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

Saal Solvan Laaga

Posted on: July 4, 2017


This article is written by Sudhir, 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.

taqdeer ka fasaana. . .

So much to be said for destiny and luck. Especially in an industry as unkind and pitiless, as the film industry. They always say, success sells; nothing succeeds like success. But then what to say of success stories that really didn’t go any place.

In the mid 1960s, after back to back hit films with music that was really popular with the listening public – hits like ‘Sehra’ (1963) and ‘Geet Gaya Pathron Ne’ (1964), people have wondered, and written about this wonder, that music director Ramlal did not get any more assignments in the industry. What is more amazing is that even the producer of these successful films, and his mentor in a way, – V Shantaram, more or less abandoned him, and did not follow up with him in any of his subsequent films. No answers to many such questions at all – and the discussion invariably comes to rest upon ‘destiny’ as the answer.

Remembering music director Ramlal Chaudhry on the anniversary of his passing away today (4th July).

Ramlal was born on 15th August, 1922 in the holy city of Benaras. Not much details of his childhood or his music education are known. He was 5, when he took to learning the flute and the tabla. Very soon, he would also learn to play shehnai. He didn’t or couldn’t concentrate on studies, as learning music became a passion with the young lad. He probably attended school only till the fifth class, and then dropped out, to spend more time on his first love.

At the age of 17, he left his native place and travelled to Bombay, in search of opportunities to work in the film industry. An unknown name, and an unconnected person, the early years were a struggle and he just survived on the passion of his art. Destiny brought him to Prithvi Theatres. Prithviraj Kapoor recognized the talent in the young man, and assigned him as an assistant to Ram Ganguly, who was then in-charge of the music department at Prithvi. His work spoke for itself. When Raj Kapoor launched his first film, ‘Aag’ (1948), and Ram Ganguly was directing the music for that film, Ramlal was working as his assistant. The sweet and melodious sounds of flute that we hear in the songs of this film especially in “Kahin Ka Deepak Kahin Ki Baati”, “Zinda Hoon Is Tarah Ki Gume Zindgi Nahin”, “Raat Ko Ji Chamken Taare, Dekh Balam Mohe Ankhiyan Maare”, “Na Aankhon Mein Aansu, Na Hothon Pe Haaye”, “Kaahe Koyal Shor Machaye Re, Mohe Apna Koi Yaad Aaye Re” – is all the handiwork of Ramlal.

With the success of the music of ‘Aag’, he started to get more recognition in the industry. And also, got his first assignment as an independent music director for the film ‘Taangawaala’ around 1949-50. The lead pair in this film was Raj Kapoor, a well known hero by that time, and the newcomer, Vijayantimala. It is stated that six songs of this film were recorded. But then the film itself was canned, never to be released. The fate of the six recorded songs is uncertain. Or maybe not.

Ramlal continued to work as a musician, assisting many music directors like Vasant Desai, Pt Shivram, RC Boral, C Ramchandra, Naushad, Ghulam Mohammed and more, with his expertise with flute and shehnai. Recognizing this talent, V Shantaram invited him over to Rajkamal Kalamandir as a salaried musician. Ramlal left Prithvi and started working for V Shantaram.

By the mid 1950s, he again started to get opportunities for independently directing music. In 1956 came ‘Naqaabposh’ in which Ramlal composed two songs. The remaining six songs of this film are composed by Dhoomi Khan. The song “O Re Dilwaale” sung by Asha Bhosle, was composed with Arabic orchestration, and became popular. The same year also saw the release of ‘Husn Bano’ for which Ramlal was the independent music director. It is stated in one of the references, that the unused songs of the unreleased film ‘Taangawaala’ were used in this film by Ramlal. The film ‘Husn Bano’ played for a Silver Jubilee in Kanpur (a run of 28 weeks) and the song sung by Lata, “Pyaar Karne Ka Aaya Bahaana” became very popular in its time.

As we scrutinize the list of his films and songs in Geet Kosh, we find that his name appears in two different ways – ‘Ramlal’ and ‘Ramlal Heerapanna’. Initially I was not sure whether these are the same person. Then in an email discussion with our dear Arun ji, he clarified that yes, it is the same person. Later, with inputs from Harish ji, a very interesting story emerges. In his younger days, Ramlal used to wear a diamond (heera) in one ear and an emrald (panna) in the other ear. On the sets of ‘Husn Bano’ (1956), the staff and co-workers started calling him by the nickname Heera Panna. When the director Akku and the producer HL Khanna heard of this on the sets, they too started calling him by this name. And the producer went ahead and ensured that in the credits of the film, the name appeared as Ramlal Heerapanna. The name stuck, and was used by Ramlal on and off in some movies.

