atul's bollywood song a day- with full lyrics

Posts Tagged ‘Lata


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

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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


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.

It was a message earlier in the morning yesterday. It was a reminder email from Khyati Ben, that 25th July 2014 is the 95th birth anniversary of the renowned music director, Sudhir Phadke. This post is on her request. The wonderful and unique song is also her suggestion, and the lyrics are provided by her.

Sudhir Phadke – a name that is forever going to be known for the iconic, very traditional, very homely “Jyoti Kalash Chhalke” . This magical composition, created over five decades ago, has gone down in the history of Hindi film music as one of the all time great songs ever. The verses by Pt Narendra Sharma, and the mellifluous voice of Lata ji, are both strung together into the beautiful tapestry of Raag Bhopali by Sudhir Phadke. A magic of music has never sounded so perfect, so pure, so complete, so fulfilling and so pleasing.

He is a legendary figure in Maharashrtra an Marathi music. He has composed the music for ‘Geet Ramayan’, a simple translation of Sant Tulsidas’ epic into Marathi by the renowned poet, GD Madgulkar. The entire theatrical creation includes 56 songs. In their original presentation on stage and as a radio play, the singers who have sung these 56 songs include Manik Varma, Lalita Deulkar, Lata Mangeshkar, Sudhir Phadke himself, Vasantrao Deshpande, Ram Phatak, and Usha Atre amongst others.

This creation has made him a household name wherever Marathi is spoken. Stage performances of the program continue to draw huge crowds even today.

The composition of “Jyoti Kalash Chhalke” came in 1961. After the passage of five decades in history, most people are not aware of a minor detail – i.e. 1961 was nearly the end of his career in Hindi films. He did one more film in 1962 (‘Pyaar Ki Jeet’), and then one more after a gap of 10 years in 1972 (‘Daraar’). This song from 1961 stands out as a shining beacon in his career. He is best known for this iconic composition. But if we look back into his career of the prior fifteen years, there is a long list of very melodious and endearing songs that comes to mind. The gleeful “Din Hai Suhaan Aaj Pehli Taarikh Hai” (‘Pehli Taarikh’, 1954), is created by him. Some other very wonderful compositions that have come from his baton are “Main Taaron Ki Odh Chunariyaa” (‘Rukmini Swyamvar’, 1946), “Saawan Ki Ghataao Tum Dheere Dheera Aana” and “Taqdeer Mein Likha Hai Meri Thokaren Khana” (‘Aage Badho’, 1947), “Dil Ro Rahaa Hai Hum Gaa Rahe Hain” (‘Apradhi’, 1949), “Birhaa Sataaye Bairi” and “Aaj Ki Raat Niraali Hai” (‘Jai Bheem’, 1949), “Naino Se Bahe Jal Ki Dhaara, Man Mein Mere Angaare Hain” and “Mann Saunp Diya Anjaane Mein” (‘Maalti Maadhav’, 1951), “Nain Se Nain Mila Lo, Man Se Man Ko Uljha Lo” (‘Gaj Gauri’, 1958), “Matke Pe Matka, Khaali Nahin Jaata Nishaana Natkhat Kaa” (‘Gokul Ka Chor’, 1959) and many more such beautiful melodies that are his creation.

Sudhir Phadke was born in Kolhapur in 1919. His name at birth was Ram Phadke, which is later changed, when he started working with HMV. With the passing away of his mother in 1929, the ten year old moved to Bombay with family. His interest and aptitude for music brought him to Maharashtra Sangeet Vidyalaya, where he received formal education and training. He also learnt at the feet of Pt Wamanrao Padhye of the Gwalior gharana, and Dr Bhajker, another renowned exponent of classical music in his times. In 1943 , he joined the gramophone company, HMV, and worked there till 1945. At HMV, he met with Vasudev G Bhatkar, who would later be more famous as Snehal Bhatkar. This was a lasting friendship, which also brought the young Sudhir in touch with the film industry. In collaboration with Vasudev Bhatkar, his first film as music director was ‘Rukmini Swyamvar’ in 1946. In parallel he also got his first break as an independent music direction with the film ‘Golkul’ also in 1946. In 1949, while recording the songs of ‘Jai Bheem’, a mutual attraction arose between the music director and one of his singers in this film, Lalita Deolkar. They were married the same year.

In a career that lasted a little over 15 years in Hindi cinema, he composed approximately a 120 songs for about 20 films. His mainstay, however has been the Marathi Bhaavgeet and music for Marathi films, that has made him a household name in Maharashtra. Compared to his stint with Hindi films, in Marathi cinema, he has composed music for over eighty films. During the last phase of his life, he was working to produce a biographical film on Veer Saavarkar. This film was not completed, however some songs were recorded.

