Kis ki aamad ka yoon intezaar hai
Posted on: January 16, 2014
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.
This article is the 9300th song post in the blog.
Ninety Three Hundred, and counting. The merry bandwagon continues to roll, and we come yet one more milestone closer to that target, that now seems oh so accessible. Congratulations, and more congratulations – to all friends and contributors who are making this journey so beautiful, so enjoyable, and oh yes, so much worth the while. A team effort that would simply be unparalleled anywhere in the annals of film and film music journalism and internet publication.
With this post, there is another very significant milestone that we are celebrating. It is the century milestone for that exceptional singer, Rajkumari. A milestone that is so very satisfying – the first such female singer whose career is mostly defined in the period from mid 1930s to mid 1950s. A major accomplishment, if one goes by the records. Truly a princess amongst the singing artists of her era, this write up is dedicated to the memory of the wonderful legacy that she has left for us. And with it, accompanies an endearing song that has been waiting for more than eight decades, just to make its appearance on this blog. You will simply fall in love with this song.
The mention of the name of Rajkumari immediately brings to mind, the appealing and endearing melodies like – “Sun Bairi Balam Sach Bol Re Ib Kya Hogaa”(‘Baawre Nain’, 1950), “Ghabraa Ke Jo Hum Sar Ko Takraayen To Achhaa Ho” (‘Mahal’, 1949), “Zaraa Sun Lo Hum Apne Pyaar Ka Afsaana Kehte Hain” (‘Bazaar’, 1949). These sounds are the familiar ones that can never be erased from memory. But then these are not all. Stretching back all the way to 1934, and till the mid 1950s, this voice can be heard in more than 215 films. Timeless numbers like “Tum Ranj o Alam Se Door Raho” (‘Laal Chithi’ 1935), “Kanhaiyaa Bansi Waala Re” (‘Village Girl’, 1936), “Jamuna Jal Mein Bharan Gayi Thi” (‘Secretary’, 1938), “Kis Aas Pe Din Kaaten, Ab Kaun Hamaara Hai”(‘Station Master’, 1942), “Wo Gaye Nahin Hamen Mil Ke”(‘Nurse’,1943), “Chhalko Chhalko Na Ras Ki Gagariyaa” (‘Anjaan’, 1941), “O Pardesi Ghar Aa Jaa Re” (‘Apna Paraaya’, 1942), and many more such wonderful melodies.
Owner of a mellifluous voice with an enticing quiver in it, Rajkumari ruled the hearts of the listening public as the leading female singer in the 1940s. What is slightly less well known is that she started her career in films in the prior decade, as an actress. Rajkumari Dubey was born in Benaras on 9th February, 1918. She grew up on a diet of recorded music, which was her father’s hobby and interest. She never had any formal guru, or any formal training. Her deep interest in music was her only teacher, and singing voice itself was the passion and the drive for her. When she was twelve, her family moved to Bombay. The circumstances are not clearly documented in any known resources, but is it is recorded that within a couple of years of the family’s arrival in Bombay, Rajkumari made a debut as a child artist in films. There are references that indicate that in the early 1930s, she also worked on the stage as a singer and child artist. It appears that she had a good support from her father and the rest of the family.
Her first film as a child artist was ‘Radhe Shyam’, released in 1932. This was followed with another appearance as a child actor in the film ‘Afghan Ablaa’ in 1933. It seems that her singing voice and singing capabilities were noticed. The next screen appearance on record for her is now in 1934. Vijay Bhatt, of Prakash Pictures, took note of her appearances on stage and in films. This was a time in Hindi cinema, when the silent films were transitioning into talkies. It turned out that many a successful stars of silent screen, when tested for spoken and singing voice, were found to be highly unimpressive. This changed the game significantly, as now, the producers, when searching for talent, had to take note of not just the personality, beauty and handsome-ness, but also the speaking and singing abilities of the artist. And in this changed equation, an artist like Rajkumari could step very easily into the world of cinema, on the strength of both her personality, as well as her singing prowess.
