Chanda maama boley apne
Posted on: August 12, 2014
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a 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.
MAYANAGARI film world can be quite generous to some and extremely harsh to others. Generous to the extent that there are fabulous rewards in it for those who get the right breaks, while it can be quite mean for the people behind the scenes, who help others to succeed.
Without a Cameraman or a Cinematographer a film can never be made. How many Cinematographers are known to the common public ?
Without the work of an Editor, the film would only be collection of scenes shot by the camera. How many Editors are known to us ?
In olden times, even the names of the composers and singers were not mentioned in the credits. Even after they began to get credited, the Lyricists continued to remain unheralded. There was no Filmfare Award for Lyricists till 1958. Filmfare awards were not given even to music Directors till 1955. Till then the award was for a particular song in a film-not for the Film ! The Playback singers began to get Filmfare awards only from 58-59 onwards. Till then only Directors, Music Directors, Actors and actresses were given the Filmfare awards.
What is more, the prestigious Dadasaheb Phalke Award also went only to Directors and Actors/Actresses till 1989, when Lata Mangeshkar got the award as a singer it was the first time that a playback singer was thus honoured with this award. The First Lyricist to be honored by Phalke award was Majrooh Sultanpuri in 1993 and the First Cinematographer who got this award was V K Murthy as late as in 2008.
There were many successful Music Directors in India. I remember a famous quotation- ” There is a woman behind evey successful man.” Can you tell me, who is behind every successful Music Director ? I am sure many of us do not have the answer.
The answer is THE ARRANGER.
Now, who is this arranger ? Some have a vague idea, some may even think, he is the person who arranges song recording and the musicians.
An Arranger is the SOUL of Film music. Once the composer conceives the tune for a song, he tells it to the Arranger, who immediately makes its notations (writing music or Swar Lipi),which, a properly schooled musician can read and play. Arranger also decides the instruments and their placements in the song.
A Painter who paints a beautiful flower, also thinks of other objects in the picture, like background, colours etc. Similarly,once a composer makes a Tune, his job is over. Then the Arranger takes over. He thinks of how to make the song suitable for film’s situation on the screen, select the instruments for the song, identify the right players, arrangers for rehearsals, decides the music pieces between lines and stanzas etc. Without an Arranger the song can never be recorded.
Most of the Arrangers in Film Industry were from GOA, where traditionally Jazz music was very popular. A typical Goan likes to live life-“Sushegaat”- which loosely means “Araam se” or a carefree life. Their philosophy is Eat, Drink and be Merry. This Merry part included Music.
Goa has given many musicians to India. Lata/Asha are from Mangeshi-Goa,though the family had shifted to Kolhapur, Music directors Dattaram(Wadkar) and N.Datta(Datta Naik), Singers Kishori Amonkar, Kesarbai Kerkar, Shobha Mudgal, Hema Sardesai, Prabhakar Karekar, Remo Fernandes, Lorna are from Goa.(The list is only indicative, not exhaustive).
Most Arrangers were from Goa.
Anthony Gonsalves from Majorda-Goa—he worked for Naushad, O P Nayyar and L-P (My name is Anthony Gonsalves song is a tribute by L-P to him, as he taught Pyarelal so many things including Notations.)
Chick Chocolate aka Anthony Vvaz from Aldona-Goa—he worked for C. Ramchandra mainly.
Chris Perry worked for Khayyam, R D Burman, K-A,and L-P.
Frank Fernando worked with Anil Biswas, Kishore Kumar, Roshan, C Ramchandra.
Sebastian D’Souza from Bicholim-Goa—worked for Shanker Jaikishen from 1952 to 1975 and for O P Nayyar.
Most of the players of western instruments in the Orchestras were from Goa.
But there was ONE famous Arranger, who was NOT from Goa,he was from POONA. His name is ENOCH DANIELS.
