Paa laagoon kar joree re
Posted on: August 22, 2012
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Mahipal, a name that is so familiar as the actor behind the ‘Raaj Kavi Diwaakar’ in V Shantaram’s ‘Navrang’ (1959), as the healer Zabak in Basant Picture film ‘Zabak’ (1961), or the swashbuckling swordsman Paras in Movieland’s film ‘Parasmani’ (1963), and many more characters played by him in films with historical, mythological and religious themes. But not many people know that Mahipal Chandra Bhandari, a young lad of 23 from Jodhpur, made his debut in films both as an actor and a poet. His first film as an actor, ‘Nazraana’ (1942), a twin production in Hindi and Maarwari, turned out to be a flop, and it would not be for another 8 years, till 1950, that he would catch the attention of the industry and the audience alike, as a performer on the screen. But in the interim, his talent and his childhood interest is writing poetry, kept him busy writing lyrics for films like ‘Maali’ (1944) and ‘Aap Ki Sewa Mein’ (1947).
One more interesting aside before I come to the main theme of this celebratory post. The phenomenally successful and popular song “Eenaa Meena Deekaa. . .” from the film ‘Aasha’ (1957) is credited to C Ramchandra. But very few people would know that the tune for this song is originally created for the Marathi song “Ina Mina Mona Baass” from a children’s play for Marathi stage, by music director Datta Dawjekar (who also wrote the lyrics for the Marathi song). And that Datta Dawjekar worked as an assistant to C Ramchandra from 1952 to 1961.
Welcome all friends and readers today, to another twin century celebration on this blog, with a very very special song, that has been waiting for some time now to make its appearance here. Today this blog reaches the 6500th milestone with this posting. And for those who are keeping watch on the traffic hitting this blog, we passed the 3.5 million visitor’s mark, about 9500 visitors ago. Kudos and congratulations. . . this musical bandwagon continues its journey, going from strength to strength, song by song. 🙂
And the second fabulous milestone today is the 1900th song posting for Lata Mangeshkar, leading the way with the highest number of posts by any individual performer, so far. And the “very, very special” thing about this song – this is the very first recording by Lata ji for the Hindi films.
And now, bringing together the three personalities mentioned so far in this post, we come to the film ‘Aap Ki Sewa Mein’. This little known film which is a 1947 production from the banner of Chandrama Pictures, Bombay, directed by Vasant Joglekar, has a star cast that includes Dikshit, Kesri, Shantaarin, Saroj Borkar, Nimbaalkar, Samson, DR Gokhale, Bhaal Maraathe, Vijaya, Baby Nalini etc. This film is actually a significant milestone for Hindi film music, in more than one ways. It is one of the handful, rather rare films, for which Mahipal has penned the lyrics. It is the debut Hindi film for Datta Dawjekar. And most importantly, it is the debut film for Lata ji, the nightingale of the Hindi film music. And her debut recording is this delightfully rendered classical thumri “Paa Laagun Kar Jori Shaam Mo Se Na Khelo Hori”.
Lata ji also recorded two more solo songs for this film “Ek Naye Rang Mein, Dooje Umang Mein, Aaye Mahaaraaj Morey. . .”, and “Ab Kaun Sunegaa Mere Mann Ki Baat” amongst a total of 8 songs recorded for this film. Giving her company are Rafi Saab, Mohantara Talpade and GM Saajan as the other singers who have performed the rest of the five songs in this film.
With the impending partition of the country, the Hindi film industry and film music community witnessed a lot of change, with a number of reigning stars – music directors, lyricists and singers, opting to migrate to Pakistan. And into the vacuum created, stepped in a new crop of artists who were destined to make an indelible mark on the Hindi film music. One of the new entrants into the singer’s list was a young singer with a very thin, soft and sweet voice whose style of singing was very different from that of well-established singers like Noorjehan, Shamshad Begum, Zohrabai Ambalewali and Amirbai Karnatki from that era. And in a very short time, this new singer named Lata Mangeshkar came to completely dominate and change the face of the Hindi film music scenario. And the credit to introduce Lata to playback singing in Hindi films goes to the composer Datta Dawjekar.
