit home. Ghulam Haider’s music in the three films below can evoke so many memories:

Director M. Sadiq’s film ‘Jag beeti.’
Director Sohrab Modi’s film ‘Manjdhaar’, which was released under the banner of ‘Minerva Modi Tone. Ghulam Haider and Gayan Dutt composed its songs.
Director Afzal Jahangir’s film ‘Buth Tarash.’

Ghulam Haider moved to Bombay in 1944. Later he composed songs for director Mehboob Khan’s 1945 film ‘Humayun’, which was released under the banner of ‘Filmistan limited.’ Ghulam Haider composed the song ‘Naina bhar Aaye naar’ for the film ‘Humayun.’

Lata Mangeshkar’s big break came in director Nazeer Ajmeri’s 1948 film ‘Majboor’, which was released under the banner of ‘Bombay Talkies.’ Ghulam Haider composed the song, ‘Mera dil tora’ in the voice of Lata Mangeshkar for the film ‘Majboor.’ Another popular song from ‘Majboor’ was ‘Angrezi chora chala gaya, wo gora, gora, chala gaya.’

Ghulam Haider also availed Lata Mangeshkar’s voice for the 1948 film ‘Padmini.’

The Listeners were spellbound as sure, poignant strains of Ghulam Haider’s melody emerged in director S. Mukherjee’s 1948 movie, ‘Shaheed.’ It was released under the banner of ‘Filmistan limited.’

Dedicated composer, Ghulam Haider, also composed music for director Krishin Kumar’s 1949 film ‘Kaneez.’

Afterwards, Ghulam Haider returned to Lahore and established ‘Film Saaz’ along with director S. Nazir Ajmeri and actor S. Gul. Also, in Lahore, Ghulam Haider worked with Roshan Lal Shorey and his son, Roop Kishore Shorey.

‘Shahida’ was the first Urdu film of Ghulam Haider in Pakistan, which was released in 1949.

Ghulam Haider also composed songs for the four Pakistani movies, ‘Bay Qarar’, ‘Akeli’, ‘Bheegi Palkain’ and ‘Ghulam.’

After the film ‘Khandaan’, Ghulam Haider and Noor Jehan once again worked together for the film ‘Gulnar.’ Moreover, Noor Jehan also starred in the film ‘Laila.’
Ghulam Haider passed away on November 9, 1953, in Lahore, soon after the release of the film ‘Gulnar.’ He was forty-five years of age.

Umrao Zia Begum was not only a great human but an affectionate mother who possessed enormous foresightedness as well.

Ghulam Haider’s demise happened to be a tremendous setback for his beloved wife, Umrao Zia Begum, who was much younger to her husband. However, she did not lose heart. Instead, she devoted herself wholeheartedly to the upbringing of her children.

She left no stone unturned to provide her children the best possible education available at the time. Consequently, all her children grew up and achieved name and fame in their respective fields.

Most importantly, Umrao Zia Begum thanked God to see her relentless efforts come to fruition.

Years later, Umrao Zia Begum breathed her last in the ‘Stork House,’ Bahawalpur, which was the official residence of her younger son, who was the General Officer Commanding in Bahawalpur in those days. She was laid to rest in the Military Graveyard, Cavalry Ground, Lahore. ” (Thanks to an article on Pakistaniyat).

From 1934 to 1944 master ji was in lahore. After Poonji, he came to Bombay, but met Lata very late. This actually prevented him from using her voice for more films, since he migrated in 1947. Lata sang only 8 songs in 3 films for him- Majboor, Mehandi and Padmini. When Master Ghulam Haider left india 3 of his films were incomplete. Kaneez-49 was completed by hansraj Behl,Putli-50 was completed by Aziz Hindi and Aabshar which was released in 1953-after his death- was completed by Mohd.Shafi and Bhola Shreshtha.

Today’s song, ” Bedard tere dard ko ” from Padmini-48, was actually recorded for ‘ Mehendi ‘- but used in Majboor. This was the last song he recorded for Lata before leaving for Pakistan. Noted writer Harish Bhimani,in his book ‘ In search of Lata Mangeshkar ‘ has written about this song recording, how Lata waited for 8 hours, without food or even a cup of Tea (due to an upset stomach), and how Master ji was shocked to find her there since he had forgotten that he had called her there for recording a song ! This is what Lata herself said about this song:

” In 1947, I received a message from Masterji, Ghulam Haider. “One song needs to be recorded, come as early as possible.”
As it was night, I was accompanied to the studio by my cousin. Masterji was in a hurry as he had to leave for Pakistan. The recording lasted through the night. I was awaiting my turn on a bench in a corner.

Finally, at the stroke of dawn, Masterji called me. He played the tune on the piano. He was a master piano player. Then I sang his song, Bedard tere dard ko. It was past 8:30 AM by that time. Those days one had to sing the entire song with the orchestra without committing a single mistake and hence was a strenuous exercise.

Masterji recommended me for the film Shaheed to Filmistan’s Mukherjee. He rejected me, reasoning that my voice was too thin. Masterji told him that day, “You are rejecting her now, but one day will arrive when the entire industry will spread a red carpet for this girl.”

The prophecy of Masterji turned out to be true. The songs of Andaaz, Barsaat, Badi Behan, Mahal were gaining popularity every passing day.

One day, I received a call from Masterji from Pakistan. He used to refer me as ‘Memsahib’. He said, “Memsahib, I had told you, people will never forget you, and you will not forget me either!”

Then one day, Noorjahan called me, Masterji was suffering from cancer.

The last song that Masterji recorded with me is the one closest to me. “

Let us enjoy this much touted song today,composed by Master Ghulam Haider and sung by an young Lata Mangeshkar. Lyrics are written by Wali Sahab.


Song-Bedard tere dard ko seene se lagaa ke (Padmini)(1948) Singer-Lata, Lyrics-Wali Sahab, MD-Ghulam Haider

Lyrics

Bedard tere dard ko seene se lagaa ke ae
ro lenge tasavvur mein tujhe paas bithhaa ke
bedard tere dard ko seene se lagaa ke ae
ro lenge tasavvur mein tujhe paas bithhaa ke

jab door thhi unse main bahut paas thhi unke
kyun door kiyaa thhaa yoon mujhe paas bulaa ke
bedard tere dard ko seene se lagaa ke ae
ro lenge tasavvur mein tujhe paas bithhaa ke

barbaad bhi hoke na karenge teraa shiqwaa
aa aa aa aa aa
barbaad bhi hoke na karenge teraa shiqwaa aa
hans lenge gaye waqt ko ham saamne laa ke
bedard tere dard ko seene se lagaa ke ae
ro lenge tasavvur mein tujhe paas bithhaa ke

thandak unhen milti hai agar meri jalan se
thandak unhen milti hai agar meri jalan se
dekhoongi tamaasha main bhare ghar ko jalaa ke
bedard tere dard ko seene se lagaa ke ae
ro lege tasavvur mein tujhe paas bithhaa ke

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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.

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