Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Madhuban mein na Shyaam bulaao

Posted on: May 7, 2013


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

I like to do things methodically. Whenever I have to write an article on a song, I first go through all the comments on the already posted songs of that film, if any, so that I do not repeat what has already been said. Further, if needed, I can quote from those comments. If it is a singer, actor or a film, I try to go through the available material-on the Blog or Net etc, to make my write up exclusive and I also ensure that whatever statements I make in my articles are defendable with evidence-if and whenever challenged. All this can add to the quality and credibility of the material provided and avoids repetition so that the article may not end up as an ” Also Ran “.

Yesterday,6th may, Hemant da’s NFS Bhala tha kitna apna bachpan was posted. I was reading Khyati ji’s comments and a warning bell rang. She had mentioned some more NFS of Hemant kumar in her comments. However, luckily, I found that she has NOT mentioned a famous NFS of Hemant Kumar, which I had planned to post today.

The song is ” Madhuban mein na shyam bulaao “- one of the most popular NFS of Hemant Kumar. Imagine the thrill of listening to the song recorded 70 years ago, which is still able to make you sway ! Such was the magic formula combining Kamal Dasgupta, Faiyaz Hashmi and Hemant Kumar’s heavenly voice !!

Hemant Kumar, a shining Gem in Hindi and Bangla musical firmamment, a man who was a Music virtuoso.

The 50s, dominated by C Ramchandra, Naushad, Pankaj Mullick etc saw Hemant Kumar rise to great heights, both as a Music Director and as a singer. At a time when the likes of Rafi, Mukesh and Talat were ruling the roost, Hemant Kumar carved a unique niche for himself in Hindi Film Music. When Talat was the Ghazal king, Mukesh-king of Pathos and Rafi/Manna Dey delights of the Music Directors for classical music, Hemant Kumar it was, who provided a new angle and a new facet to Hindi music,that of the simple, yet rich folk music of India-rather rural Bengal. Together with S D Burman, he created waves in Indian cinema. His compositions are dreams of a Perfectionist and at the same time they are common man’s tunes. Well versed in Rabindra sangeet and classical music, Hemant Kumar provided the listeners with moments of pristine pleasure.

” Listening to Hemant da, I feel as though a Sadhu is singing a Bhajan in a Temple ” -said Lataji.

I agree with Lata ji 100%. I have always loved songs of Hemant Kumar-be it Aao bachchon tumhe dikhaayen jhanki Hindustan ki (Jaagriti) or Ya dil ki suno duniyawaalon(Anupama) or any of the Hemant – Lata duet like Saanwle salone aaye din bahaar ke (Ek Hi Raasta) or Yaad kiya dil ne kahaan ho tum(Patita).

Hemant Kumar achieved his unassailable position through difficult times in his early career, which he had begun with NFS. while reading material on Hemant kumar from Bangla Literature, I found an article written by one of his close friends. Luckily I also found its English translation. I reproduce here only a part of the article which reports two important events of his early life. One in Calcutta and one in early Bombay days- which also exposes the ugly face of competition in Bombay musical circles by a known Jodi !

“Although Hemanta was making ground as a singer, he had never intended to become one in the first place. He cherished to become a writer. Hemanta used to attend writer’s communions at the local library and was also the editor of the communion. A story written by him even got published in the prestigious ‘Desh’ magazine in 1937. But Hemanta’s friends did not want Hemanta the writer, they were more fond of Hemanta the singer. With a mild annoyance Hemanta gradually distanced himself from the literary world. Nevertheless he maintained deep ties with literary personalities throughout his life.

Columbia’s trainer Sailesh Duttagupta first initiated Hemanta to Rabindrasangeet. In the beginning Saileshbabu used to stay near Hemanta’s house in Bhabanipur, but later he shifted to Ballygunge. One day he scolded Hemanta, “What’s up with you? Earlier you used to be on time, but since I have moved you seem to be consistently late.” Hemanta hesitated a bit and replied in a mild voice, “Earlier you used to stay near my place. I have to walk all the way now, so sometimes I get late.” Saileshbabu was taken aback, “You walk all the way? Why on earth?” Hemanta stood silently with a melancholic face, but Saileshbabu understood. He affectionately told Hemanta, “I will give you an anna daily to cover your travel expenses.”