Fondly called ‘DD’ in music circles, Datta Dawjekar was born on 15.11.1917 in Pune. His father, Babu Rao Dawjekar was a renowned table player in the Marathi stage, and worked for the theatre company owned by KK Modi (brother of Sohrab Modi). In 1935, DD joined ‘Saraswati Cinetone’ as an assistant to the music director, Suresh Bhai Maane. ‘Saraswati Cinetone’ was owned by Ramchandra Gopal Torne. Folks familiar with the films from silent era will recognize this name as the person behind the film ‘Pundalik’, arguably the first Indian feature length film, which was released in 1912, one year before Dada Saheb Phalke’s ‘Raja Harishchandra’ (1913). (The reasons why ‘Pundalik’ is not credited to be the first Indian film – ‘Pundalik’ is a recording on celluloid of a stage play, and its production crew consisted mainly of Europeans).
His early career took him from Saraswati Cinetone, to Minervar Movietone (Sohrab Modi), to Navyug Productions, and then to Prafull Pictures (Master Vinayak) in Kolhapur. It was at Prafull Pictures that DD met with the spirited young Lata, all of 14 years old, with a charming attractive voice. Lata had come in search of a singing job. DD liked her voice and gave her a job at Prafull Pictures, at a monthly salary of Rs. 80. When he learnt from Master Vinayak that Lata was the daughter of Master Dinanath Mangeshkar, his inclination for this new singer grew further. Master Dinanath Mangeshkar was a very respectable name among musicians at that time. He passed away at a very young age, and the circumstances constrained Lata, the eldest child, to shoulder the family responsibilities at a very young age.
In 1945, Prafull Pictures shifted from Kolhapur to Bomaby, and DD gained opportunities to work with other companies also. In 1947, Chandrama Pictures contracted with him, and he landed his first assignment as a music director in the Hindi film industry. The rest is history. DD called in Lata for her debut Hindi film, and recorded this charming thumri that was picturized on Rohin Bhaate on screen.
Over a career that spanned almost six decades, DD has composed more than a 1000 songs in a total of 5 Hindi, 51 Marathi and around 500 Documentary films. Anuradha Podwal was also introduced by him in the Marathi film ‘Yashoda’ (1974), her debut song being ‘Ghumla Hridayi Ninad Ha’ in the Marathi film ‘Yashoda’ (1974). He passed away in Mumbai on 19.09.2007 at the age of 90 years.
(NOTE: Some inputs for the above brief on Datta Dawjekar are referred from this blog page. Please see this page for a more detailed article on DD.)
A very young, still to be groomed voice, has rendered this light classical piece in really a very delightful manner. The emotional content of the voice displays the verve and the joy that this song is. Enjoy this wonderful creation, that started of one of the most prolific singing careers in Hindi films.
(NOTE: I have not been able to decipher words at two places, indicated by (??). I request more knowledgeable readers to please help.)
Song-Paa laagun kar jori re (Aap Ki Sewa Mein)(1947) Singer-Lata, Lyrics-Mahipal, MD-Datta Dawjekar
Lyrics
paa laagoon kar jori re
ae ae
shaam mo se naa khelo hori
ho shaam
mo se naa khelo hori
paa laagun kar jori
shaam mo se naa khelo hori
morey shaaam
shaam
mo se naa khelo hori
(??) (. . .) jori jori
hooo shaam
mo se
mo se na khelo hori
chheen jhapat morey haath se gaagar
aaaa aaaa aaaaa
chheen jhapat morey haath se gaagar
ye bainyaan marori
haaan haaan haaan haaaaan
bainyaan marori
dil dharkat hai
saans charat hai
dil dharkat hai
saans charat hai
dekho (??) sampat gori gori
haaan haaan haaan
dekho (??) sampat gori gori
o shaam
mo se naa khelo hori
ho shaam
mo se naa khelo
hori. . .
mo se naa khelo
hori re shaam
mo se naa khelo
hori re shaam
mo se naa khelo
mo se khelo naa
shaam
mo se khelo naa
sham mo se naa khelo
mo se naa khelo
mo se naa khelo
horeeee. . .
naa khelo hori
12 Responses to "Paa laagoon kar joree re"
August 22, 2012 at 10:05 am
Thanks Sudhirji for this timely and in-depth article.
