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

Tere bina saajna dil mera haaye dil mera

Posted on: November 17, 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.

LOST AND FOUND-GEMS FROM UNRELEASED FILMS….Song No. 10
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Today’s song is from unreleased film Naagan. Initially, it was thought that this film was made in the 50s. It was mentioned in the first edition of HFGK Vol III. But later on, when it was discovered that the film songs were recorded much before 1951, its name was removed from the Second edition of Vol. III. The film may have been included in Vol II, latest edition. I don’t know, because I have the First edition of Vol II.

The music to this film is by the first pair of composers- Husnlal-Bhagatram. They, their elder brother Pt. Amarnath and cousin brother S.D.Batish have contributed to HFM considerably. S D Batish had written some books on Indian Music and he ran a Music school too in USA. he was a known figure on UK’s BBC and in USA,as an expert on Indian Music.

Pt. Husnlal-Bhagatram pair was unique. Bhagatram was the elder brother and had started giving music to Hindi films from 1939, even earlier than elder brother Pt. Amarnath. He gave music to 9 films ,before he joined hands with younger brother Husnlal Batish,to start India’s First pair of Music Directors. I always wonder why this pair name started with younger brother Husnlal and secondly, why only Husnlal was called Pt.(Pandit) and not Bhagatram ?

Husnlal and Bhagatram were younger brothers of Pandit Amarnath, a famous composer of the 40’s. Husnlal was accomplished violinist, and also a good classical singer. Bhagatram was an ace Harmonium player. They both worked as assistants for Pandit Amarnath.Husnlal & Bhagatram beacme the first music directora who worked as a pair. They got their first break in the film ‘Chand’ in 1944. They gave their first hit with ‘Do Dilon Ko Yeh Duniya..’ sung by Manju. Husnlal Bhagatram popularised Punjabi folk music, and their range of music has a rare lilt and rhythm.

They became the most sought after composers with the success of films like ‘Pyar Ki Jeet’ and ‘Badi Bahen’ in the late 1940’s. Though many sad songs have been recorded before the song ‘Ek Dil Ke Tukde Hazaar Huye..’ (Pyar Ki Jeet) sung by Mohd. Rafi, but this song gave a new dimension to sad songs in HFM. Mohd. Rafi got many sad songs after this one. According to Husnlal Bhagatram they had to put great efforts to make this song an instant hit. ‘Ek Dil Ke..’ was written by Qamar Jalalabadi, but according to him he did not write this song for ‘Pyar Ki Jeet’. He wrote it for ‘Sindoor’ in 1941 but Shashidhar Mukherji, director of ‘Sindoor’ rejected the song and declared it ‘useless’. Later, O P Dutta, director of ‘Pyar Ki Jeet’ heard it and was so excited that he changed the picturisation according to the demand of the song, and Husnlal Bhagatram proved him right, as the song became an instant hit soon after the release of the film.

Husnlal Bhagatram gave first break to Panjabi folk singer Surinder Kaur in ‘Pyar Ki Jeet’. Surinder Kaur sang four songs in ‘Pyar Ki Jeet’. Before ‘Pyar Ki Jeet’ Surinder Kaur used to sing Panjabi non-film songs, and with ‘Pyar Ki Jeet’ she came to Bombay. It was a major break for her. Their songs became a big rage. They composed the famous song “Suno Suno Ai Duniya Walo, Bapu Ki Yeh Amar Kahani”, sung by Mohd. Rafi. This song became very popular all over the nation. Husnlal Bhagatram mostly used voices of Rafi, Lata, and Suraiya, who sang her own playback. They used songs written by Qamar Jalalabadi for most of their films.

They parted ways by the late sixties. Husnlal left for Delhi and Bhagatram stayed on in Bombay. Husnlal died in December 1968, and Bhagatram expired in November 1973. Husnlal’s family resides in Delhi, and Bhagatram’s son Ashok Sharma is a noted sitarist with Doordarshan, and lives in Mumbai with family.

There were three major partners in their success. One -Suraiya, two- Lata and three Qamar jalalabadi.

