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

Jaago hey bajrang bali

Posted on: June 8, 2014


This article is written by Arunkumar Deshmukh, 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.

BHAJAN MALA – GOLDEN 50s (Pushp- 10)
—————————————-

The first bhajan from film ‘ Pawanputra Hanuman’-57 was posted on 24th may. Today we will enjoy yet another melodious bhajan from this film, this time sung by the great Manna Dey. In hindi films, bhajans sung by Mohd.Rafi, Hemant Kumar and Manna Dey were very popular. Not that other singers did not sing any bhajan- even G.M.Durrani has sung a bhajan with few Sanskrit lines in the beginning, for the film Veer Arjun-52. If possible, I wish to post that bhajan also here, in future sometime.

Mohd.Rafi was like ‘Suron ka Prabhu’. He could sing any type of song with the proper and appropriate emotion, hence his bhajans also sound dipped in bhakti-Ras. Hemant kumar had a natural voice, that suited Bhajan singing. Lata Mangeshkar had once remarked,” when I hear Hemant kumar singing, I feel some sadhu is singing. “. Manna Dey had a tremendous control over his voice and he could sing in higher tones, which was an advantage while singing bhajans.

Today’s bhajan is almost like the ” Sankat Mochan Hanumanashtak “, written by Tulsidas. Though the song is written by G.S.Nepali, he has used 2 lines from the original verses, as its Dhrupad. Their repetition in every stanza gives a feeling as if it is the same one.

The original ” Sankat Mochan Hanumanashtak ” was written by sant Tulsidas(1532-1623), on the occasion of opening of the ‘ Sankat Mochan Hanuman Mandir ‘ in Varanasi. The greatest literary work of Sant Tulsidas is the translation of Valmiki Ramayan into Avadhi Bhasha, called ” RAMCHARIT MANAS “, during the period 1574 to 1576. It has 12800 lines in 1073 stanzas. He did a great job of making the Ramayan available to the common man in his own language.

Sant Tulsidas also wrote-
1. Dohavali 2. Kavitavali 3. Geetavali 4. Krishna Geetavali and 5. Vinay Patrika, all in Brij Bhasha. Tulsidas wrote Barvai Ramayan, Parvati mangal, Janaki Mangal, Ramlalla Nahachhu, Ramadnya prashna and Vairagya Sandipani.

The world famous Hanuman Chalisa, Sankat Mochan hanumanashtak, Bajrang Baan, Hanuman Bahuka and Tulsi Satsai are also credited to Sant Tulsidas.

It is said that Tulsidas was the avataar of Hanuman ji, who took birth in Kaliyug to make Ramayana reach the common people. Till then,Valmiki Ramayan-written in Sanskrit-was the domain of few learned priests only and the common men were at their mercy to listen to it. This was one of the major events of the Bhakti Movement in India.

As far as Manna Dey is concerned, I have always been feeling that he never got his dues from the industry. True to our tradition of branding and categorising people,he was also branded as ” fit only for classical songs and bhajans”. The fact is,if you see some of his songs he sang for Raj Kapoor(romantic), for Mehmood(comedy), for Balraj Sahni(serious songs) and a host of songs of other Genres, Manna Dey has always given his best. Still he did not get what he deserved. A lot has been written about Manna Dey, so there is no point is repeating his Biography. Instead here are 10 special points about Manna Dey-

1. Manna Dey’s singing talent came to the fore while he was studying at Scottish Church College. Later he started taking singing lessons from his uncle Krishna Chandra Dey as well as Ustaad Dabir Khan.

2. Manna Dey’s career as a playback singer started with the movie Tamanna in the year 1943. His uncle, Krishna Chandra Dey composed the musical score and he paired up with the well-known Suraiya to sing this wonderful duet. The entire nation loved this song and Manna Dey became a household name.

3. Mohmammad Rafi had famously said that though the world listens to his songs, he only listens to Maana Dey’s songs.

4. Manna Dey sang two hugely popular song with the evergreen Kishore Kumar- Yeh dosti(Sholay) and Ek chatur naar (Padosan)

5. In his playback singing career spanning over seven decades, Manna Day sang in many languages, mainly Bengali and Hindi. He sang more than 1200 songs in Bengali, 85 songs in Gujarati films, 55 songs in Marathi, 35 in Bhojpuri and several others in ten more different languages.

