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

Ab yaad na aa yaad na aa bhoolne waale

Posted on: August 30, 2013


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

This is the 5th song in the “Music Directors sing for other Music Directors” series.

This song has been sung by composer Bulo C Rani, for Music Director Khemchand Prakash, in the film ” Mulaaqaat”-1947.

BULO CHANDIRAM RAMCHANDANI, born on 6-5-1921 at Hyderabad(Sindh) was one of the composers who flourished in the huge campus of Ranjit Studios. A chance meeting with Lyricist D N Madhok brought him to Bombay where he started his musical career as an assistant to Gyan Dutt and Khemchand Prakash in Ranjit Studio.

Ranjit Studio was an institution which boasted of employing over 700 artistes at one time. Their slogan was, ” There are more stars in Ranjit than there are in the sky.” Many composers like Gyan Dutt, C.Ramchandra, Khayyam, Khemchand Prakash, Bulo C Rani and many singers like Khursheed, Snehprabha, Raj Kumari, Zohrabai, Amirbai, Vasanti, Saigal, Shameem, Sitara Devi, Mukesh, Motilal, Kantilal, Ishwarlal, Charlie, Khan Mastana, Mohantara etc were on the rolls of Ranjit studio at some time or the other. Similarly there was a big line up of actors, actresses, technical staff and Directors etc available at Ranjit Studio.

At one time the company had become so big that the Government had opened a rationing shop in the Studio premises.

Bulo C Rani’s first film as an Independent composer in Ranjit was Pagli Duniya-1944. In all he gave music to 62 films, out of which 24 films were produced under the banner of Ranjit Studio.

He was a reasonably good singer and must have sung atleast 35-40 songs easily in films like Mehman-42, first song for Music Director Khemchand Prakash- Iqrar, Qurbani,Shankar Parwati, Carvaan, Pagli Duniya, Madhur Milan, Savera, Lalaji, Aadaab Arz, Nurse, Chiraag, Shahenshah Babar, Mulaaqaat, Pyaase Nain etc.

Bulo C. Rani was a music composer in the hindi film industry whose work is considered legendary in the industry. He made his mark with tracks like ‘Ja Parwane Ja Kahin Shama Jal Rahi Hai’ from Rajputani and ‘Kaise Bataoon Tum Se Is Dil Ko Pyar Kyun Hai’ from Anjuman and the hugely popular track ‘Armaan Bhara Dil Toot Gaya’ from Wafa.

In 1950, the film Jogan was an important breakthrough in Bulo’s career. It had an outstanding soundtrack. He had the ability to augment the allure of Meerabai’s traditional bhajans such as ‘Ghoonghat Ke Pat Khol Re’, ‘Main To Girdhar Ke GharJaaoon’, ‘Damag Damag Dole Naiya’ and ‘Jogi Mat Ja, Mat Ja’. This revealed his wonderful talent as a composer. The other songs too were melodious and pleasant. It was said that Bulo’s music was a more compelling reason to watch the movie than the powerful presence of Dilip Kumar and Nargis.

He took a great interest in heavy voices and he gave a number of hits with the voices of Amirbai (‘Sooni Padi Hai Payar Ki Duniya Tere Baghair’), Zohrabai (‘Ankhon Mein Intezaar Ki Duniya Liye Huve’) and Geeta Dutt in the songs of Jogan. He also gave the unforgettable song ‘Badi Bhool Hui Tujhe Pyar Kiya’ fromMaghroor. His last noteworthy film, Bilwamangal (1954), featured Suraiya singing probably her most brilliant song, ‘Parwanon Se Preet Seekhli, Shama Se Seekha Jal Jaana’ and C. H. Atma singing ‘Panghat Pe More Shyam Bajaaye Muraliya’.

Unfortunately, his career began to go downhill despite the popularity of ‘Hamen To Loot Liya Milke Husn Walon Ne’ sung by Ismail Azad in the film Al Hilal (1958). He disappeared from the limelight after Sunhare Qadam (1966). He committed suicide on 24th May, 1993 at the age of 73.