Ramlal continued a slow career, with independent work coming to him infrequently. After ‘Husn Bano’, his next film was ‘Naag Lok’ in 1957, directed by Babubhai Mistry. After ‘Naag Lok’ his next independent outing is ‘Maya Machhendra’ in 1960, also with Babubhai Mistry. In between, as he continued to work with Rajkamal Studios. Working with C Ramchandra on the film ‘Navrang’ (1959), the sound of his shehnai is playing in many songs. Especially the song “Tu Chhupi Hai Kahaan” – the interludes in this song are constructed around the shehnai of Ramlal. This song became one of the most popular songs of that year.

Another big success of the year 1959 was ‘Goonj Uthi Shehnai’. The main artist in the film for shehnai vaadan was Ustad Bismillah Khan. Ramlal worked with Ustad ji on many pieces of shehnai music in the film. In one of his interviews Ramlal himself notes sadly that although he acknowledges the prowess of Khan Saab, but his own contribution was totally ignored in the film credits – a regret that Ramlal carried against Vijay Bhatt, the producer.

After ‘Maya Machhendra’, another hiatus of three years, but now came the best of his work. There is one film in 1963, ‘Raj Mahal’, which is a film produced under the banner of Shri Meenakshi Productions of Madras, with the lead pair as Anjali Devi and MG Ramachandran. Most likely, this must have been a remake of a successful Tamil film. Not much is known about this film and its music is not yet traceable in public domain.

With the work done for ‘Navrang’, V Shantaram finally gave a full charge to Ramlal for his next production – ‘Sehra’, released in 1963. The music of this film is a watershed event in the life and career of Ramlal. The songs of this film became hugely popular, and continue to be so even more than five decades after their initial release. Each and every song is familiar to the lovers of Hindi film music. In this film, Ramlal brought in Rafi to lend his voice to the playback, something that V Shantaram, for reasons of his own, had avoided for many years. As one of the anecdotes tells us, the song “Taqdeer Ka Fasaana. . .” was initially recorded in the voice of Mahendra Kapoor. Ramlal was not satisfied what was supposed to be the final take. He sought a private meeting with V Shantaram, and pleaded and convinced him to try Rafi Sb for the same song. Grudgingly, Shantaram agreed to do one recording. After the recording was done, there remained no arguments to make. The version rendered by Rafi Sb was included in the film.

With the success of ‘Sehra’, Shantaram’s confidence grew, and he assigned the next film also to Ramlal. The film – ‘Geet Gaya Pathron Ne’ (1964) brought together Rajshree, Shantaram’s daughter and the debutante hero Jeetendra in leading roles. The film, built around the classical arts of music, dancing and sculpture, was a good hit for the year, and yes, its music became very popular, in its time, and continues to be so. The film boasts of such iconic gems as “Tere Khayaalon Mein Hum. . .” and “Jaane Waale O Mere Pyaar. . .”; with of course the title song taking the lead – “Saanson Ke Taar Par, Dhadkan Ki Taal Par. . . Geet Gaya Pathron Ne”. For this song, Ramlal got Kishori Amonkar to sing one solo version for the film.

And then, suddenly, there is silence. There is no more music that comes from Ramlal. References talk about a film titled ‘Tyaagi’ that he started to produce himself. The project went nowhere, and led Ramlal to the state of penury. From location like Colaba, Ramlal was forced to move to a chawl in Girgaum (in Grant Road area). His later years are a story of hardships and neglect. By the time 1970s came on, he was without any work for the remainder of his life. It is a perplexing enigma as to how he reached that state of affairs, immediately after two very successful films in two successive years, and that too from a major banner in the industry.
[Ed Note: Prakashchandra ji informs us that music director Ramlal composed music for three Kannada films, viz. ‘Daaha’ (1979), ‘Dombara Krishna’ (1979) and ‘Balu Aparoopa Nam Jodi’ (1978). This is also confirmed by the articles sent by Harish ji, as well as a reference in the book ‘Dhunon Ki Yatra’. His name appears in credits of one of the films as ‘Ramlal Sehra’, no doubt referring to his most successful and popular film.]