6. Dey had teamed up with Bhimsen Joshi and belted out the classic number Ketaki Gulab Juhi.

7. His autobiography, Jiboner Jalsaghorey, has been published by renowned Ananda Publisher in the year 2005 which has been translated in English as Memories Come Alive, in Hindi as Yaden Jee Uthi and in Marathi as Jiboner Jalsaghorey.

8. Manna Dey is one of the rarest singers who have worked with more than 100 music composers.

9. He sang a record 160 songs with Asha Bhosle and 101 duets with Mohd Rafi.

10. Dey was a huge fan of Rajesh Khanna. “I loved the way he picturised music. The success of a song depends upon how an actor picturises it. He was the number one in picturising songs. I will be ever indebted to him,” said Dey about the first superstar of the country.

From one of his rare interviews to RMIM, I give herewith a portion of it in which manna Dey has expressed his opinions and impressions about few composers with whom he had worked with. In the end read about his version on the song ‘ ketaki gulab juhi”…

Q : You sang many of R.D. Burman’s early songs. What was your impression of him? How long did you know him?

A : I knew him from the day he was born. He was definitely one of the most creative and innovative of our music directors. My first song for him was “Allah jaane main hoon kaun, kya hai mera naam” from “Pati Patni”. The combination of R.D, Mehmood, and myself was particularly good, because we had such fun in the recording room. I did whatever vocal gags I thought were appropriate, and sometimes the three of us would just fall down laughing. But underneath all the playfulness Pancham was a serious and dedicated music director. Did you know he was well trained in classical music?

Q : Who in your opinion was the music director most fun to work with?

A : As I’ve already said, R.D. Burman.

Q : The most capable?

A : It depends on what you mean by capable.

Q : I suppose it refers to a music director who was thoroughly able to give the film’s director exactly what he wanted, in terms of the song situation in the film.

A : That would be Shankar-Jaikishan. There were absolute masters in delivering the goods exactly the way the director wanted.

Q : And the strictest?

A : C. Ramachandra. C.Ramachandra and Naushad are both hardtaskmasters and knew how to extract work from a singer, and there was no fooling around with them. (*Another aside. In a previous meeting I had asked Manna Dey why although both he and Naushad were inclined towards classical music, there had been hardly any collaboration between them I could only think of “Dukh bhare din” from “Mother India”, and a duet with Rafi in “Palki”. He seemed reluctant to discuss it, but told me that even though sound recordist Minoo Katrak had strongly recommended him to Naushad, the maestro preferred Rafi over Manna for his compositions, for whatever reason. Still, Manna
holds Naushad in great esteem as one of our supreme music directors*)

Q: In songs based on classical music which require a singer to perform a few complicated phrases or taans, typically what fraction of these in pre-composed? How much is the singer allowed to do impromptu? Is the singer asked to emulate classical artists or styles? What happens if the artist is not familiar with the raag?

A: There is always scope for improvisation, and a good music director will always be receptive to suggestions. I can confidently say that in all my songs, my own contribution has been at least 25%. Yes, we were asked occasionally to imitate the styles of great classical singers, but I’ve never done it.

Q : Does this mean that the taans at the end of “Laaga chunri mein daag” or “Phulgendwa na maaro” were yours?

A : That’s Roshan! No, never with the likes of Roshan or Naushad. For those two songs Roshan had the whole thing down pat and I just did what I was told. What a composer! The question of improvising on such a masterwork never even arose.

Q : In India famous playback singers continue to sing past their ability to sing properly or correctly. A good example was Hemant. Towards his last days he could never say ‘No’ and the results were terrible. And now it’s happening with Lata. Would you stop when you think you’re unable to perform the way you did, or continue, saying ‘My fans want me to sing’?

A : I have completely stopped singing for Hindi films, but it’s not because of any inability. I think I’m in good voice, and my riyaz keeps me in tune for my stage programmes. I just don’t fit in with the present crop of music directors. But if I were to be approached with a good song, meant for filming on a character-actor, then perhaps I would still consider it.

*By now Mannada was a little tired, so I decided to slip in just one question of my own*

Q : You sang ‘Ketaki gulab juhi champak’, with Bhimsen Joshi, in ‘Basant Bahar’. What was the experience like?

