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

O shahar ke baanke baaboo zara dil pe rakhiyo qaaboo

Posted on: May 19, 2015


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.

VINTAGE SHAMSHAD BEGUM…..Song No. – 9
——————————————–
Today’s song is from the film Girls school-49. It is a duet sung by Shamshad Begum and Chitalkar.

While Naushad Ali created soulful, joyful and thoughtful music with Shamshad Begum towards the end of the 40s and early 50s, it was C Ramchandra who created jumping, natkhat, humorous and bouncy songs with Shamshad during the same period. Surprisingly, Shamshad was able to do justice to both types of songs. However, I personally feel that she was more suited for the songs composed by C Ramchandra. The pitch of her voice suited this type of music more than the serene, Raaga based songs. As Shamshad was not trained in classical music, she felt that she was valued less than Lata. In those days, when Shamshad realised that she was slowly but steadily and surely losing ground and composers, who favoured her in the past were abandoning her and prefering Lata, someone advised her to learn Classical music. She quietly started her training.

This news somehow reached her original Mentor Ghulam Haider in Lahore and he wrote to her from Lahore, “what is this that I hear? You are learning classical music now ? Don’t be a fool. Your singing style is different you don’t require this to do.” After getting this letter, Shamshad Begum stopped her attempts of learning Classical music to compete with Lata.

As such she was never a fighter. It was not her nature. Her needs too were limited. She had only one daughter, who like her mother, married a Kashmiri Hindu boy and was very happy. Her family restrained her from doing what she was not capable of and thus quietly, by the early 70s, she laid down her weapons and disappeared from the show world. She had no friends in the industry and she had kept away from the Print media. She did not give interviews easily. Additionally, due to her Son in Law’s frequent transfers, she moved from place to place. No one knew where she was at any given time. So much so that people living in her own building did not know that one of the great singers of the ‘Golden Era’ was living in their own building ! That is the reason that when Noorjahaan came to India in 1982 or thereabouts, Shamshad Begum never knew about it and no one contacted her because her whereabouts were not known to anyone. Shamshad regretted missing meeting Noorjehan at that time.

The Film Girls school-49 has a very interesting History.( I hope shri Raja Swaminathan ji will read this article.)

As we know the film had 9 songs and there were two Music Directors-Anil Biswas and C Ramchandra (4 and 5 songs each).

This film was produced by Kavi Pradeep under the banner of Lokmanya Productions, Bombay. This was a company floated by him and Amiya Chakrawarty-director of this film. To understand the complexiities of Girls school, we must go back a little. In 1942, Anil Biswas was invited by Ranjit at a salary of Rs. 1500/ per month and by Bombay Talkies at a salary of Rs 2500/ per month. As National studio was winding up, Anil Biswas wanted to make a change anyway, but due to the contract of national he could not join Bombay Talkies openly. He, however, gave music to the film Basant-42 and name of his brother in Law, Pannalal Ghosh was used as its Music Director.

Finally when Anil Biswas joined Bombay Talkies, there were already two groups there. One was led by Devika Rani and Amiya Chakraborty and the other was led by S. Mukherjee along with Ashok Kumar, Gyan Mukherjee, Pradeep etc-a total of 15 artistes. Anil Biswas was invited by Devika Rani and that too at a salary of Rs. 2500/ per month, when Pradeep was getting Rs 1500 per month. This irritated Pradeep no end and he started troubling and finding faults with Anil Biswas. However Anil Biswas gave excellent music in the film Kismet and then everyone was happy as the film celebrated jubilees everywhere.

With this back ground, Anil Biswas joined Girls school as a Music Director, mainly due to Amiya who knew his calibre. Kavi Pradeep being a producer and a Lyricist started interfering with Anil Biswas’s work and criticising him at every opportunity. Anil Biswas was fed up. He had already recorded three songs and a solo by Lata , ” tum hi kaho, mera man udas kyun na rahe” was to be recorded. Anil Biswas had taken C Ramchandra as his assistant for this film. Though C Ramchandra was already a popular and wellknown composer himself independently, still he had accepted to be his assistant here due to his respect for Anil Biswas. When the tune for Lata’s solo was made, Pradeep passed caustic remarks about it being not so good. There was an altercation between Anil Biswas and Pradeep and Biswas quit then and there and went away.