Sudhir Phadke passed away on 29th July 2002, at the age of 83.

I had mentioned in the intro paragraph of this article that this is a very unique song. In her message, Khyati Ben explained this uniqueness as follows. As per the verses of this song, it is clear that on screen, this song is sung by the character of Devki. Readers are familiar with the history of the birth of Lord Krsna. He is born to Devki and Vasudev as their eighth child, while they have been incarcerated in prison, by Kamsa, the brother of Devki. On the night of His birth, by divine intervention, the baby child is carried in a basket by Vasudev and is deposited in the home of Nand and Yashoda in Gokul. All this while everyone is in deep sleep. Vasudev returns from Gokul carrying back the girl child of Yashoda.

The suffering and hardship of prison life, continue to be the bane of Devki’s and Vasudev’s lives. Their freedom comes when eleven years later, young Krsna comes to Mathura. He pulls down Kamsa from his throne and takes his life with a single blow. This episode is very well known.

But the fact is that Devki and Vasudev are condemned to spend another 11 years in prison, before being liberated. This song is most likely placed during that period of eleven years, as Devki calls out to her son, asking to be delivered from this life in prison. Going by our awareness of the variety of Hindi film songs abour Krsna, the experience is that almost all songs of motherly love and invocation are sung by Yashoda. In my awareness, this is probably the only song I have come across, which is apparently sung by Devki. That is what makes this song so unique.

The singing voice is that of Lata ji. The verses are from the pen of Pt Narendra Sharma. The melody created by Sudhir Phadke is based on Raag Mishr Maalkauns. Another very touching and very traditional creation from this team of artists.

Listen and enjoy.

(And thanks once again to Khyati Ben, for prompting to write this post on the venerable music director.)


Song-Tum suno suno ghanshyaam (Gokul Ka Chor)(1959) Singer-Lata, Lyrics-Narendra Sharma, MD-Sudhir Phadke
Chorus

Lyrics

suno . . o o
suno . . o o
suno . . o o
suno . . o o
suno . . o o
suno . . o o
jhan jhanan jhanan
jhan jhanan jhanan
jhan jhanan jhanan
jhan jhanan jhanan
hathkadiyon ki jhankaar suno
dukhiyon ka haahaakaar suno
suno suno Ghanshyaam

suno . . o o
(tum suno suno Ghanshyaam)
suno . . o o
(suno suno Ghanshyaam)

peedaa ka kaaraagaar hoon main
mamta ka luta sansaar hoon main
aansoo jal ki majhdhaar hoon main
us paar ho tum
is paar hoon main
tum meri god ke laalan ho
jag ke hey paalan haar suno
jag ke paalan haar suno
hathkadiyon ki jhankaar suno
dukhiyon ka haahaakaar suno
suno suno ghanshyaam

suno . . o o
(tum suno suno Ghanshyaam)
suno . . o o
(suno suno Ghanshyaam)

chhalkaa kar ras ki gaagariya
baj chuki bahut din baansuriya
o vaasudev nat naagariya
ab aa jaao na baawariya
hain dase vishaile naag abhi
ye zehr bhari fufkaar suno
zehr bhari fufkaar suno
hathkadiyon ki jhankaar suno
dukhiyon ka haahaakaar suno
suno suno Ghanshyaam

suno . . o o
(tum suno suno Ghanshyaam)
suno . . o o
(suno suno Ghanshyaam)
suno . . o o
(tum suno suno Ghanshyaam)
suno . . o o
(suno suno Ghanshyaam)
suno . . o o
(tum suno suno Ghanshyaam)
suno . . o o
(suno suno Ghanshyaam)

—————————————
Hindi script lyrics (Provided by Sudhir)
—————————————-
सुनो ओ ओ
सुनो ओ ओ
सुनो ओ ओ
सुनो ओ ओ
सुनो ओ ओ
सुनो ओ ओ
झन झनन झनन
झन झनन झनन
झन झनन झनन
झन झनन झनन
हथकड़ियों की झंकार सुनो
दुखियों का हाहाकार सुनो
सुनो सुनो घनश्याम

सुनो ओ ओ
(तुम सुनो सुनो घनश्याम)
सुनो ओ ओ
(सुनो सुनो घनश्याम)