His wife, Rita Chaudhry, was his sole companion in those years. Hailing from Bangalore, she fell in love with his music and his passion, and the two got married against the wishes of their parents. But she stayed with him through the tough years, living in the small chawl, and working with a social service organization to make ends meet at home. In an interview after Ramlal passed away (in 2004), she recounts the later years, the health problems faced by Ramlal, and the inability of the couple to financially manage the required healthcare. Ramlal passed away due the neglected healthcare, as it was too expensive for their means.

A person with the ability to make the “stones sing” – that singular accomplishment turned into his swan song, rather too early in life.

साँसों का तार टूट गया॰ ॰ ॰

और फिर

तक़दीर का फसाना,
जा कर किसे सुनाएँ॰ ॰ ॰

For this remembrance post today, I have pulled out a delightful and loveable melody from the 1960 film ‘Maya Machhendra’. This film, as yet unrepresented on this blog, makes a debut here today. The film is produced and directed by Babubhai Mistry for the banner of BV Productions, Bombay. The star cast is led by Nirupa Roy and Manhar Desai, and includes Rajkumar, Vivek, Ratnamala, Priyadarshini, Babu Raje, Indira Bansal, Jeevankala, Uma Dutt, Poonam Kapoor, amongst others. This oft told historical tale of Gorakh Nath and his guru Matseyendra Nath, is a treatise on the reality and the unreality of this material world.

There are seven songs in this film, which are written by three poets – Saraswati Kumar Deepak, Keshav and Pt Madhur. This song is from the pen of Pt Madhur. The singing voice is that of Suman Kalyanpur, supported by a chorus. On screen, the song is picturized as a dance song in the royal court. Nirupa Roy is seen sitting on the throne. The dance is led by a lady that I am not able to identify, and I request our more knowledgeable readers and friends to kindly help in putting a name to this face.
Note: The lead dancer is identified as Priyadarshini, as per inputs received from dear Prakash ji.
Note: Full name of songwriter Keshav is Keshav Trivedi, as per inputs received from Nitin ji.

The video clip, quite curiously, has just one stanza repeated twice. When I started to write down the lyrics of this song, I was quite puzzled by this. So I checked out the audio version in my collection, and sure enough, there are two distinct stanzas in the song. Somehow the soundtrack version was recorded differently; for what purpose, I cannot think of. In the video clip, close to the end, we see two lady attendants, strike a gong, seeking the royal attention for some important matter. Of the two attendants, I think the plump one is Indira Bansal. I cannot make out the second attendant’s identity.

The song itself is a wonderful and flowing expression of growing up. As the childhood transitions into teen age and early adulthood, the outlook of life changes. For the matters of heart, this change is expressed in so many different songs that we have heard over the years. Here is one more expression, which I really have fallen in love, recently. 🙂  Listen and enjoy.

[Acknowledgements: I must thank Harish ji Raghuvanshi of Surat, who has provided me copies of a set of articles in Hindi, English and Gujarati, and also a hand written note from music director Ramlal himself, when I requested him for some information on this forgotten genius. Besides, Harish ji, there also are important inputs from our very own dear Arun ji. Also, a few details about the films and songs of Ramlal, have been adapted from the book ‘Dhunon Ki Yatra’ by Pankaj Raag. And last, but not the least, filmography details are also referred from the Hindi Film Geet Kosh.]

Video (with repeat stanza)

Audio (complete)

Song – Saal Solvan Laaga  (Maya Machhendra) (1960) Singer – Suman Kalyanpur, Lyrics – Pt Madhur, MD – Ramlal
Chorus

