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

Raam kare aisa ho jaaye

Posted on: September 4, 2013


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

roshan tumhin se duniya
raunak tumhin jahaan ki
salaamat raho
salaamat raho

Greetings to Pyaarelal ji, the doyen of the living legends of Hindi film music, on his anniversary of birth on 3rd September. And along with this occasion, we also celebrate the 500th song of Laxmikant Pyaarelal to be posted on this blog (second only to Shankar Jaikishan among music directors, who have already crossed the 700 mark).

What can one write about this genius duo. Their music ruled the radio waves and the hearts and minds of the listeners in the 60s, 70s and well into the 80s. It is going to be an endless write up, if I even try to sample just a semblance of a representative sampler of the hits and favorites that have been created by this duo. Even a brief list of films shall be enough to touch the melodic side of your hearts, as you may ruminate and replay the songs from these films in your mind. And even that will not be justice enough to the treasure of work that this duo has generated.

Listening to Pyaarelal ji in an interview, makes it sound like a fairy tale, the career that this talented pair made for themselves. But yes, when it was in the making, I am sure the struggles and tribulations would have been none the easier. The factor that turned the game into their favor, something that has not happened with many composers, is almost the instant success they earned, and then the hard work and brilliant melodies they continued to create for three decades, made up the sustenance of the top position that they enjoyed.

Coming from diverse backgrounds, it is interesting to know how the two came together. Cricket. Yes, it was cricket that brought them together. Laxmikant Shantaram Kudalkar was born into a poor family that called the hutments in the shantytown in East Parla (Ville Parle) their home. Growing up in the such an area, it is remarkable that the child Laxmikant developed this intense yearning for music, and by his own interest, he learnt mandolin and violin. The state of penury was such that the alertness while walking would be to keep the eyes open for any fallen coins. But the talent in the child was such that he got included in a musical group to play mandolin. As fortune would have it, at one of the programs of this group, Lata ji was present. Attracted by the talent of this child, she enquired about him, and then knowing his situation, she tried and recommended him to other music directors to take him on as a part of their orchestral group. At that time, Hridyanath Mangeshkar was assembling a children’s orchestra, and Laxmikant got included.

Pyaarelal, on the other hand, was born in a family of musicians. His father, Ramprasad Sharma, was a well known musician and had also worked to give musical score for Hindi films. Of the five sons of Ramprasad Sharma, Pyaarelal is of course the most famous. (Of the other siblings, Ganesh Ramprasad Sharma is the other famous music director that we are familiar with). It happened that in one of the programs of the children’s orchestra, both these children participated. Laxmikant was impressed by the violin playing of Pyaarelal. They missed being introduced at this first meeting. Laxmikant tried to enquire, and they met once again. It was now a cricket game. A group of children used to gather to play cricket in front of Famous Studios. Laxmikant found Pyaarelal once again in this cricket game, and they became fast friends. The subsequent years were more about learning more, and developing together as music specialists.

Late fifties and early sixties was the time that the two started working together as assistants to other music directors like Chitragupt and Kalyanji Anandji. Sometimes in 1957-58 there was some thinking and planning on the part of Pyaarelal that he might go out of Bombay for work. The two talked about it and Laxmikant was successful in convincing Pyaarelal to stay in Bombay, and continue to build their careers.

It was Babubhai Mistry who had given the first break to Kalyanji Anandji. Somehow, this duo also got it in their minds that a debut break with Babubhai Mistry would be a good omen and a good start for them. The lady luck smiled and the two got the debut assignment that many others just dream of. ‘Parasmani’ happened in 1963, and the music from this yet ‘one more music director duo?’ took the industry and the public by storm. L-P had arrived, almost instantly. ‘Harishchandra Taramati’ was also released in the same year. Came 1964, and belying all expectations, the Filmfare award went to ‘Dosti’, just the fourth released film of this duo. A very interesting aside. The song that won Rafi Sb the Filmfare award for the best male playback singer was “Chaahungaa Main Tujhe Saanjh Savere”. This song almost did not make it to the recording studio. To start with, this song was planned as a female song. Somewhere midway, it was being considered as a less important song for the storyline, and was to be scrapped. At one of his rehearsal sessions, Rafi Sb got to hear this from L-P. He took an immediate fancy for this song. So much so that he advised that this song be slightly reworded to make it a male song, and that he would render it. And it got him the award.