With ‘Pyar Ka Jeet’ and ‘Aaj Ki Baat’ in 1948 started a mutually beneficial collaboration between Suraiya and Husnlal-Bhagatram. Suraiya sang more songs for them than any other composer, while she was second only to Lata Mangeshkar in terms of number of songs sung by any female singer for Husnlal-Bhagatram. Suraiya lent her voice to around 58 songs composed by Husnlal-Bhagatram for 9 films (not counting 6 songs that were used both in ‘Amar Kahani’ and ‘Kanchan’).

No discussion about Husnlal-Bhagatram can be complete without talking about their partnership with Lata Mangeshkar. It was the 1949-1950 period that saw the beginning of Lata Mangeshkar’s dominance among female singers in Hindi films. Many music directors of that period had important roles to play in honing her talent and Husnlal-Bhagatram’s contribution cannot be overestimated. Around 105 songs in 29 films over a period of 8 years is quite a significant output. One can find all possible moods in the songs they created for Lata Mangeshkar – melancholy in ‘dil hi to hai tadap gaya’ (Aadhi Raat, 1950), youthful romance in ‘khushiyon ke din manaye ja’ (Afsana, 1951), thrill of first love in ‘aaj laila ko majnun ka pyar mila’ (Adl-e-Jehangir, 1955), the fear of separation in the Pahadi-infused duet ‘sun mere saajna’ (Aansoo, 1953), purity of motherly love in ‘aankhon ka tara’ (Aansoo, 1953), dejection in ‘lut gayi ummeedon ki duniya’ (Jal Tarang, 1949), playful banter in ‘mori bhabhi ke gaal gulaabi’ (Raakhi, 1949), complaint to the almighty in ‘zamane bhar ko hansane wale’… the list can go on and on.

Their most lasting partnership with any person in the film industry was with lyricist Qamar Jalalabadi. From their first film ‘Chaand’ (1944) to ‘Shaheed Bhagat Singh’ (1963), they created close to 160 songs in 24 films. Their work together captures almost every possible genre and mood one comes across in Hindi film songs – romantic, sad, frivolous, motherly love, devotional, patriotic, qawwali, ghazal, and so on. The other prominent lyricists they worked with include Rajinder Krishan, Sarshar Sailani, Mulkraj Bhakri, and Majrooh Sultanpuri.

One style feature that makess many of Husnlal-Bhagatram’s fast-paced songs catchy and instantly likeable is their tendency to punctuate the melody lines with very short and catchy orchestral phrases as a trigger for repetition of words or line, or by inserting short pauses at the end of a mukhda or antara before the rhythm moves forward. There are many examples to illustrate this point but I would pick one song that to my mind can be easily identified as Husnlal-Bhagatram creations. The example is Suraiya’s popular ‘tere nainon ne chori kiya’ from ‘Pyar Ki Jeet (1948). The pause after ‘tere nainon ne’ is filled with a brief flute piece that becomes such an integral part of the tune that if you try humming the tune, that flute piece would instantly play in your mind.

But this very speciality and exclusive novel style was the very cause of their downfall. Too much use of this created a feeling of repetitive tunes and soon they had nothing new to offer. To survive in the severe competition with other stalwarts one needs either a new offering or Big banners. Unfortunately they lacked that their inevitable slide started.

After the dizzying heights they reached in 1949-50, success slowly started eluding Husnlal-Bhagatram. Despite good soundtracks like ‘Afsana’ (1951), ‘Raja Harishchandra’ (1952), ‘Aansoo’ (1953), ‘Shama Parwana’ (1954) and ‘Adl-e-Jehangir’ (1955), they had to remain content with a handful of films with B-list producers. New composers like Shankar Jaikishan (Shankar was closely associated with them in his early days and one could say that early SJ music had reflections of the HB style) and later O.P Nayyar created unassailable positions for themselves in the industry, while some of their seniors and contemporaries like Naushad, C. Ramchandra, etc. held strongly to their positions.