Enoch ( which means God’s friend ) was one of the most wanted and popular Arranger in the Hindi Film Industry. However his name is known to common people as a Piano and Accordian player, whose 78 RPM records of popular songs of the Golden Era were very famous. On Radio Ceylon, everyday between 7 am to 7.15am there used to be a programme titled ‘ Vadya Sangeet ‘. In this programme, Van Shipley and Enoch Daniels records were played regularly.
Here is his Biography, in short, taken-with thanks-from his site Enoch Daniels-
A much loved and well-respected figure in the Bombay film-industry (a.k.a. ‘Bollywood’) for almost five decades, Enoch Daniels (fondly known as ‘Danny’) is known for his work as a film arranger/composer, and for his instrumental albums of rendition of film tunes on the piano-accordion.
Born on April 16th, 1933 in Pune, a historic and bustling city in the western state of Maharashtra, India, he was raised in a musical family (all six brothers played an instrument), with religious and church music playing an important role in his early years. The presence of British missionaries in the area (Convent of St. Mary the Virgin, and the other managed by the Cowley Fathers belonging to the Society of St. John the Evangelist, S.S.J.E.) ensured that he received musical instruction for the next few years on the local church organ. He was also keen on percussion, assembling a make-shift drum kit consisting of wooden boxes, metal tins, brass plates to substitute cymbals with, a chest of drawers which served as a bass drum, and a kettle drum. Several years of instruction under Rev. Father Slade and Sister Gertrude Joy, laid the foundation for the long musical journey that lay ahead of him.
As a student of the Nowrosjee Wadia College in Pune, academics took a backseat, since Enoch was gaining popularity with his regular appearances on stage as a performer. The need for a ‘portable’ instrument in the relative absence of pianos at venues resulted in the purchase of a piano accordion, an instrument which was received well by audiences. (The accordion was a relatively unknown instrument in India at that time, and Enoch was the first exponent of this instrument here.) In 1953, he was selected to represent Pune University at the All India Youth Festival in New Delhi. This event exposed him to a wider audience, and brought him to decide that it was music that would be his profession of choice from then on. Disbanding the idea of joining the Indian Army, a thought he once entertained, he packed his bags and sought his future in the film industry in Bombay.
After an initial period of hardship, his first break came when he performed with the Hawaiian guitarist Van Shipley in 1955, with whom he performed scores of shows country wide, as well as internationally. Live performances kept Enoch busy through most of the 60’s and 70’s. He was a member of some of the first Indian troupes that performed abroad such as: 45 shows in East Africa alongside Talat Mahmood, C.H. Atma & Van Shipley, with Manna Dey in Mauritius, with Mohammed Rafi in the West Indies, with Talat Mahmood in the U.S.A. and Canada, with Kishore Kumar in South Africa; and was part of the first Indian film troupe to perform at the Royal Albert Hall, London, led by Lata Mangeshkar.
After a very successful tour of East Africa in 1957, Columbia Records signed Enoch as a solo artiste. He recorded severalinstrumental albums, including 40 singles (78 r.p.m.) 15 extended play records and 18 long play records, some of which are available today on CD and audio tapes.
Besides his performing career, Enoch has been a busy arranger and sessions musician in the film industry in Bombay. He has worked with prominent music directors such as S.D. Burman, C. Ramchandra, Shanker and Jaikishen, Vasant Desai, Salil Chowdhury, Khayyam, Ravi, Madan Mohan, O.P. Nayar, N. Dutta,Ram Kadam and Sudhir Phadke.
Since 1963 he has worked as an arranger for background and film scores. Amongst his noteworthy films are Kabhie Kabhie, Trishul, Chotisi Baat, Pinjara and the entire re-recording in stereo of the classic V. Shantaram film, Jhanak Jhanak Payal Baje.
Enoch has also written music for several documentaries, commercials, and solo album releases by artistes such as Talat Mahmood (“Film Gems of Talat Mahmood: Melody the queen – Talat the prince”), Preeti Sagar (Nursery Rhymes), and Shaguftagi Fragrance Of Poetry & Melody with poetry by Kaifi Azmi, and arrangement of melodies by Khayyam.