Lyrics (based on audio clip)

saal solvan laaga
ladakpan bhaaga
chunariya farr farr udti jaaye re
chunariya farr farr udti jaaye re
saal solvan laaga
ladakpan bhaaga
chunariya farr farr udti jaaye re
chunariya farr farr udti jaaye re

armaanon ne phool khilaaye
phool ko uthaaun to kamar balkhaaye
patli kamar hai ji kyon na balkhaaye
ji kyon na balkhaaye
mujh ko mera mann behkaaye
koi poochhe baat kya hai kaise kahi jaaye
baat hi kuchh aisi hai ke
kaise kahi jaaye ji
kaise kahi jaaye
haaye
haaye
haaye re
saal solvan laaga
ladakpan bhaaga
chunariya farr farr udti jaaye re
chunariya farr farr udti jaaye re
saal solvan laaga
ladakpan bhaaga
chunariya farr farr udti jaaye re
chunariya farr farr udti jaaye re

chaand poonam ka mohe sataaye
saari saari raat jaagun nindiya na aaye
kaise neend aaye tohe
kaise neend aaye ji
kaise neend aaye
tum sakhiyon se ram bachaaye
jo na deewaani ho deewaani ban jaaye
aisi hi deewaani pe zamaana lut jaaye ji
zamaana lut jaaye
haaye
haaye
haaye re
saal solvan laaga
ladakpan bhaaga
chunariya farr farr udti jaaye re
chunariya farr farr udti jaaye re
saal solvan laaga
ladakpan bhaaga
chunariya farr farr udti jaaye re
chunariya farr farr udti jaaye re

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
साल सोलवां लागा
लड़कपन भागा
चुनरिया फर्र फर्र उड़ती जाये रे
चुनरिया फर्र फर्र उड़ती जाये रे
साल सोलवां लागा
लड़कपन भागा
चुनरिया फर्र फर्र उड़ती जाये रे
चुनरिया फर्र फर्र उड़ती जाये रे

अरमानों ने फूल खिलाये
फूल को उठाऊँ तो कमर बलखाए
पतली कमर है जी क्यों ना बलखाए
जी क्यों ना बलखाए
मुझको मेरा मन बहकाए
कोई पूछे बात क्या है कैसे कही जाये
बात ही कुछ ऐसी है के
कैसे कही जाये जी
कैसे कही जाये
हाए
हाए
हाए रे
साल सोलवां लागा
लड़कपन भागा
चुनरिया फर्र फर्र उड़ती जाये रे
चुनरिया फर्र फर्र उड़ती जाये रे
साल सोलवां लागा
लड़कपन भागा
चुनरिया फर्र फर्र उड़ती जाये रे
चुनरिया फर्र फर्र उड़ती जाये रे

चाँद पूनम का मोहे सताये
सारी सारी रात जागूँ नींदिया ना आए
कैसे नींद आए तोहे
कैसे नींद आए जी
कैसे नींद आए
तुम सखियों से राम बचाए
जो ना दीवानी हो दीवानी बन जाये
ऐसी ही दीवानी पे ज़माना लुट जाये जी
ज़माना लुट जाये
हाए
हाए
हाए रे
साल सोलवां लागा
लड़कपन भागा
चुनरिया फर्र फर्र उड़ती जाये रे
चुनरिया फर्र फर्र उड़ती जाये रे
साल सोलवां लागा
लड़कपन भागा
चुनरिया फर्र फर्र उड़ती जाये रे
चुनरिया फर्र फर्र उड़ती जाये रे

 

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23 Responses to "Saal Solvan Laaga"

Thank you Sudhir ji for this post on Ramlal ji !!!
Our tributes to the great Ramlal ji !!
Thank you Sudhir ji for the song too.

And Congratulations to all on 13400th song on the blog.

Wait, Wait Avinash ji

This song is 13399th, The 13400th song is coming up next, in a few hours.

But thanks anyway for the advance congratulations.

🙂

Rgds
Sudhir

Sudhirji,
Great work done. The full name of the lyricist is Keshav Trivedi.

Thanks Nitin ji, for the update.

Rgds
Sudhir

Sudhirji,

Very nice post on Ramlal .We were unaware of his work before Sehra. There is a typo error. in paragraph starting ‘ With the success of Sehra…’ the actor in Geet Gaya.. is mentioned as Jaishree . Actually her name is Rajashri. She is daughter of Jaishree.

D Samant

Dear Samant ji,
Thanks so much for catching the error.
It has been corrected now.

Rgds
Sudhir

Dancer is Priyadarshini aka Padmini Priyadarshini who is the dancer of the famous Dil hi to hai( )Roshan/Mannadey Song “Lagaa chunri mein daag, chhupaaoon kaissey” Am I Right ???

OK wow, thanks Prakash ji,

Thanks for this identification. I knew it would come from you.

I have now updated the post and tag details.