Sailesh Duttagupta was Hemanta’s only music tutor. He went to an ustad to train in classical music for a few days but could not concentrate. (Hemanta Mukherjee mentions in his autobiography that he had started to learn Hindustani classical music under the tutelage of Ustad Faiyaz Khan, but his learning was cut short by the Ustad’s untimely death.) Hemanta’s lack of classical training proved to be a blessing in disguise. His god gifted voice was as fluent as the undeterred winds. Grammatical rules of classical music might have restricted the flowering of his sweet voice. The fluency with which Hemanta sings ‘Amar bhanga pather ranga dhulaaye’ or ‘Dekonaa amare Dekonaa’ might not have been observed in classical oriented songs such as ‘Tabu mone rekho’ or ‘Era par ke apan kore’. Hemanta did not possess a harmonium for quite a few days after submerging himself in the ocean of music. He had to go to other people’s homes to practice. After a couple of records Hemanta had enough to purchase his first harmonium. After his third record Hemanta decided to quit studies and direct all his efforts to music. His father was not happy with this, but Hemanta’s mother supported her son’s wish. She knew what was best for him.

Unlike the other stalwarts of those times, Hemanta was not born into an affluent family. Sachin Dev Burman was the prince of Tripura, Pahari Sanyal’s ancestors were called the uncrowned nawabs of Lucknow, Pankaj Mullick had worked with the Indian Railways to sustain himself before he got established and K. L. Saigal also held a regular job before he came into music. How then did Hemanta dare to forego the security of a job and plunge himself into the darkness of an uncertain future?

Hemanta was one of those rare artistes who savours unearthly pleasure by keeping himself busy within the domain of his work. Affluence and luxury used to create the same emotions within him, as did melancholy and poverty. I have seen the same untainted humble countenance on a young struggling Hemanta, as I have seen years later on Hemanta sitting at the pinnacle of success surrounded with plenitude. Wealth, awards, trophies did not bring about a change in his simple attire. Clad in a dhoti and a shirt with sleeves rolled up, the same mundaneness in conversation, it was the same Hemanta always. Success never blinded him and so he stayed ever so close to our hearts.

Hemanta’s struggle along the road to success started from the very first day. He worked tirelessly night and day, from music tuitions, to the radio office, to the Tollygunge studios looking for a break in film playback. But success seemed to elude him and he had to make his living from the meagre remuneration of the music tuitions and the odd song that he recorded. Then one day suddenly he got his much awaited break in a film called ‘Nimai Sanyas’ as the playback for the leading star Chhabi Biswas. A kirtan style devotional song ‘Kotha krishna, kotha krishna, prabhu dekha dao dekha dao’. Two years after this Hemanta cut his first Rabindrasangeet disc ‘Amar aar habenaa deri’ and ‘Keno pantha e chanchalata’. A rich voice with a clear throw of words. This time nobody taunted him as Pankaj’s parody. The record won critical acclaim not only from the common masses but also from the educated elite. Thus began the saga of a new exponent of Rabindrasangeet, who brought Rabindrasangeet from the phonographs of the affluent to the lips of the common masses. Rabindrasangeets which were undoubtedly popular at that time, also became ‘hits’ in this golden voice.