Enoch is the recipient of the first O.P. Nayyar Foundation Award (2007), the Maharashtra Government State Cultural Award (2006) and most recently the Sharad Krida Sanskrutik Pratishthan Award (2008).
His first work as an Arranger was with Bipin-Babul. After arranger Sebastian retired he got opportunity to work for Salil Chaudhari,Shankar Jaikishen Vasant desai etc.From Kabhie Kabhie,he was a parmanent fixture with Khayyam.
In his career,he gave music to only one film- ” House No. 13 “-1991. This was a remake of a Tamil film, ‘ pathimoonam number Veedu. The film was produced and Directed by Deven verma-his close friend. The cast was Anil Dhawan,Reeta Bhaduri,Sharad Saxena,Dilip Raj. 3 new faces were launched-Salim Fateh,Leena Nari and Baby Vijaya. The film was a total flop and disappeared swiftly. The film was released on 16-8-1991…23 years ago,almost to the date.
The story of this film was-
This is an imaginary story made by our gifted technicians (Remake of the Tamil version “Pathimoonam Number Veedu). . The story centers around a haunted house where a painter (who does not believe in spirits) and his assistant come for an assignment. They get killed on a fatal night. After a time lapse, a family (i.e. grandfather, mother and her two sons Sudheer and Vikram, first daughter-in-law Shanti and the child Arti) comes to occupy the same house. The eldest son Sudheer is a doctor working in the estate hospitl, Vikram the second son is the newly appointed manager of the tea estate He falls in love with a estate girl. Neelima who has been brought up by Ramlal. . In the meanwhile the family encounters horrifying experiences. First the grand-father is killed. Sudheer is attacked and killed. . After the loss of the eldest son, mother dedides to get Vikram married to Neelima to bring joy in the family. Now all are happy, Neelima becomes pregnant. Due to the delay in delivery Vikram and mother take Neelima to a doctor. The mother senses something in the house, bad for all these happenings in the house, decides to consult a Pujari a man with divine powers. On his advice, they admit Neelima to a doctor. Meanwhile, Shanti and Aarti are alone in the house, while Neelima delivers a boy in the hospital. Aarti is taken away by an invisible power. . Finally mother decides to conduct a pooja in the house to drive away the evil spirit and get back the child. The spitit (Jyoti) appears during the pooja and narrates a sad story of her husbands misdoings. . Ultimately by the divine powers of the Pujari and by the grace of God they get back the child and we see the end of the evil spirit.
Today we will listen to a song from this film,sung by Anuradha Paudwal.
Song-Chanda mama boley apne (House Number 13)(1991) Singer- Anuradha Paudwal, Lyrics-Yogesh, MD-Enoch Daniels
Lyrics
Chanda mama boley apne
Leke pyaare pyaare sapne
nindiya tu aa aa
nindiya tu aa
Chanda mama bole apne
Leke pyaare pyare sapne
nindiya tu aa aa
nindiya tu aa
jaage dekho meri muniya
meri raajkumaari
toohi ab iss ko sula de
main sula ke haari
chaahe to ye meri neenden
tu chura le saari
magar meri laadli ke
nainon mein aa jaa ree
Chanda mama bole apne
Leke pyare pyare sapne
nindiya tu aa aa
nindiya tu aa
kahaan khoyi nindiya tu
ab na der lagaana
tu kiran ki baalti mein
baith ke aa jaana
sapnon ki pariyon ko
baat ye samjhaana
raat bhar akhiyon mein Rukna
bhor ho tab jaana
Chanda mama bole apne
Leke pyaare pyaare sapne
nindiya tu aa
nindiya tu aa
bheeni bheeni khushboo jo
pawan lekar aaye
har kali phir jaagi jaagi
neend mein kho jaaye
dekhoon tujhko magan hoke
mann ye lori gaaye
chain mein paaun ke
jab ye chain se so jaaye
Chanda mama bole apne
Leke pyare pyaare sapne
nindiya tu aa
nindiya tu aa
hmm hmm hmm
nindiya tu aa
hmm hmm hmm
nindiya tu aa
19 Responses to "Chanda maama boley apne"
August 13, 2014 at 2:50 am
Another of your wonderful posts, Arunji.