Lack of support from successful producers and actors probably added to their woes. The film company that they worked the most with – Famous Pictures – too underwent dwindling fortunes in the 50s. However, director D. D Kashyap, who worked with them in their very first film, remained loyal to them and went on to use their service in 6 films over a span of 12 years. Towards the 60s, they had to be content with a handful of C-grade films like ‘Tarzan & Circus’ (1965) and ‘Sher Afghan’ (1966).

Disillusioned with the ways of the film industry, Husnlal moved to Delhi where he started teaching music and performed off and on at concerts and gatherings. Listening to a few clips of his classical singing and violin recital from that period, one wonders what turn his luck would have taken had he pursued a career in classical music instead of getting mired in the fickleness of the film industry. Bhagatram remained in Bombay, but the only work that came his way was as an instrumentalist in the orchestra of other composers. Husnlal passed away in 1968 while on a morning walk. His brother followed him in 1973. Their family legacy is being carried forward by Bhagatram’s son Ashok Sharma, a noted sitar player, and his wife Zarin Daruwala Sharma.

I am very pleased that I had a personal conversation with Bhagatram’s son, Shri Ashok Sharma,when I contacted him to confirm about their Surname. he confirmed that their surname was BATISH, but on the suggestion of his father Bhagatram,he started using the surname Sharma. Both are surnames used in Punjabi Brahmins.

( I am thankful to shri Aditya Pant, for having taken some information from his article on this pair.)

Today’s song is sung by Geeta Roy.It is a typical Husnlal-Bhagatram song with their traditional speciality as I have mentioned above. Enjoy this extremely,melodious song by Geeta ji….

Audio

Song-Tere bina saajna dil mera (Naagan)(1950)(UR) Singer-Geeta Dutt, MD-Husnlal Bhagatram

Lyrics

tere bina saajna
dil mera
haaye dil mera
o o
chain nahin paayega
o chain nahin paayega
aap jalega dil mera
haaye dil mera
o o
mujhko jalaayega
ye chain nahin paayega

kaahe ko dee thhi baalam nishaanee ee
o o
kaahe ko dee thhi baalam nishaanee ee
o o
dekh ke royegi meri jawaanee
meri jawaanee
saawan ka jab maheena aayega
saawan ka jab maheena aayega
dil mera
haaye dil mera
o o
chain nahin paayegaa
ye chain nahin paayegaa

doli mein baithh ke sakhi jab jaayegi ee
o o
doli mein baithh ke sakhi jab jaayegi ee
o o
aankh meri haaye
neer bahaayegi
neer bahaayegi
guzra zamaana yaad aayega
guzra zamaana yaad aayega
dil mera
haaye dil mera
o o
chain nahin paayega
ye chain nahin paayega
tere bina saajna
dil mera
haay
dil mera
o o
chain nahin paayega
ye chain nahin paayega
tere bina saajna aa aa

5 Responses to "Tere bina saajna dil mera haaye dil mera"

Arunji,
The song jab apna begana ho jaaye sung by Surendra Nath MD: Harbans Lal/Amarnath in Naagan-1950

Does it mean that there were 3 MDs. Is it the same UR film you are referring. Please confirm

Like

Nitin ji,

Pt. Amarnath died in 1947 itself. Harbans Singh was an assistant to Husnlal – Bhagatram. Information given on you tube has to be taken with a pinch of salt.
There is a faint possibility that Pt. Amarnath died before he completed Naagan and then his brothers took over with the help of harbans singh.
It is extremely difficult to know such things about old(that too,unreleased) films.
However,this matter needs to be researched into. If I know anything,i will let everyone know here.
-AD

Like

Nice information Arun-ji, about the first duo MDs.

1. Shashidhar Mukherjee was a powerful but very egoistic and short-sighted person. He even rejected Lata-ji outright whem Ghulam Haider tried to introduce her.
2. Lata-ji and Husnalal were romantically connected for some period.

Like

Bharat ji,,
Lata-Husnlal affair is well known to the knowledgeables. It is described in details by C Ramchandra in his autobiography.I have posted its English Translation (the original is in Marathi.) in 10 parts here as well as in 3 parts on Anmol Fankaar.com
-AD

Like

Arun-ji,
Aap se to jaana hai aur isi liye darte darte comments kiya.

Like

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