The 1934 film for her was Praksash Pictures’ ‘Nai Duniya’ (also produced simultaneously in Gujarati with the title ‘Sansaar Leela’). From a child actor thus far, Rajkumari transitioned into a grown up role, plus she sang her first songs on screen under the music direction of Lallubhai Naayak. The debut was impressive – she sang two solos and three duets with Umakant Desai. As far as I can glean from the Geet Kosh information, these two were not even the lead pair in the film (the names of lead pair apparently are Panna and Kashinath).
In the years immediately following, she appeared in films like ‘Watan Parast’ (1934), ‘Bombay Mail’, ‘Bambai Ki Sethaani’, ‘Laal Chithi’), ‘Shamsheer e Arab’ ( all in 1935), ‘Azaad Veer’, ‘Honhaar’, “Matwaali Jogan’, ‘Nazar Ka Shikaar’ (all in 1936), ‘Challenge’, ‘Parakh’, ‘Sarojini’ (all in 1937) etc. Her stature as an a singing artist grew, and she started appearing in lead roles also.
A word of caution is required here. The time when Rajkumari was a rising star in the Bombay industry, there is another singing actress on record, in the very same period, having the same screen name. This singing actress, also called Rajkumari, appeared in many films produced by New Theatres, Maadan Theatres, Radha Film Company, and a few more production houses, all based in Calcutta. There is at times, some confusion about the songs from these two artists, since the Rajkumari in Calcutta, whose real name is recorded as Pullo Bai, has rendered songs in the prestigious pictures produced by New Theatres like ‘Kaarwaan e Hayaat’, ‘Devdaas’, ‘Millionaire’, ‘Pujaarin’ etc. For that reason, the film sources and media in that era used to refer to them as ‘Rajkumari Benaraswali’, working in films from Bombay center, and ‘Rajkumari Calcattewali’, working in films from the Calcutta center. It is important to know this distinction to correctly represent the career graph of these two artists. (This particular paragraph is based on information contained in the book ‘Swaron ki Yatra’ by Shri Anil
Bhargav ji, of Jaipur).
Around the turn of the decade i.e. 1930s going into 1940s, she slowly eased away from on screen roles and dedicated herself to be a playback singer. One reference indicates that she had gained weight, and so was considered unfit for leading roles. She chose to give up on screen appearances as a leading lady, and appeared in side roles in some films through the end of 1940s. This gave a very positive fillip to her career as a playback singer, and during the decade of 1940s, she was the most sought after female playback singer. Although not formally trained in Classical Indian music, she was so good at picking up even the complex semi classical creations, that her music directors believed her to be an exponent of Classical music. There are many creations she has rendered through the 1940s and even later, that are pure classical and semi classical thumris and daadras. Simply goes to show her expertise with music and with singing.
In an era when her peers were singers like Zohrabai Ambaalewali, Noorjehaan, Shamshad Begum, Khursheed etc. her voice stands out as the one with the more soft and the more mellow sounding tones in comparison. There is this faintest of tremors in her rendering that gives a very emotional touch to her singing, strengthening the rendering of the songs, whether they be songs of melancholy, or the songs of youth and playfulness and love.
Coming into the 1950s, of course, many things changed in the industry. A whole new crop of music directors was taking over, many of the earlier music directors having retired, migrated to Pakistan, or having passed away. A fresher breed of singing voices had arrived on the horizon. And slowly, in the first half of 1950s, the older voices slowly got sidelined. This fate was shared by Rajkumari also. One sees a very active record till mid 1950s, after which the number of songs by her starts to dwindle as we track her career through the years.
Two very interesting anecdotes related to her. In 1952, OP Nayyar made his debut with the film ‘Aasmaan’. Of the 8 songs that he recorded for this film, four of the female solos he got recorded by Geeta Dutt. One song, “Mori Nindiyaa Churaaye Le Gayo”, with a semi classical touch, he had considered Lata to sing. There appears to have been some misunderstanding in terms of something said, attributed to Lata. OP Nayyar took an offence to this overture, and he brought in Rajkumari to sing this song. And forever more, he never had Lata sing for him.