C Ramchandra had to take over as the Music Director for the balance songs of the movie. Pradeep was very happy. Next day recording of Lata’s solo song took place under the supervision of C Ramchandra, as planned. Later when Lata came to know that Anil Biswas has left and C Ramchandra had replaced him, she was very angry and said that she would not have recorded the song had she known about Anil Biswas’s exit. She objected to C Ramchandra taking over as the music direction and complained about it in the Artists association too. (Remember that Lata and C Ramchandra’s relations had not formed yet and Lata was still with Husnlal at that time.)

Later on in 1954, when O P Nayyar replaced Roshan for Mehboob, Lata took up the issue with the Music Directors’ association. Anil Biswas was the chairman at that time and O P Nayyar was boycotted. At that time Lata quoted Girls school incident to prove that she was “highly Principled” on such matters!

Anyway, that was how C Ramchandra became the Music Director of Girls school-49 and he composed 4 duets of Shamshad and 1 solo of Lalita Deulkar in this movie. All the four duets of this pair are very interesting. However, with all this jhamelas, film Girls school was a total Flop. Pradeep lost heavily and closed the production company forthwith, after just this one film.

Girls school-49 had Geeta Bali and Sohan in the Lead with Shashikala, Sajjan, Vimal Vashishtha, Mangla,Ramsingh etc. I have not seen this film but the story of this film was..

Rural drama about Meena (Bali) who leaves home rather than submit to an arranged marriage and starts a girls school in a village, although opposed by the local zamindar. The zamindars brother-in-law Bipin (Sajjan), who lusts after Meena, is the villain. The hero (Sohan) appears in answer to an advertisement for a schoolteacher and is appointed only because Meena mistakes his name – Shanti Kumar Majumdar for that of a woman. The zamindar’s widowed sister Sumitradevi, a supporter of the school, objects because he is not married. Meena and Shanti Kumar fall in love but realises the damage he may cause to her school and leaves. Bipin then spreads rumours about Shanti Kumar morals, which causes further difficulties that have to be resolved before both the future of the school and of the loving couple could be assured.

Let us now listen to this Historical song from Girls school….

(Information used in this article is from books Sagar Movietone, Journey down melody lane and Ritu aaye Ritu jaaye, with thanks)


Song-O shahar ke baanke baaboo zara dil pe rakhiyo qaaboo (Girls School)(1949) Singers-Shamshad Begam, C Ramchandra, Lyrics-Pradeep, MD-C Ramchandra

Lyrics

o o o
o sheher ke baanke baaboo
zara dil pe rakhiyo qaaboo
tum kisi paraaye gaaon mein
zara sambhal ke jaana jee
zara sambhal ke jaana jee
o baaboo

o gaaon ki gori gori gudiya
tu hai aafat ki pudiya
aji ham pardesi log
hamen na hansna sataana jee

zara sambhal ke jaana jee
o baaboo

ek baat mere kaan mein keh do
baaboo karoon salaam
ek baat mere kaan mein keh do
baaboo karoon salaam
jinke ghar pe tu jaa rahe ae
unka kya hai naam
arri ham to yahaan paraaye
ek naye mulk mein aaye
ham na jaane koi naam dhhaam
na pata thhikaana jee

zara sambhal ke jaana jee
o baaboo

tum bina jaan pehchaan
mat hona kahin mehmaan
aji mat hona kahin mehmaan
phande mein kisi ke phanse to laala
ho jaaoge hairaan
phande mein kisi ke phansen
to laala ho jaaoge hairaan
hai naari yahaan ki chulbul
tum ko na bana le bulbul
yahaan tirchhi nazar waalon ka hai
ghar ghar mein aana jee
zara sambhal ke jaana jee
o baaboo

dil kaaboo mein rakhna
ari dil kaaboo mein rakhna
mere baayen haath ka khel
mere baayen haath ka khel
kabhi nahin niklega dekho
is reti se tel
o gori
is reti se tel

aji pata chalega
pata chalega
jab hoga meethhi chhuriyon se mel
jab jaadoo ke teer chalenge
jab jaadoo ke teer chalenge
tum na sakoge laala jhel
haaan
tum na sakoge laala jhel
pal bhar mein
pal bhar mein
ban jaaoge teeron ka nishaana jee
zara sambhal ke jaana jee
o baaboo

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5 Responses to "O shahar ke baanke baaboo zara dil pe rakhiyo qaaboo"