The composer for this film, Mulaqat was Khemchand Prakash whose name in History of HFM will be engraved for two reasons, 1) for bringing star status to Lata Mangeshkar by singing ‘Aayega Aanewala’ in Mahal-1949 and 2) giving first solo song opportunity to Kishore Kumar in Ziddi-1948.

Khemchand Prakash was from a very good family of Raj Gayaks. He himself was also a Raj gayak and had learnt kathak dancing too. He was married very early with a beautiful girl Kanhi bai, who became mentally disturbed/unbalanced in later life causing great obstacle,inconvenience and misery to Khemchand.

Khemchand had a very a short life of just about 45 years. While in ranjit, he gave music in 27 films and after Ranjit in 18 films, thus his tally comes to 45 films.

The film ‘Mahal’ released in the year- 1949 will be remembered for all times to come. It is not because it was directed by legendary Kamal Amrohi nor becuase of the fact that Ashok Kumar and Madhubala acted in the film, nor because of the reason that Bimal Roy was its editor. The reason that this movie is still remembered has mainly to do with its grand background music and immortal melodious songs.

How can one forget – ‘Aayega aney wala’, ‘Mushkil hei bahut mushkil’, ’Dil ney phir yaad kiyaa’sung by upcoming Lata Mangeshkar; ‘Ghabra key jo humsar ko’, ‘Ek teer chalaa’, ‘Mein wo haseen hoon’ sung by acclaimed Rajkumari; and ‘Chhun chhun ghungharwa’ sung by famed Zohrabai and Rajkumari.

The film ‘Mahal’ became a landmark in the history of Indian cinema primarily because of its music; and the then lesser known Lata Mangeshkar came to limelight and established herself as the most popular singer of the century after one and only – Kundan Lal Saigal.

A collection of choicest Indian cine music will be certainly incomplete without one of the songs of film ‘Mahal’ and any music performance of Lata Mangeshkar is just not possible without ‘Aayega aaney wala’ and or ‘Mushkil hei bahut mushkil’.

The melodious music maker of these fascinating melodies was Khemchand Prakash, who was born at Sujangarh, a small town in Rajasthan on 12 December, 1907. His father Pt Govardhan Prakash was a court musician of the then Jaipur State . Before joining films, Khemchand Prakash was associated with Nepal Durbar as a singer. Thereafter, he moved to Calcutta as a radio artist.

Impressed with his singing talent, Timir Baran, the famous music director of New Theatres took Khemchand Prakash in his fold.

In view of his deep understanding of classical music (including the most intricate dhrupad style); Khemchand Prakash directed music for most of the singers of his time. As such, when celebrated Prithviraj Kapoor moved from Calcutta to Bombay , he took young Khemchand Prakash along with him. In Bombay, he introduced music maestro to Ranjit Movietone, where he gave music for the all time great, the classic film –‘Tansen’ (1943) starring Kundan Lal Saigal and Khurshid.

In the annals of singing (classical and non-classical) the music of film ‘Tansen’ has no parallel. What better captivating singing in classical ‘dhrupad’ style one can expect than when Saigal effortlessly sang- ‘Sapt suran teen gram’ and ‘Diya jalao’. It was in a way the beginning of pure classical singing in Indian cine music.

The depth of feelings in singing expressed by Saigal in his another number- ’Binaa pankh ke panchhi hoon mein’ cannot be phrased in words. Then listen to the duet sung by Saigal & Khurshid– ‘Morey baalpan key saathi’. The beauty of delivery of sentiments expressed is simply superb. The other numbers viz ‘Ghataa ghunghor ghor’, ‘O dukhia jiyara’, ‘Ab raja bhaye morey balam wo din bhool gaye’ and ‘Barso rey’ sung by Khurshid, though have been forgotten with the passage of time and also because of the non-availability of the recordings. But, the fact remains that the musical super-hit film-‘Tansen’ will be remembered for all time to come for its fabulous melodies.