The second episode is actually a very sad one. During the late 1950s and into the 1960s, there was very little work for Rajkumari, and slowly her financial condition became very difficult. The time was 1967-68. Naushad Sb was recording songs for the film ‘Sunghursh’. In the recording for the song “Mere Pairon Mein Ghunghroo Bandhaa De”, he espied Rajkumari standing in a group of supporting singers for chorus. Shocked to see her standing in that group, he realized what fate had doled out to this outstanding singing star of her times. The incident brought some support to her from the industry. When Naushad Sb was recording additional songs and background music for the film ‘Pakeezaah’ (1972), he called upon Rajkumari to sing the thumri “Najariya Ki Maari Mari Mori Guinyaan”. Beyond that one sees only two more songs from her. The first one, a soulful bhajan in the film ‘Kitaab’ (1977), “Hari, Din To Beeta Shaam Huyi, Ab Raat Paar Karaa De”, sung under the baton of RD Burman, almost as if making a personal supplication to the Lord. And the second, a duet under the music direction of Snehal Bhatkar in the film ‘Pyaase Nain’ (1989) – “Dilbar Jaani, Haaye Jaani, Ghir Ghir Aaye Baadal Kaale”, sung in the company of Sulakshana Pandit.
She passed away on 18th March, 2000, after a prolonged illness, in a state of penury, and forgotten by the industry, as usual.
Browsing through the list of songs on the blog, I realize that the earliest of her songs are yet to be presented here. I bring to the blog this beautiful song from one of her earliest films, ‘Bombay Mail’ from 1935. An absolutely lovely song that comes from the music mind of Lallubhai Naayak. Listening to this song, and other songs like this, makes one wonder at the capacity of the composers and artists to create such wonderful pieces of music, without a shred of technology as we know it today, and with the minimal, rather zero orchestration. In this song, the only prominent instrument is clearly the harmonium, and a little rhythm played on the tabla, nothing else. And the song, one that would be termed as ‘karna-priye’ – ‘pleasing to the ears’.
The film is from the banner of Prakash Pictures, directed by RP Bhatt. Two lyricists share the credit for the 10 songs in this film – with simple names that are Master and Jaleel. However, no specific lyricist information is available for this song. Cast of actors includes Panna, Rajkumari, Jayant, Lallubhai, Ismail, Raja Babu, S Nazeer, Umakant Desai etc. Note the name Jayant – yes, he is the same Jayant that we remember as the character artist in the decades of 1950s, 60s and 70s (and also as father of Amjad Khan). He plays the lead role in this film.
So the wait has been long enough, time to listen to this wonderful rendering of a very endearing song that is going to pull at the strings of your hearts. Lovely words and lovely rendering, the heart is going to swing with sweet reflections of love when she sings the lines
jaavo jaavo manaavo le aavo sanam ko
gulshan mein aayee bahaar hai
The song has a couple of lines sung by an unnamed male voice. My intuition is it could be the music director himself – Lallubhai Nayak. I am not stating this with any certainty. Request other readers to please comment on this suggestion.
Listen to the sounds of this young voice from more than 80, yes more than 80 years ago – listen, marvel, and enjoy.