I had no idea what exactly an arranger does, though I knew that he was an important person for the composer. It is a pity that the arranger is not given prominence at all – most people would not have heard their names.
That’s true for other background tasks too.
Learnt a lot from this post. Thank you very much.
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August 13, 2014 at 10:36 am
Raja ji,
I am happy that you liked the post.
Earlier also I have written articles on Shridhar Parsekar and Shyamrao kamble as well .
I felt when the opportunity is there why not aquaint our readers with this Genre of Artistes,behind the screen.
Thanks once again.
-AD
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August 13, 2014 at 9:14 am
Arun Ji,
I call all your series which has been posted so far in this Blog as an Educational Series especially for those who have developed an interest in Hindi film music in recent times. Your post on my favourite Enoch Daniesl also falls in the same series. Thank you very much for your painstaking.efforts in bringing out such series.
I am a great admirer of Enoch Daniels’ orchestra. In fact, in my younger days , I had bought his LP ‘Vintage Wine’ containing some of the most popular songs of 40s and 50s played by him on accordion accompanied by his orchestra. The popularity of Enoch Daniels can be judged by the fact that I think he was the first music arranger of Bollywood who had his LPs issued by HMV. What an enhancement he brings through his orchestra to already popular songs. For example, listen to a Talat Mehmood’s song ‘wohi chaandni hai wohi aasmaan’ from ‘Rishta’ (1954) – both original version composed by K Datta and enhance version re-sung by Talat Mehmood with orchestration by Enoch Daniels:
Original version composed by K Datta
https://www.youtube.com/watch?v=ItHVQqT4NR0
Enhanced Version re-sung by Talat Mehmood with Enoch Daniels Orchestra :
https://www.youtube.com/watch?v=WzCMYZR8WqM
In the enhanced version, Enoch Daniels has kept intact the tune, melody, musical interludes, humming and short aalaap of the original version. But the enhancements have been brought by using more musical instruments and a slight change in rhythm. Also, he has made Talalt Mehmood to sing in a lower pace than the original.
Let me add here that irrespective of fine enhancements, original remains original. But the enhancements brought about by Enoch Daniels made this song very popular in Talat Mehmood’s concerts in India and abroad.
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August 13, 2014 at 10:45 am
Kamath ji,
Thanks for your kind words,which are very valuable to me.
I remember,some time back,when I wrote on Shyamrao kamble,you had suggested to me to write on Enoch Daniels. This post is,therefore dedicated to you !
In the HFM industry there were 3 important-I mean whose names were wellknown-Arrangers. Anthony Gonsalves,Sebastian and Enoch Daniels.
Enoch was popular earlier as an Accordian and piono player,whose several records were hits,before he even became an Arranger.
Besides these there were some more stalwarts like Anil Mohile,Shyamrao kamble etc.
May be sometime later I may write on Anil Mohile too.
Thanks once again.
-AD
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August 13, 2014 at 12:15 pm
Oh! I had forgotten about it and you have an elephantine memory to remember it.
Thanks once again for the post.
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August 14, 2014 at 11:40 am
Play both the song together. maza aa jaayenga. Just try. Thanks
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August 13, 2014 at 10:53 am
Arun ji
Simply SUPERB post.
I keep on reading all of your posts, so that I don`t forget (word by word)them,easily.
Thanks & regards
Prakash
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August 13, 2014 at 12:56 pm
Such an amazing lot of information. I had heard of music arrangers. But had no idea how crucial they were.
