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

Sambhal sambhal ke jaiyyo

Posted on: December 22, 2016


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.

This is an interesting song composed by C Ramchandra, for the film Saajan-47. It is sung by Mohd.Rafi, Geeta Roy and Lalita Deulkar. The lyricist was Rammurty Chaturvedi.

This was the period when C Ramchandra’s star was on the rise and everything he touched tose days would turn into Gold. Right from the day he joined Filmistan, his films and his music started becoming famous all over India. After film Safar-46-his first film at Filmistan, became a successful musical film, he galloped away. Because of his lilting, foot tapping tunes, C.Ramchandra had become extremely popular among the south Indian film producers and his tunes were copied in Tamil and Telugu films on a large scale. If some Hindi film History student makes a research, he will surely find that among all Bombay composers, C.Ramchandra was Number One, whose maximum tunes were copied in southern films during the period 1947 to 1957 !

The cast of film Saajan-47 was Ashok Kumar, Rehana, Ranjit Kumari, Ramesh Gupta, S.L.Puri etc etc. There were 3 lyricists, namely Qamar Jalalabadi, Rammurty Chaturvedi and Moti B.A. who wrote the 8 songs of the film. 7 songs are already discussed here. Today’s song is the 8th and final song of this film. Thus Saajan – 47 joins films which have ALL songs posted on the Blog. Yippee !

This Filmistan film was directed by Kishore Sahu.

Both Himanshu Rai and Devika Rani of Bombay Talkies were highly educated and belonged to respectable families. They always preferred to recruit educated persons from good families. That was also one point how Himanshu Rai opted for Ashok kumar as his new Hero,despite Ashok being flatly rejected by his cameraman Joseph Warsching, in his screen Test. Every month Bombay Talkies used to receive 200-300 applications for employments. Himanshu Rai personally took interviews of the shortlisted candidates to hire the most capable one. At the peak of prosperity, Bombay Talkies had 400 people on its pay roll. Regular training and refresher courses were also conducted.

under these circumstances, it was no wonder that Himanshu rai selected a Handsome,educated young man from a respectable family as their New Hero…Thus entered KISHORE SAHU in Bombay Talkies as an actor.

Kishore Sahu was born on 22-11-1915 at Durg, CP & B (Central provinces and Berar i.e. today’s M.P, Chattisgarh and Vidarbha). His father was the Chief Minister with the Rajah of Raigarh. His schooling took place in royal ways. he graduated from Morris college, Nagpur. 5’9″ tall,handsome and energetic, Kishore Sahu joined Bombay Talkies as a Hero, when he was just 21 years old. His Heroine was the owner’s wife-Devika Rani, in his first film,Jeevan Prabhat-1937.

He was a writer, producer, director, lyricist, singer and Actor too. In 1940,he started Kishore Sahu productions and in 1944 started Hindustan Chitra. he wrote story and screenplay for mayurpankh-54, Dil apna aur preet parayee-60, Hare kaanch ki chudiyan-67 and Aurat-67 as well as teen bahuraniyan in 1968. he directed 22 films, starting with Kunwara Baap-1942 and acted also in 30 films. He produced 4 films. He sang 7 songs in 3 films. He also wrote two songs of film Sindoor-47.

His first marriage in 1943 with Snehprabha Pradhan was broken and he married again. He had 2 sons and one daughter. His daughter Naina failed as a Heroine in Hare kaanch ki Chudiya-67 and Pushpanjali-70. His elder son Vimal or Vikram aka Vicky was a small time actor and did roles in Khatta meetha and Satte pe satta (as Shukar). His other son Rohit Sahu was involved in a rape case-just like that of Shiny Ahuja.

Kishore Sahu died suddenly, on Bangkok Airport on the 22nd August 1980. He was on his way to California, along with wife Preeti and daughter Naina.

Ashok Kumar used to sing his own songs from his very first film Jeevan Naiya-36. He was not a great singer, just an ordinary one. His standard in singing was explained by his younger brother Kishore Kumar. When Kishore was a school boy, he used to sing songs to entertain their guests. He would tell them, ” if you want Saigal song, you pay One rupee, for Pankaj Mullick, it will be 12 Annas, in 8 Annas you will get Surendra song and in 4 Annas, you will get Ashok Kumar song ! ”

But even this 4 anna songs were famous in those days. Therefore producers paired Ashok Kumar with seasoned singers like Amirbai Karnataki (Kismet-43), Shanta Apte (Uttara Abhimanyu-46) and Kanan Bala (Chandrashekhar-48). However, it was C.Ramchandra who put a stop to his singing in Saajan-47. He did not have a good opinion about Ashok Kumar’s singing and he felt that his singing did not suit his style of music. Ashok was not only the Hero of the film, but also one of the owners of Filmistan. So it was like belling the cat to even suggest to him to take a playback. Ashok Kumar had already recorded 2 songs, one solo (O Babu, aji Babu) and one duet (Main hoon Jaipur ki Banjaran) and one more duet with Lalita Deulkar ( Hum ko tumhara hi aasra) was on the anvil.