Hemanta composed the entire score for Hemen Gupta’s film ‘Abhijatri’ in 1944. It was this Hemen Gupta, who gave Hemanta’s rising career a shot in the arm with the Hindi film ‘Anandmath’ in 1951. Hemanta migrated to Bombay and joined S. Mukherjee’s Filmistan Studios at a monthly salary of Rs. 1500. But that was just the beginning of another long strain of struggle to carve a niche for himself in the competitive Hindi film music scenario. The leading composer duo of those times Shankar Jaikishen even offered Hemanta a chance for playback in their movies on the condition that he would not compose music in films; Hemanta modestly declined the offer. But true talent never goes unrecognized and it was in a matter of a few years that Hemanta became a foremost singer as well as music director in Bombay. Rabindrasangeet and Bengali modern songs had made Hemanta the darling of the Bengalis, Bombay gave him nationwide recognition. Hemanta’s days of struggle and worries, were finally coming to an end. Success, fame, wealth, awards continued to radiate throughout his life.

I remember an incident from the early years of Hemanta’s life. After his first record was released, Hemanta and I were returning after purchasing a few copies of it from a record shop adjoining the Purna cinema hall. A strain of a Pankaj Mullick song being played in a house entered our ears. Suddenly Hemanta asked, “Will my songs ever play like this in people’s homes?” I don’t remember what I had replied then. But later, much later, Hemanta got that answer himself – not only did his songs play in people’s homes in Bengal, it played all over the country. It played not only on gramophone discs, but it played in people’s hearts, its strains returned on their lips and it got ensconsced forever in their psyche.”

(This article was composed in Bengali by Hemanta Mukherjee’s friend Sudhiranjan Mukhopadhyay. Translated by Prithviraj Dasgupta. My thanks to Faculty ist unomaha.)

The path to success was not an easy one for Hemant kumar, but he did get it. We are lucky that his songs are available to us to enjoy,even today. Here is one such “amar” NFS, which will linger in your minds for days-if you have not heard it before and will rekindle memories of yore-if you had heard it earlier.


Song-Madhuban mein na Shyaam bulaao (Hemant Kumar NFS)(1945) Singer-Hemant Kumar, Lyrics-Faiyyaz Hashmi, MD-Kamal Dasgupta

Lyrics

madhuban mein
madhuban mein na shyaam bulaao
madhuban mein na shyaam bulaao
madhuban mein na shyaam bulaao
madhuban mein na shyaam bulaao
mujhmein nahin hai bal jaane ka
zor hai tummein to aane ka
mujhmein nahin hai bal jaane ka
zor hai tummein to aane ka
bebas ko duniya thhukraati
bebas ko duniya thhukraati
tum to nahin thhukraao
madhuban mein
madhuban mein na shyaam bulaao
madhuban mein na shyaam bulaao

jis man mein tumhaara pyaar basa
wo soona man gulzaar bana
jis man mein tumhaara pyaar basa
wo soona man gulzaar bana
tum basant ban kar aao
tum basant ban kar aao
madhuban mein na shyaam bulaao
madhuban mein na shyaam bulaao
madhuban mein na shyaam bulaao

jag mein daya ki dhoom tumhaari
jag mein daya ki dhoom tumhaari
phir kyun tadpe aankh hamaari
phir kyun
phir kyun tadpe aankh hamaari
jeewan dwaar ko band hona ha
jeewan dwaar ko band hona ha
ab na raah dikhaao
madhuban mein na shyaam bulaao
madhuban mein na shyaam bulaao
madhuban mein na shyaam bulaao

—————————————–
Hindi script lyrics
—————————————–
मधुबन में
मधुबन में न श्याम बुलाओ
मधुबन में न श्याम बुलाओ
मधुबन में न श्याम बुलाओ
मधुबन में न श्याम बुलाओ
मुझ मे नहीं हैं बल जाने का
ज़ोर है तुम मे तो आने का
ुझ मे नहीं हैं बल जाने का
ज़ोर है तुम मे तो आने का
बेबस को दुनिया ठुकराती
बेबस को दुनिया ठुकराती
तुम तो नहीं ठुकराओ
मधुबन में
मधुबन में न श्याम बुलाओ
मधुबन में न श्याम बुलाओ

जिस मन मे तुम्हारा प्यार बसा
वो सुना मन गुलज़ार बना
जिस मन मे तुम्हारा प्यार बसा
वो सुना मन गुलज़ार बना
तुम बसंत बन कर आओओ
तुम बसंत बन कर आओओ
मधुबन में न श्याम बुलाओ
मधुबन में न श्याम बुलाओ
मधुबन में न श्याम बुलाओ