The duo went on to make excellent and incredible music with films like ‘Mr X In Bombay’ (1964), ‘Sant Gyaneshwar’ (1964), ‘Hum Sab Ustad Hain’ (1965), ‘Luteraa’ (1965), ‘Shriman Funtoosh’ (1966). 1966 also saw the incredible success of the fabulous music in ‘Pyaar Kiye Jaa’ and the same year also saw ‘Aaye Din Bahaar Ke’ celebrate a golden jubilee. No turning back now for this duo who went on to make such superb music in 1967 with films like ‘Anita’, ‘Farz’, ‘Milan’, ‘Milan Ki Raat’, ‘Night In London’, ‘Pathar Ke Sanam’, ‘Shagird’ and ‘Taqdeer’. In 1968, it was the music of ‘Izzat’, ‘Raja Aur Runk’, and ‘Mere Hamdam Mere Dost’ that burst through the popularity charts. And 1969 turned out to be a watershed year for them, with films like ‘Anjaana’, ‘Aaya Saawan Jhoom Ke’, ‘Dharti Kahe Pukaar Ke’, ‘Do Bhai’, ‘Do Raaste’, ‘Inteqaam’, ‘Jeene Ki Raah’, ‘Jigri Dost’, ‘Pyaasi Shaam’, ‘Saajan’, ‘Satyakam’ and ‘Shart’. In 1970, they regaled us with their music in films like ‘Bachpan’, ‘Abhinetri’, ‘Darpan’, ‘Devi’, ‘Humjoli’, ‘Khilona’, ‘Jawaab’, ‘Jeevan Mrityu’, ‘Sharaafat’, and ‘Suhaana Safar’. A sampler list from the rest of 1970s will be incomplete without the mention of ‘Aap Aaye Bahaar Aayee’, ‘Banphool’, ‘Dushman’, ‘Mera Gaon Mera Desh’, ‘Mehboob Ki Mehndi’, ‘Haathi Mere Saathi’,’ Jal Bin Machhli Nritya Bin Bijli’ (all from 1971); ‘Piya Ka Ghar’, ‘Shor’, ‘Mom Ki Gudiya’ (all from 1972); ‘Anhonee’, ‘Manchali’, ‘Anokhi Adaa’, ‘Bobby’, ‘Loafer’, ‘Suraj Aur Chanda’ (all from 1973). . . I could go on and on and on. As I scan the list of subsequent years, I cannot but resist to mention films like ‘Amar Akbar Anthony’ (1977), ‘Dharam Veer’ (1977), ‘Imtihaan’ (1974), ‘Roti Kapda Aur Makaan’ (1974), ‘Roti’ (1974), ‘Pratigyaa’ (1975), ‘Dus Numbri’ (1976), ‘Jaan e Mann’ (1976), ‘Main Tulsi Tere Aangan Ki’ (1978), ‘Satyam Shivam Sundaram’ (1978), ‘Parvarish’ (1977), ‘Sargam’ (1979), ‘Dostaana’ (1980), ‘Karz’ (1980) etc. etc.

The words are needless in front of the evidence of this treasure of music that has been sampled. Their work has left an indelible stamp of creative authority on the annals of Hindi film music. The beauty of their music has been the simplicity that made their tunes so hummable. This quality made their songs make their place instantly on the lips of the common man. And the other key aspect of their music is the predominant use of dholak based rhythms – once again an facet of music that instantly appeals to the listening ears of the people of this continent. And of course, the enormous orchestration and symphonic effects that they built into their songs. All these combined together to make their music popular.