In the film ‘Bhanwara’ (1944), as well the maestro composed some unforgettable songs sung by Saigal viz ‘Muskaratey huye youn aankh chuaraya na karo’ and ’Thukra rahee hei ye dunian’.

He also created immortal melodies in other films viz – ‘Gazi Salaudin’ & ‘Meri Aankhein’ (1939), ‘Aaj Ka Hindustan’ & ‘Pagal’ (1940), ‘Holiday In Bombay’, ‘Pardesi’, ‘Pyaas’ & ‘Shadi’ (1941), ‘Khilona’, ‘Dukh- Sukh’, ‘Fariyaad’, ‘Mehmaan’ & ‘Chandni’ (1942), ‘Chirag’, ‘Vishkanya’, ‘Gauri’ & ‘Qurbani’ (1943), ‘Mumtaz Mahal’, ‘Shahanshah Babar’, ‘Bhanwara’ & ‘Bharthari’ (1944), ‘Dhanna Bhagat’ (1945), ‘Mera Suhag’, ‘Chalte Chalte’, ‘Mulakaat’, ‘Samaj Ko Badal Dalo’ & ‘Sikandar’ (1947), ‘Asha’ & ‘Ziddi’ (1948), ‘Sawan Aya Re’, ‘Rimjhim’ & ‘Mahal’ (1949), ‘Muqaddar’ & ‘Bijli’ (1950) and ‘Shree Ganesh Janam’ (1951).

In 1948 for film ‘Ziddi’ (based on the story of celebrated urdu writer- Sahadat Hasan Manto) produced by Bombay Talkies; Kishore Kumar sang his first and foremost film solo song- ‘Marney ki duayein kya mangoo’ followed by- ‘Ye kaun aaya re’ (duet with Lata Mangeshkar). The music for these two bewitching numbers was composed by Khemchand Prakash. These notable melodies have certainly helped further the careers of these two vocalists and subsequently helped shape their destiny.

Talat Mehmood and Geeta Roy sang ‘Armaan bharey dil ki lagan kis key liyey hei’ for the film- ‘Jaan Pehchaan’ (1950) which is yet another master-piece composition of Khemchand Prakash.

A peculiar feature of the music of the maestro was that he deployed minimum musical instruments and created finest ambiance through the vocal cord of the singer. This was one of the most captivating features of his brilliantly created immortal melodies.

In this context, listen to Shamshad’s fascinating & melodious song-‘Naa tum aayey naa neend aayee’ for the film ‘Rimjhim (1949); ‘Dil ney phir yaad kiya’ and ‘Mushkil hei bahut mushkil’-Lata’s numbers for film ‘Mahal’, which are some of the classic examples of his minimal usage of instruments while composing some of these bewitching songs.

The musical tradition of the maestro was carried by his noble assistant- Bulo C. Rani in his films. One such all time classic film was ‘Jogan’. Produced and directed by Kidar Sharma and starring Dilip Kumar and Nargis. What an exceptional quality music was produced through the songs of emotionally chocked voice of Geeta Roy for Nargis, starring in this unforgettable film.

The last days of Khemchand Prakash were spent in great distress. He was suffering from Hypertension and liver disorders due to his drinking. He had sold all his property in Rajasthan. According to his personal physician in Borivali, Bombay,during his last days of illness,a nurse called SRIDEVI attended him. Khemchand’s wife Kanhi bai had died 6 months earlier. He married Sridevi, as she was an orphan. Due to tension and health problems, he died almost penniless on 10-8-1950. after his death, his second wife virtually came on the road. Composer Naushad once found her begging on the road. This incident was told in the Rajya Sabha by MP Javed Akhtar in 2012.

It is very unfortunate that talented artistes of HFM often die in such conditions.