It is the same in life as well. There are so many people who are crucial to our daily comfort that we don’t even notice.
I remember listening to orchestra tunes by Enoch Daniels a lot during the 70s and 80s when I listened to the radio regularly.
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August 13, 2014 at 1:56 pm
As Goans musicians were proficient in Western music they had the knowledge of musical notations, unlike the MDs. Its basically writing music for the musicians in the orchestra. You must have noticed sheaves of paper with notation on the stand in front of each musician. I remember seeing Sonu Nigam singing golden oldies in England with 100% English orchestra. Though they did not know a aa ee of Hindi songs the notations help them immensely in giving a perfect song.
The MDs would sing out the melody to the Goan amanuensis who would write it down inserting usage of the percussion, piano, blowing and stringing instruments. He would seamlessly weave the verses intermingling with antaras. Basically they would decorate and embellish the song with fruits and flower which imparted the song with its own beauty and grandeur. Again the orchestra was eminently Goanese with few Sharmajis thrown in.
BTW Anthony Gonsalves middle name was Prabhu. There were Alfred Rose(Love in Goa) and Remo Fernandes(Khamoshi, Trikal, Jalwa) Manohari Singh(SD & RD); Tappan Adikari(Bappi Lahiri);
LP were also arrangers before they eked out independently. There was one Jai Parte for KA MD duo.
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August 13, 2014 at 4:27 pm
Arun ji,
Thanks for an excellent post.
Even K-A started as arrangers and later their younger brother Babla also, especially when they were the composers.
Looking forward to your more such posts covering, inter alia, Van Shipley, Manohari Singh, Basu, and so on.
Regards,
Avadh Lal
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August 13, 2014 at 5:14 pm
I listened to both the versions uploaded by Sadanand ji. Whereas the Enoch’s version is more peppy, the original is very soothing. Actually this is not comparable as both are for different purposes. The film music director has to consider the situation, the mood of the character and what the director wants the song to convey. Whereas in a concert the music and the singer are only highlighted. Arrangers’ work can best be demonstrated if you hear the tapes of the making of the music of Veer-Zara in which you can hear the original tune sung by Madan Mohan on a harmonium and then the final product with full orchestra.
In case of Shankar-Jaikishan, I have noticed that they always gave full credit to Duttaram (in Sangam he was given a special mention) and Sebastian.
I also take this opportunity to congratulate and thank Arun ji for his fine and most educative and absorbing posts. I do not comment on them but read them all very religiously. I wish he would keep us thus occupied all times to come. More ink to his pen!
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August 14, 2014 at 2:51 am
Arunji,
No words to express the gratitude for the info you have provided to all who are not aware of the arrangers. I totally agree with Sadanandji about your contribution to this blog with so many (17 ?) informative series.
In the post you have mentioned name of a musician, Van Shipley.
“After an initial period of hardship, his first break came when he performed with the Hawaiian guitarist Van Shipley in 1955, with whom he performed scores of shows country wide, as well as internationally.”
Is he the same person who played guitar and violin in many of RK’s films?
Here is the link of an article posted by Anuradha Warrier on her blog as a tribute to VS. I am sure you have read this article. Some more info can be found in the comments.
Thank you sir.
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August 17, 2014 at 9:09 pm
Arun Ji,
I do not remember hearing Enoch Daniels name before. Considering the dearth of information on this genre of musicians I would like to thank you for bringing forth the unsung musicians/arrangers of the Hindi film music to our knowledge..
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September 27, 2014 at 10:37 am
Very informative post on those who have remained mostly unsung.I have been personally benefitted with this post as I was already in search of such informations.
It is true that Sebastian assisted mostly SJ but he assisted Salil Chowdhury also in Madhumati.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
August 12, 2014 at 9:50 pm
House No 13 was directed by the legendary (for this genre anyways) A G Baby, famously known as Baby.
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