Song-Kis ki aamad ka yoon intezaar hai re (Bombay Mail)(1935) Singers-Rajkumari, unknown mail voice, MD-Lalubhai Nayak
Lyrics
kis ki aamad ka yoon intezaar hai re
aaj joban pe kaisa nikhaar hai
kis ki aamad ka yoon intezaar hai re
aaj joban pe kaisa nikhaar hai
kaun hai dilruba jis pe pyaar hai
haan
kaun hai dilruba jis pe pyaar hai
kis ki ulfat mein dil beqaraar hai
haan
ulfat mein dil beqaraar hai
jaavo jaavo manaavo le aavo sanam ko
gulshan mein aayee bahaar hai
jaavo jaavo manaavo le aavo sanam ko
gulshan mein aayee bahaar hai
kis ki aamad ka yoon intezaar hai re
aaj joban pe kaisa nikhaar hai
istheshan pe aa gayaa aa aa
ab to bombay mail
ab sawaal koi nahin ee
khatam huaa khel
dil to teer e nazar ka shikaar hai
haan
dil to teer e nazar ka shikaar hai
tere abru ka seene pe waar hai
haan
tere abru ka seene pe waar hai
jaavo jaavo manaavo le aavo sanam ko
gulshan mein aayee bahaar hai
jaavo jaavo manaavo le aavo sanam ko
gulshan mein aayee bahaar hai
kis ki aamad ka yoon intezaar hai re
aaj joban pe kaisa nikhaar hai
kis ki aamad ka yoon intezaar hai re
aaj joban pe kaisa nikhaar hai
kaun hai dilruba jis pe pyaar hai
haan
kaun hai dilruba jis pe pyaar hai
kis ki ulfat mein dil beqaraar hai
jaavo jaavo manaavo le aavo sanam ko
gulshan mein aayee bahaar hai
kis ki aamad ka yoon intezaar hai re
aaj joban pe kaisa nikhaar hai
——————————————-
Hindi script lyrics (Provided by Sudhir)
——————————————-
किसकी आमद का यूं इंतज़ार है रे
आज जोबन पे कैसा निखार है
किसकी आमद का यूं इंतज़ार है रे
आज जोबन पे कैसा निखार है
कौन है दिलरुबा जिस पे प्यार है
हाँ
कौन है दिलरुबा जिस पे प्यार है
किसकी उल्फ़त में दिल बेक़रार है
हाँ
उल्फ़त में दिल बेक़रार है
जावो जावो मनावो ले आवो सनम को
गुलशन में आई बहार है
जावो जावो मनावो ले आवो सनम को
गुलशन में आई बहार है
किसकी आमद का यूं इंतज़ार है रे
आज जोबन पे कैसा निखार है
ईस्टेशन पे आ गया
अब तो बॉम्बे मेल
अब सवाल कोई नहीं
खतम हुआ खेल
दिल तो तीर ए नज़र का शिकार है
हाँ
दिल तो तीर ए नज़र का शिकार है
तेरे आबरू का सीने पे वार है
तेरे आबरू का सीने पे वार है
जावो जावो मनावो ले आवो सनम को
गुलशन में आई बहार है
जावो जावो मनावो ले आवो सनम को
गुलशन में आई बहार है
किसकी आमद का यूं इंतज़ार है रे
आज जोबन पे कैसा निखार है
किसकी आमद का यूं इंतज़ार है रे
आज जोबन पे कैसा निखार है
किसकी आमद का यूं इंतज़ार है रे
आज जोबन पे कैसा निखार है
किसकी आमद का यूं इंतज़ार है रे
आज जोबन पे कैसा निखार है
कौन है दिलरुबा जिस पे प्यार है
हाँ
कौन है दिलरुबा जिस पे प्यार है
किसकी उल्फ़त में दिल बेक़रार है
जावो जावो मनावो ले आवो सनम को
गुलशन में आई बहार है
किसकी आमद का यूं इंतज़ार है रे
आज जोबन पे कैसा निखार है
2 Responses to "Kis ki aamad ka yoon intezaar hai"
2 | Bharat Upadhyay
January 17, 2014 at 1:46 pm
Sudhir-ji,
Very good article on my favorite artist – Rajkumari.
With full respect to your research talent, I have a nagging doubt disturbing me, after repeated hearing of this particular song.
With lot of hesitation, I submit my 2-bit opinion.
Are you sure the voice in the song is that of Rajkumari? The style and even pronunciation of the words by the singer seem different to me.
Pardon me for raising doubt.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
January 17, 2014 at 9:00 am
Many Many Congratulations Atul ji…!!!
@ Sudhir ji – thanks for the post and congratulations too on our blog reaching this milestone…!!!
all the best wishes for the coming new milestones ahead ….
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