C.Ramchandra played a trick. Those were the days of communal riots and Bandhs in Bombay. He purposely kept the recording of this song during the Riots’ period. Ashok Kumar was living in South Bombay in those days. The distance was long and it was risky to travel that far to the studio. Ashok was advised not to take the risk. C.Ramchandra had anticipated this and he already had Rafi in the recording studio, ready with the rehearsals. To avoid cancellation of the recording, the duet was recorded with Rafi. C.Ramchandra had informed and got permission from S.Mukherjee for going ahead. It was decided to leave the decision to Ashok Kumar whether to keep Rafi’s song or to re-record the song in his own voice. Next day, when Ashok Kumar heard the Rafi-Lalita duet, he was so impressed that he not only decided to keep the song, but also re-recorded his earlier two songs in Rafi’s voice ! ( after this Ashok Kumar stopped singing in films-except in film Chandrashekhar-48 because he sang with Kanan Bala, in Calcutta. Later on he sang in films Aashirwad, Kangan, Khoobsoorat, Shoukeen, but these were fun songs.)

Mohammed Rafi has sung 11 duets with Lalita Deulkar. Lalita Deulkar became Lalita Sudhir Phadke after marriage. Prior to becoming a playback singer she was an actress and she had started her career in the year 1938 with Bombay Talkies film “Vachan” where she had played the role of a friend of Devika Rani. She also acted in Durga, Bhabhi etc. As a singer she sang 79 songs in 36 films.

Slowly she ended her acting career and became a playback singer. She first gave playback in the film ” Angoothi-43″. She sang her first duet with Rafi in the year 1947 in the film “Saajan”. Those were the days when she was a leading playback singer whereas Rafi was a newcomer. Rafi got nervous while recording the song “Kisko sunawoon haale dil humko tumhara hee aasra tum hamare ho na ho”. Sensing it, alita Deulkar gave him the much required confidence and that enabled Rafi to record this song with confidence.

Grateful for this act, Rafi Sahab was personally present at the wedding ceremony of Sudhir Phadke & Lalita Deulkar in february 1949and he also volunteered to recite the Holy “Mangalashtake” (wedding rhymes) in Marathi.

C Ramchandra was also one of the persons who had recognised the potential of Rafi and gave him manyopportunities to sing in his early career, thus helping him to get noticed and establish himself.

Let us now enjoy this Rafi-Lalita and Geeta triad from the film Saajan-47.

(Thanks to Isak Mujawar, D,P,Bijur and muvyz for information used here)


Song-Sambhal sambhal ke jaiyyo (Saajan)(1947) Singers- Rafi, Geeta Dutt, Lalita Deolkar, Lyricist- Rammurty Chaturvedi, MD-C Ramchandra
All

Lyrics

sambhal sambhal ke
sambhal sambhal ke jaiyyo
sambhal sambhal ke jaiyyo
ho banjaare ae ae
ho banjaare dilli door hai
sambhal sambhal ke jaiyyo
ho sambhal sambhal ke jaiyo

maarwaad maathe pe chamke
naina chamke kaashi
mukh mein man mohan ki mathura
jo hain brij ke waasi
raama
jo hain brij ke waasi

honthon pe hai avadh raam ki
honthon pe hai avadh raam ki
gaal tere gujrat
rang mein dhaare
ho banjaare
dilli door hai
sambhal sambhal ke jaiyyo
hoy sambhal sambhal ke jaiyo

jhumke mein jhaansi waali ki
teg chama cham chamke

baazoo ye bangal bose ki
kurbaani se damke
maala more base jawaahar
maala more base jawaahar
moti laal dulaare

ho banjaare
ho banjaare
dilli door hai
sambhal sambhal ke jaiyyo
ho sambhal sambhal ke jaiyyo

chunari mein lehraaye tiranga
chunari mein lahraaye tiranga
man mein bhaarat pyaara

jeet liya dilli hamne
jai hind hamaara naara
ho
jai hind hamaara naara
hoy jai hind hamaara naara

kadam ruke na sheesh jhuke na aa
kadam ruke na sheesh jhuke na
himmat bhi na haare
ho banjaare
ho banjaare
dilli door hai
sambhal sambhal ke jaiyyo
ho sambhal sambhal ke jaiyyo
ho banjaare
ho banjaare
dilli door hai
sambhal sambhal ke jaiyyo
ho sambhal sambhal ke jaiyyo

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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

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