Kavi Pradeep>>>>
Kangan (1939)
Bandhan (1940)
Anjaan (1941)
Jhoola (1941)
Naya Sansar (1941)
Kismet (1943)
Chal Chal Re Naujawan (1944)
Shikari (1946)
Girls School (1949)
Jagriti (1954)
Sambandh (1969)
Naag Mani (1957)
Nastik (1954)
Amar Rahe Yeh Pyar (1961)
Harishchandra Taramati (1963)
Jai Santoshi Maa (1975)
Chakradhari (1954)
Paigham (1959)
Zindagi Aur Khwab (1961)
Waman Avtaar (1955)
Har Har Gange (1968)
Aanchal (1960)
Talaq (1958)
Mashaal (1950)
Do Behnen (1959)
Dusshera (1956)
Chandi Pooja (1957)
Ram Navami (1956)
Mahasati Savitri (1973)
Baap Beti (1954)
Shankar Seeta Ansuya (1965)
School Master (1959)
Netaji Subhash Chandra Bose (1966)
Chakaradhari (1977)
Aankh Ka Tara (1977)
Veer Bhimsen (1964)
Raksha Bandhan (1976)
Balram Shrikrishna (1968)
Shree Ram Bharat Milan (1965)
Karva Chauth (1978)
Kangan (1939)
Krishna Bhakta Sudama (1980)
Basant Panchami (1956)
Veer Bhimsen (1964)
Baba Taraknath (1980)
Chamkee (1952)
Zindagi Aur Khwab (1961)
Shree Ram Bharat Milan (1965)
Kisan Aur Bhagwan (1974)
Nagin Aur Suhagan (1979)
Ritu Vihar (1954)
Lalkaar (1956)
Sati Aur Bhagwan (1982)

Nitin ji,
This is a list of only 54 films. He wrote Lyrics for 75 Hindi films. In addition,as Miss Kamal B.A. he wrote songs for another 4 films. His songs were 550 and he sang about 40 songs.
-AD

Arunji,
Thanks for the additional info. Bloggers are free to add to the list.
He wrote Aamrapali, Veerangana and Sati Toral under athe above pseudonym.
In the words of his wife>>
When Pradeep had come to Bombay in 1939, he used to live in
a rented room in Vile Parle in our neighbourhood. One artist
Ravishankar Raval had been instrumental in our meeting.
Pradeep used to visit our house. My mother and him had good
relationship.
When I failed matric my mother got worried about my
marriage. In those British times, it was mandatory to get at
least 40 percent marks, otherwise one has to repeat the exam
the next year. My family was Gujarati and everybody used to
speak Gujarati, hence I could not obtain even 40 percent
marks and had got failed.
Mother asked Pradeep whether you will marriage Bhadhu.
Pradeep replied that he will first interview me.
I was afraid what he might ask in interview.
When I faced him he said, “I am fire. If you have to spend
life with me, you will have to become water. Is it agreeable
to you?”
I promptly nodded.
It happened in Aug 1941 and our marriage took place on Jan
21, 1942. My family was also not very particular about
marriage as per ritual, like Pradeep, hence the registrar
was called to the house and court marriage took place.
Next day, the photo of marriage was published in newspapers,
and chaos broke. In Badnagar near Ujjain, the village of Pradeep;
his mother wept a lot. As such, both of us were Brahmins,
hence Pradeep’s sister’s husband (Nandoi) was happy. He
had come and met me. Pradeep’s father was also happy, but
his mother had different reason for weeping. She used to
consider me dark complexioned. Though I was reasonably fair,
but in front of my mother in law, that was nothing. People
from Malwa always undermine people of Kathiawaad in this
respect.
We got a son but he died within nine months.
In Dec 1944, I went to Badnagar. We spent a night in Ratlam
where Pradeep’s mother’s father was the deewaan of the riyaasat.
Next morning, when we reached Badnagar, Pradeep’s mother
started weeping a lot when she saw me. I thought that she is
probably weeping about the death of our son, but she told me
weeping, “I had abused you a lot. I had wept a lot also.
But I was not knowing that you would be so good.” Then I
came to know about the simplicity and loving nature of
village people. She had abused me and was telling me.
She was very stringent about observing ghunghat. normally
there was no one nearby, but she used to say that at this
place, one needs to keep ghunghat in front of mother in law
also. Then she used to take me to the roof and say that you
can remove the ghunghat, but if someone comes around you
should maintain the honour of mother in law. She came more
close to me than she was to Pradeep.
In 1966, I decided that I would bring all of them to Bombay.
I secretly got the reservation done for myself and younger
daughter Meetul, but she was murdered two months earlier.

This is a nice song. Parts of it remind us of ‘main banwra tu hai phool’ of Mela and there seems to be some foreshadow of Albela, too!

Arun ji, another captivating piece of history….. thanks a ton! Hats off to Anna ……it is just unthinkable an established & successful MD works as a assistant to another!

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