I am not not writing anything about Pari-Chehra beautiful Naseem Banu, as a lot has been written very recently on this Blog about her.

let us hear and enjoy the song by Bulo C Rani and Naseen Banu from Mulaqat-1947…..

(Thanks to apnaorg,planetradiocity,indianhitler.com,tripod.com,Wiki,LB,HFGK, from whom information has been used here.)


Song-Ab yaad na aa yaad na aa bhoolnewaale (Mulaaqaat)(1947) Singers-Bulo C Rani, Naseem Bano, Lyrics-Munshi Dil Aziz, MD-Khemchand Prakash

Lyrics

ab yaad na aa
yaad na aa
bhoolnewaale
ab yaad na aa
yaad na aa
bhoolnewaale
o dil ka mere chain sukoon lootnewaale
o dil ka mere chain sukoon lootnewaale

aa tujhko muhabbat meri deti hai duhaayi
aa tujhko muhabbat meri deti hai duhaayi
barbaadiyaan roti hain
qayaamat hai judaai
barbaadiyaan roti hain
qayaamat hai judaai
ab kaise bulaaun tujhe
o roothhne waale
o dil ka mere chain o sukoon lootnewaale
ab yaad na aa
yaad na aa
roothhnewaale
o dil ka mere chain o sukoon lootnewaale

tu jaa ke unhen
mera paighaam suna de
tu jaa ke unhen
mera paighaam suna de
ab bhi meri soyi huyi taqdeer jaga de
ab bhi meri soyi huyi taqdeer jaga de
tinke ke sahaare pe hain ab
doobne waale
o dil ka mere chain o sukoon lootnewaale
ab yaad na aa
yaad na aa
bhoolnewaale
o dil ka mera chain o sukoon lootnewaale

ae jaati huyi mast hawaaon
unhen kehna
ae jaati huyi mast hawaaon
unhen kehna
majboor hoon bhoole se to aao
unhen kehna
majboor hoon bhoole se to aao
unhen kehna
murjhaane ko hai
gunchaa e dil
bhoolne waale
o dil ka mere
chain o sukoon lootne waale
ab yaad na aa
yaad na aa
roothhwaale
o dil ke mera chain o sukoon lootnewaale

4 Responses to "Ab yaad na aa yaad na aa bhoolne waale"

Dear Arun ji,

Your knack of brining out the most interesting aspects of Hindi film songs and their related histories, that never ceases to amaze. I have been following with interest, the current series on music directors as singers under the baton of other music directors. It is a pleasure to hear some of the obscure voices, and also the go through articles that are full of information that is hard to find.

Thank you is not an adequate expression. 🙂

Regarding the lines in this song with (?). On hearing I can decipher them as follows. The set of lines

tu(?) jaa ke hamen
mera paighaam suna de
tu(?)jaa ke hamen
mera paighaam suna de
abke meri soyi huyi taqdeer jaga de
abke meri soyi huyi taqdeer jaga de

should read as

tu jaa ke unhen
mera paighaam suna de
tujaa ke unhen
mera paighaam suna de
ab bhi meri soyi huyi taqdeer jaga de
ab bhi meri soyi huyi taqdeer jaga de

Thanks again 🙂

Rgds
Sudhir

Like

Sudhir ji,
Thanks for your appreciation.
With this kind of motivation,I can continue writing.
Thanks again.
-AD

Like

BC Rani have 2 sons one staying in Andheri W with his mother and one in Pune. I had invited his son to Mahila Samaj Sunday soiree last year, when we listen to 35 songs of his father. He was truly overwhelmed. He remembered an instance when Lata cried while recording maange ne se jo maut mil jaati, kaun jeeta iss zamane me. He rued the fact that for 2 decades in between he did not do music. When he wanted to come back it was very difficult. He had to make do with teaching music to children of rich Sindhi businessmen

Like

Nitin ji,
Thanks for this piece of info.
This Lata song was probably his last song recorded for Hindi films too.
The meaning of the song is different in light of the suicide he committed ultimately.
-AD

Like

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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.

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