The duo remained active through 1980s with films like ‘Naseeb’ (1981), ‘Kranti’ (1981), ‘Hero’ (1984), ‘Utsav’ (1985),’Sur Sangam’ (1985) ‘Mr India’ (1987), and ‘Tezaab’ (1989), and reasonably so in the 1990s with films like ‘Saudaagar’ (1992), ‘Khalnaayak’ (1994), and ‘Bhiaravi’ (1994). But the changing tastes and styles, and their inability to experiment with newer genres beyond a certain point, made them appear ineffective compared to the newer generation of music directors. Laxmikant passed away in 1998. With these changes and the loss of his lifelong creative partner, Pyaarelal has now retired from active music direction in films. He continues to compose non-film music, and music for the small screen. Plus he is working on setting up a music school in Pune, in the memory of his late father.

The song that I present with this write up is one that made me react – ‘How come this is not posted yet?’. This memorable lullaby from the film ‘Milan’ from 1967 is one of the many signature tunes that this duo has created. With simpler stories, simpler situations, and deeper characterization, the films of that era are a memorable treasure. The heroine is back from her sasuraal, a widow in white. And she is unable to sleep. The poor boatman, who is her friend, and also secretly in love with her, is deeply disturbed at her condition. And the voice of Mukesh descends into this soulful lorie song, as he tries to soothe her to sleep with the song. The beautiful verses are penned by Anand Bakshi, and on screen, the song is performed by Sunil Dutt, as he tries to calm a distraught Nutan.

Enjoy this fabulous creation, the 500th offering of Laxmikant Pyaarelal, to be posted here on this blog.


Song-Raam kare aisa ho jaaye (Milan)(1967) Singer-Mukesh, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

Raam kare ae ae ae
ho o o

Raam kare aisa ho jaaye
meri nindiyaa tohe mil jaaye
main jaagoon
tu so jaaye
main jaagoon
tu so jaaye ho
Raam kare aisa ho jaaye
meri nindiyaa tohe mil jaaye
main jaagoon
tu so jaaye
main jaagoon
tu so jaaye ho

gujar jaayen sukh se teri
dukh bhari ratiyaan
badal loon main tose ankhiyaan
gujar jaayen sukh se teri
dukh bhari ratiyaan
badal loon main tose ankhiyaan
bas mein agar hon ye batiyaan
maangoon duaayen haath uthhaaye
meri nindiyaa tohe mil jaaye
main jaagoon
tu so jaaye
main jaagoon
tu so jaaye ho

tu hi nahin
main hi nahin
saara jamaana
dard ka hai ek fasaana
tu hi nahin
main hi nahin
saara jamaana
dard ka hai ek fasaana
aadmi ho jaaye deewaana
yaad kare gar bhool na jaaye
meri nindiyaa tohe mil jaaye
main jaagoon
tu so jaaye
main jaagoon
tu so jaaye ho

sapan chalaa aaye koi
chori chori
mast pawan gaaye lori
sapan chalaa aaye koi
chori chori
mast pawan gaaye lori
chandra kiran ban ke dori
tere mann ko
jhoolaa jhulaaye
meri nindiyaa tohe mil jaaye
main jaagoon
tu so jaaye
main jaagoon
tu so jaaye ho

Raam kare aisa ho jaaye
meri nindiyaa tohe mil jaaye
main jaagoon
tu so jaaye
main jaagoon
tu so jaaye
main jaagoon
. . . .
main jaagoon
. . . . .