Congratulations to all the contributors to this blog, to reached @ the song number 6500th.
I wasn’t aware of LYRICIST Mahipal, his name was never mention on Radio, any books, magazines, or any gossip column. So I’m very surprise tp learn this.
Regarding Lata and this song…couple years ago I had chance to hear this. And I fall in love with this song…she is so refreshing in this song as she was thru out her career.
Her pronunciation and rhythm are so much to the point of the perfections, you will think that this is very well trained singer is singing.
This thumari is priceless, out of this world.
If I ever have to choose the music for the planet Mars, I will send this song…In the corner of the soundless Mars, the melody of this thumari will play for eternity.:)
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August 22, 2012 at 12:13 pm
Sudhirji,
As expected, a detailed and informative write up on the double celebration of 6500th song of the blog and 1900th of Lataji! 🙂 Congratulations Atulji, on these achievements. What a perfect selection on these two occasions! “Aap ki sewa mein” Thanks.
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August 22, 2012 at 2:04 pm
Atul ji,
Congratulations on reaching the mark of 6500 songs.
And a very appropriate selection by Sudhirjee for a song that has a place in Hindi film history.
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August 22, 2012 at 2:30 pm
Firstly let me congrats for achieving milestone of 6500 songs and secondly thanks for this beautiful in depth article.
I know very little about Mahipal but this content helps me to know more about him.
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August 22, 2012 at 5:32 pm
Atulji.
What RECORD you have done ! Very hearty Congratulations !
6500 songs in 1495 days ! (I am aware of the leap year but there was a gap of one day, viz June 6, 2012) And all this IN YOUR SERVICE (aap ki seva mein) for us. ThanQ,thanQ and thanQ.
djs
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August 23, 2012 at 12:54 pm
I will be able to supply the missing words.
In the first para it is
“KARAT BARAJORI JORI”
In the second para after ‘Dil dharakat hai’ it is
“AANKH JARAT HAI
DEKHO KANPAT GORI GORI
HAAN HAAN HAAN
DEKHO KANPAT GORI GORI
HO SHAAM
MOSE NA KHELO HORI”
Thanks for the beautiful Mahipal written Thumri, the first recorded Hindi song of Swar-Samragni Lataji,
I have joined very recently and enjoy enormously your contribution daily.Thanks again
Bharat Upadhyay
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August 23, 2012 at 1:11 pm
One more correction:
After ‘chheen jhapat morey haath se gaagar’ it is
“TOD KE, BAINYAAN MARORI”
Sorry I missed it in my first comment
Bharat Upadhyay
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August 27, 2012 at 10:39 pm
Iss baar main Bahut late aa gayaa “Wish” Karne mein.
Atulji Please accept my belated wishes for the 6500th song.
Prakash
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June 8, 2015 at 7:11 pm
Sudhir ji,
Just for the record purpose of this Historical song….
The male voice that we here in this song 3-4 times belongs to a singer named VASANT ERIC ( actual name Vasant Jadhav) or MASTER ERIC. He sang all the songs of Master Vinayak in Marathi and Hindi films. Master Vinayak could not sing due to tooth problems and Master Vasant Eric used to sing his all songs.
This informaation is given in the book,” MARATHI CHITRAPAT SANGEETKAR KOSH” by Madhu Potdar.Published in January 2012.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
August 22, 2012 at 9:15 am
Sudhirji, Assuming u r talking about Anuradha Paudwal’s introduction to Marathi cinema, cause she did sing a shloka in Abhimaan (1973). Oh well, we can say its a first full fledged song for her, in marathi cinema.
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