पीड़ा का कारागार हूँ मैं
ममता का लुटा संसार हूँ मैं
आँसू जल की मँझधार हूं मैं
उस पार हो तुम
ईस पार हूँ मैं
तुम मेरी गोद के लालन हो
जग के हे पालनहार सुनो
जग के पालनहार सुनो
हथकड़ियों की झंकार सुनो
दुखियों का हाहाकार सुनो
सुनो सुनो घनश्याम

सुनो ओ ओ
(तुम सुनो सुनो घनश्याम)
सुनो ओ ओ
(सुनो सुनो घनश्याम)

छलका कर रस की गागरीया
बज की चुकी बहुत दिन बांसुरिया
ओ वासुदेव नाट नागरिया
हैं डसे विषैले नाग अभी
ये ज़हर भरी फुफकार सुनो
ज़हर भरी फुफकार सुनो
हथकड़ियों की झंकार सुनो
दुखियों का हाहाकार सुनो
सुनो सुनो घनश्याम

सुनो ओ ओ
(तुम सुनो सुनो घनश्याम)
सुनो ओ ओ
(सुनो सुनो घनश्याम)
सुनो ओ ओ
(तुम सुनो सुनो घनश्याम)
सुनो ओ ओ
(सुनो सुनो घनश्याम)
सुनो ओ ओ
(तुम सुनो सुनो घनश्याम)
सुनो ओ ओ
(सुनो सुनो घनश्याम)


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.

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Atul Song-A-Day 10K Song Milestone Celebrations –41 (Post number 9996)
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When Atul ji added this blog on facebook, a small change happened to the blog page too. In the right hand column, there appeared a matrix of 15 tiny portraits, representing some of the newer persons who are following the blog on the facebook. This is a good place to see some old friends and even sometimes new and familiar faces. And yes, occasionally I have espied even celebrity names as I run my mouse over these images.
Read more on this topic…


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.

“Majboor” (1964) was produced by Mohan Segal and directed by Narendra Suri for De Luxe Films. The movie had Waheeda Rehman, Biswjeet,Lalita Pawar, Rajendranath,Suresh, Sabita Chatterjee, Ram Avtaar, D.K.Sapru,Jagdev,Gyani/Gani,Naaz,Mehar Banu,Brahma Bhardwaj,Gopal Saigal, Latif, Nazir Kashmiri, Kashinath, K.K.Dewan, Kailash Advani, Shobha, Shivaji bhai, Kamal Dukhiya etc in it.
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This article is written by Avinash Scrapwala, 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.

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Atul Song-A-Day 10K Song Milestone Celebrations – 28
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He he he he he he
La la la la la la la la la la
pyaar hua hai jabse

Whenever I listen to this song from ‘Abhilasha-1968’, I am thrilled, I get goose-bumps, its music makes me delighted and it takes back to the time when I was a kid and I was playing with an inflatable rainbow color beach ball, which my Father had brought for me…
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This article is written by Santosh Ojha, a fellow enthusiast of Hindi movie 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.

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Atul Song-A-Day 10K Song Milestone Celebrations – 26
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I have never met Atul, he is not even my Facebook friend! But over the past few years I feel I have known him for a very long time. I know him as a very kind and gracious person who not only posted a few of my guest posts on his blog but was even very, very generous with his comments on my blog which has nothing to do with film songs. Maybe the reason for this is that we both grew up in middle class households in the same era, and that too within 130 km of each other (he in Ranchi and I in Jamshedpur, both small towns)
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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.

= = = = = = = = = = = = = = =
Atul Song-A-Day 10K Song Milestone Celebrations – 25
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One of the earliest articles in the blog that gave me immense satisfaction was the article on the song “Din hai suhaana aaj pehli taareekh hai”. This song, that brings back nostalgia big time for people growing up in 1960s and 1970s is from “Pahli Taareekh” (1954) and it was played on Radio Ceylon (later SLBC) on the first day of every month. Listening to this song on the first day of every month in the “puraani filmon ke geet” programme was a divine experience. One needed to live in that era to savour it. Those who could never savour it because they were not born then, I can only say-tough luck. Better luck next time. :)
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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.

= = = = = = = = = = = = = = =
Atul Song-A-Day 10K Song Milestone Celebrations – 21
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In our series of introducing the regular contributors on the eve of 10,000th song, here is the next contributor- Prakashchandra!
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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.

= = = = = = = = = = = = = = =
Atul Song-A-Day 10K Song Milestone Celebrations – 19
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Pradeep Raghunathan discovered the blog on 11 march 2011 and he found himself instantly hooked on the blog. He began to spend considerable time on the blog. In the process he had a great deal of interaction with me, mostly on gmail, including its chatting. We have interacted online more than a hundred times , and two of these interaction sessions lasted over two hours each.
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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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