—————————————-
Hindi script lyrics (Provided by Sudhir)
——————————————
राम करे ए ए ए ॰ ॰ ॰
होss

राम करे ऐसा हो जाये
मेरी नींदिया तोहे मिल जाये
मैं जागूँ
तू सो जाये
मैं जागूँ
तू सो जाये
राम करे ऐसा हो जाये
मेरी नींदिया तोहे मिल जाये
मैं जागूँ
तू सो जाये
मैं जागूँ
तू सो जाये

गुजर जाएँ सुख से तेरी
दुख भरी रतियाँ
बादल लूँ मैं तोसे अखियाँ
गुजर जाएँ सुख से तेरी
दुख भरी रतियाँ
बादल लूँ मैं तोसे अखियाँ
बस में अगर हों ये बतियाँ
माँगूँ दुआएं हाथ उठाए
मेरी नींदिया तोहे मिल जाये
मैं जागूँ
तू सो जाये
मैं जागूँ
तू सो जाये

तू ही नहीं
मैं ही नहीं
सारा जमाना
दर्द का है एक फसाना
तू ही नहीं
मैं ही नहीं
सारा जमाना
दर्द का है एक फसाना
आदमी हो जाये दीवाना
याद करे गर भूल न जाये
मेरी नींदिया तोहे मिल जाये
मैं जागूँ
तू सो जाये
मैं जागूँ
तू सो जाये

सपन चला आए कोई
चोरी चोरी
मस्त पवन गाये लोरी
सपन चला आए कोई
चोरी चोरी
मस्त पवन गाये लोरी
चन्द्र किरण बन के डोरी
तेरे मन को झूला झुलावे
मेरी नींदिया तोहे मिल जाये
मैं जागूँ
तू सो जाये
मैं जागूँ
तू सो जाये

राम करे ऐसा हो जाये
मेरी नींदिया तोहे मिल जाये
मैं जागूँ
तू सो जाये
मैं जागूँ
तू सो जाये
मैं जागूँ
॰ ॰ ॰ ॰ ॰
मैं जागूँ
॰ ॰ ॰ ॰ ॰

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6 Responses to "Raam kare aisa ho jaaye"

where do i reply to this article pls let me know

On Wed, Sep 4, 2013 at 4:40 PM, atul’s bollywood song a day- with full

Sudhir ji,
Very good song indeed.

Laxmi-pyare had a special place in Lata’s heart. Initially she gave them not only Blessings but also help in getting established. She has sung the biggest No. of 666 songs with L-P. Her solos are 392 and Duets etc are 274 and all this in 272 films.
This is what she said once about them,in an interview-

” Surel Kala Kendra was run by Usha and Hridaynath when they were very young. Young Pyare used to play violin. Fair and good looking Laxmikant, who was introduced to me by the brother of K L Saigal, used to play mandolin. These kids grew up in our house, later worked as assistants to Kalyanji-Anandji.

I told them, “You should work independently.” After this, both of them decided to work together.

I was invited for the mahurat of their first song. They gave me a cheque of 101. I told them, “I can do with 1 rupee as well.” Both of them toiled hard and due to their talent, became famous.

I nave worked extensively with them and many of my songs have become very popular as well. We share mutual admiration between ourselves.

I like the song, Suno Sajana Papihene.”

-AD

As crafty, symphonic and orchestrated tribute to the great music duo as they deserved !!!
thanks Sir for this hearty post !!!

Rafi has sung Max songs for LP :173
Those who are in Mumbai can visit Sargam at Mahila Samaj, Vile Parle E on 22nd Sept for LP 35 audio songs from 4.30 to 7.30 pm.

Sudhirji,
What I can say about the post and song is “Sone Pe Suhaaga” 🙂
Thank you.

Hi,

This movie was remade in Tamil as “Praaptham” by the legendary Savithri and was released in 1971..it starred another legend, Sivaji Ganesan,whose pairing with Savithri had given several blockbusters earlier..this included Paasamalar, where they were not the lead pair but played brother and sister.

Savithri also directed this movie, which made her part of a very exclusive list of female directors in Tamil. She was however past her peak by the time this movie was released, having made way for several newcomers. Her not so happy personal life also was taking its toll on her and she was no longer the queen of the silver screen in South India.

It remains a matter of regret for the film fraternity and fans alike that such a talented actress passed away in 1981 at the young age of 46.

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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 nine years. This blog has over 13600 song posts by now.

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