Rgds
Sudhir

Eventhough the below given Video clip of youtube title mentions her name as PADMINI RAMACHANDRAN,
but she is not Padmini Ramamchandran,She is PADMINI PRIYADARSHINI

because Padmini ramachandran is another alternate name of actress/dancer PADMINI(Jis desh mein ganga behti hai,Kalpana,Chanda aur bijli, Mastana,Amardeep(with dev anand),
Pardesi(Russian collaboration)Ragini,Bindya,Ashiq,Kajal,Afsana,Singapore,Aurat,Vaasna,Nanha Farishta,Madhvi,Bhai Bahen(1969),Mera naam joker,Dard ka rishta(special appearance)

Here is another clip of Padmini Priyadarshini`s performance from Do Behnein(1959)
(in the credit sequences of Do behnein(1959)her name was spelt as
Padmini Priyadarsini

I left out the some other movies of Padmini RAMACHANDRAN Mr.Sampat(1952),
Pardesi(1957:Russin collaboration)
Qaidi(1957)
Payal(1957)
Sitamgar(1958:dubbed ??)
Rajtilak(1958)
Mujrim(1958)
Amar Shaheed(1959:Dubbed ??)
Ramayan(1960:Dubbed??/)
Mahabharat(1965)
Afsana(1966 with Pradeep kumar,Ashok Kumar)
Aurat(1967 with Pran,Feroz Khan)
Aansoo aur muskaan


Padmini Priyadarshini can be seen in above video clip of Madari 1959)also
In the credit sequences of Madari 1959, her name was spelt(displayed) as
PADAMINI PRIYA DARSHANI(from Madras)

One of Padmini Priyadarshini`s Telugu song from Nartanashala(1963)

Nice songs. Thanks for information about Ramlal.
In the video one stanza is repeated.
It has happened in one other song.. ” “Baharen Fir Bhi Aayegi, Magar Ham Tum Juda Honge”.. (In audio and Video also) Film Lahor (1949) sung by Lata and picturized on Nargis. Lyrics by Rajendra Krishna, MD Shamsundar. In this song, the first and the third stanza is exactly the same. I am unable to guess, why is it so.. The repeated stanza is,
“jahaan chhup chhup ke
hum milte the
saajan wo gali hum ko
ishaaron se bulaayegi
magar hum tum juda honge”


Padmini Priyadarshini can be seen in the video clip at 0:54

Ramlal Sehra is the music director of
3 kannada movies
Daaha(1979)
Dombara Krishna(1979)
Balu Aparoopa Nam jodi(1978)
Is this is the same RAMLAL we are talking about ??

At 2:26 of above video clip music director`s name appears as
RAMLAL SEHRA

2 melodious songs of Daaha


featuring Arathi and Srinath of 1978 kannada movie
Balu aproopa nam jodi
sung by S.P.Balasubramaniam

Dear Prakash ji,

Thanks so much for this update. You are correct. This is the same music director Ramlal. I have checked other articles and this is confirmed.

Rgds
Sudhir

Thank you Sudhir ji

For confirming and updating me

Ram Laal ji`s(Ramlal Sehra)(I guess after the success of his musical compositions for his hindi movie “Sehra”, he added word “Sehra” to his name) contribution for kannada movie songs is also very melodious…….
I am yet to find his musical compositions for the movie “Dombara Krishna”but , I remember one melodious song from that movie, which I remember from my school days “Kalaha beda Raadha raani, kopaveke nannalli”

Regards

Prakashchandra

In the credit sequences of the movie, it was shown as
music:RAMLAL HIRAPANNA
playack singer:Suman Hemadi (i.e.,Suman Kalyanpur)
and
assistants:Music:Laxmikant.Pyarelal

Again, another outstanding article by Sudhir Saheb! Sad conclusion to a promising artiste’s life. I wish there was a Fund in the Bollywood movie industry to assist such needy and deserving persons to have a decent living and a decent end, or probably an organization to identify such persons so that well-wishers could help them openly or anonymously.

Dear Arif ji,

Thanks for your appreciative comments.

Yes, the final fate of many a shining stars in this industry has been a sad story. Although there are more than one organizations and associations in Bombay whose charter is to help such former artists who fall into sad circumstances. But I guess, they simply cannot get to all of them.

Rgds
Sudhir

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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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