जग मे दया की धूम तुम्हारी
जग मे दया की धूम तुम्हारी
फिर क्यों तड़पे आँख हमारी
फिर क्यों
फिर क्यों तड़पे आँख हमारी
जीवन द्वार तो बंध होना हैं
जीवन द्वार तो बंध होना हैं
अब न राह दिखाओ
मधुबन में न श्याम बुलाओ
मधुबन में न श्याम बुलाओ
मधुबन में न श्याम बुलाओ

7 Responses to "Madhuban mein na Shyaam bulaao"

This article by Salil Chowdary may be also of interest
http://www.salilda.com/articles/salil_on_hemanta.asp

Like

Arunji,
If I would have known that you will omit those songs I had listed in my previous comment, I may not have listed any songs at all! Just looking at the title of the previous song and after reading the post, I could not resist to note down just few of HK’s NFS songs. I am really sorry if I have put any restrictions on your post. Aap se binati hai ki us list mein se koi achha gana lage to zarur post kariye ga. Mujhe bahut khushi hogi. Abhi aap ke is doosre post ke baad mujhe thode aur gaane Hemant Da ke yaad aa gaye, lekin ab to main wo likhne ki gustaakhi nahin karungi. Sorry again.
Lekin ek aur sachhayi batana chahungi-
While I was listening to this song, “Madhuban mein na Shyaam bulaao….”, My husband, who is not aware of this scenario, surprised me that this was one of his fav song!!! He thought that I was playing it on YT.
Hope you will continue posting more of HK’s NFSs. 🙂

Like

Khyati ji,
Oh my God ! Please do not take that writing so seriously. It was in a lighter vein only. promise.
I would always welcome additional info. In fact 2 of the songs which you had mentioned were unknown to me and I could not yet find them.
Please do feel free to give your comments.They are welcome with open arms and a smile.
-AD

Like

Arunji,
I die to read your posts, so I don’t want to limit your unlimited “khazana” which you love to share with all of us. 🙂
The songs that I listed in my previous mail should be available on the web. “Bhala tha kitna apna bachpan……” sun ne ke baad bachpan ki yaad aa gayi aur mein jo bhi geet sune the wo likh daale. I am sure Hemant Da must have sung many more which I am not aware of. Thank you again for starting this new series (may be?) of Hemant Kumar’s NFSs. 🙂
Aur haan, aap ye soch ne ki bhul mat kariyega, ki main aap ke gaano mein comments likhna chhod doongi. “Comments likhna ye mera Atulji ne diya hua haq hai, aur wo main istmaal zarur karoongi” 🙂 (Reformated quote of Shri Lokmanya Tilak’s quote- Swaraj ha maza janmasidha adhikar aahe, aani to mi milavnaarach. 🙂 )
Eagerly waiting for your next post….

Like

Arunji,
Thanks a lot for your excellent write up and introducing this gem of Hemant Kumar. I had not heard it before.

AK

Like

The song that tops the list of Hemant Da’s Sadhu Voice (how truly said by Lataji!!!) is “Chhupaa lo yoon dil mein pyaar mera ki jaise mandir mein lau diye ki…..” The second one is “Nain so nain nahin milaao….” then “Chandan ka palna…” , “Ye raat ye chaandni phir kahaan….”, “Aa neele gagan tale pyaar hum kare…”, “Dekho wo chaand chhupke karta hai kya ishaare….”, “Bedard zamana tera dushman hai to kya hai…”, “Ye Jhoomte nazaare, tum paas ho hamaare….”, the list can go on. Just my personal choice.
Arunji,
All these songs I have mentioned are already posted on the blog. Now I will be very careful while listing the songs in my comments. I don’t want to list any songs not posted on the blog, as I love reading your informative posts. 🙂

Like

Very Nice song Arun ji! Thanks a ton!

Like

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