A : Haven’t I told you that story? It’s interesting. At first the film’s hero Bharat Bhooshan didn’t want my voice. After the success of ‘Baiju Bawra’ Rafi was understandably his first choice. But Shankar, ever my supporter, prevailed upon him, and some tact was called for since Bhooshan’s brother was the film’s producer. The first song recorded was ‘Sur na saje’, and that won Bharat Bhooshan over completely. Next came ‘Nain mile chain kahan’. Then Shankar called up and said, “I need you for a duet. The film’s situation calls for the hero to sing with a music ustad, and defeats the ustad in the process”. I said “Sure. When do we do it?”, confident that my co-singer would be Rafi or another playback singer. “Well, we’re trying to get either Pt. Bhimsen Joshi or Ustad Aamir Khan for the ustad’s voice”, Shankar said. (*Eyes wide open, thunderstruck*) My heart sank. ME? Sing with Bhimsen Joshi? And ‘defeat’ him in a duet? I tried at once to get out of it. “Why don’t you get two classical singers for the duet”, I asked him. Shankar’s firmness could cut both ways – he lost no time in pointing out that after two songs had already been recorded, I was now the established voice of the hero, and who was going to explain to Bharat Bhooshan why another voice was now being used? I went home depressed, and told my wife, “Pack! We leave Bombay tonight and return only after six weeks”. When I told her why, she chided me and said “Shame on you! It is after all, a playback song”. After much arguing and convincing I finally decided to take it up as a challenge. I made Shankar give me the song a full four weeks in advance. We has two rehearsals, and Bhimsen Joshi’s voice was incredible. Standing next to him in the recording booth was an experience. But then I was also appeciated, especially for my ‘entry’ in the song, with an alaap in a single long breath.

Here is the melodious bhajan of manna Dey from the film ” Pawanputra Hanuman “-57….

Audio – (Pawanputra Hanuman 1957)

Video – (Hanuman Chalisa 1969)

Song-Jaago hey bajrangbali (Pawanputra Hanuman)(1957)/(Hanuman Chalisa)(1969) Singer-Manna Dey, Lyrics-Gopal Singh Nepali, MD-Chitragupta
Chorus

Lyrics

Jaago hey bajrangbali
ab soch hi soch mein din na guzaaro
ko nahin jaanat hai jag mein kapi
sankat mochan naam tihaaro
ko nahin jaanat hai jag mein kapi
sankat mochan naam tihaaro

tumsa koi duniya mein na dooja
veer karen sab teri hi pooja
tumsa koi duniya mein na dooja
veer karen sab teri hi pooja

hum to na bhoole mahima tumhari
tum bhi nahin nij shakti bisaaro
Kon nahi janat hai jag mein kapi
sankat mochan naam tihaaro
ko nahin janat hai jag mein kapi
sankat mochan naam tihaaro

yaad karo jab janam liya thha aa aa aa
yaad karo jab janam liya thha
sooraj mukh mein band kiya thha
ho o
yaad karo jab janam liya thha
sooraj mukh mein band kiya thha
haahaakar macha jag mein thha
chhaaya thha ambar mein andhiyaro
ko nahin janat hai jag mein kapi
sankat mochan naam tihaaro
kon nahin janat hai jag mein kapi
sankat mochan naam tihaaro

teer khadi saari vaanar sena
saagar koi bhi laangh sake na
teer khadi saari vanar sena
saagar koi bhi laangh sake na

ek bharosa tumhaara hi maaruti
naam na ho badnam hamaaro
ko nahin janat hai jag mein kapi
sankat mochan naam tihaaro
ko nahin janat hai jag mein kapi
sankat mochan naam tihaaro

dekh rahe sab raah tumhaari ee ee
ho ho
dekh rahe sab raah tumahri
der karo mat vyomvihaari
der karo mat vyomvihaari
Ek chhalaang lagaao mahaabali
jaakar raawan ko lalkaaro
ko nahin jaanat hai jag mein kapi
sankat mochan naam tihaaro

ho ho ho ho
ko nahin jaanat hai jag mein kapi
ho ho ho ho
ko nahin jaanat hai jag mein kapi
sankat mochan naam tihaaro

3 Responses to "Jaago hey bajrang bali"

Very Nice Write up Arun Jee.

Like

Arunji,
Thanks for the info on Manna Dey.
One can also watch Tulsidas-1954 with some superb songs. Other versions in year 1939, 1964 and 1972

Like

Arunji,
Thank for both the posts Pushp 9 and 10. As usual enjoyed both songs and the write-up

Like

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