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

Kaise Keh Doon Bajariya Ke Beech

Posted on: July 7, 2017


This article is written by Sadanand Kamath, 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.

Today, July 7, 2017 is the 103rd birth anniversary of Anil Biswas (07/07/1914 – 31/05/2003) who defined the Hindi film music at its incipient stage in Bombay film industry. It is a double celebration for him as the song to be discussed today will be his 300th song on the Blog.

In the early days of Hindi film music in the 1950s, my familiarity of Hindi film songs of the vintage era (1930s and 40s) was limited to some popular songs of KL Saigal, Pankaj Mullick, Kanan Devi, Amirbai Karnataki etc. Even in respect of such songs, I had no idea about the name of the films, the lyricists and the music directors. It was one song of Anil Biswas which created interest in me for the first time to go back and peep into the vintage era songs. The song was “Seene Mein Sulagte Hain Armaan” from ‘Taraana’ (1951).

Subsequently, I heard a few more of the songs of 1940s like “Dil Jalta Hai To Jalne De” from film ‘Pehli Nazar’ (1945), “Yaad Rakhna Chaand Taaro Is Suhaani Raat Ko” from ‘Anokha Pyaar’ (1948). I loved the beautifully played piano preludes of the song, “Tumhaare Bulaane Ko Jee Chaahta Hai” from ‘Laadli’ (1949), “Mann Mein Kisi Ki Preet Basaa Le” and “Ae Jaan e Jigar Dil Mein Samaane Aa Jaa“, both from ‘Aaraam’ (1950).

In ‘Laajawaab’ (1950), I was mesmerised by his composition “Zamaane Ka Dastoor Hai Ye Puraana“, a duet sung by Mukesh and Lata Mangeshkar, which I regard the best among the Mukesh-Lata duets. In a tete-a-tete with one of his well-wishers, Anil Biswas had revealed that he had composed this tune much earlier keeping in mind the possibility of using this tune for a song to be sung by KL Saigal and Noor Jahan when opportunity comes. But sadly for Anil Biswas, this did not happen. By the way, Anil Biswas had worked with KL Saigal along with SD Burman in Hindustan Musical Products Ltd during early 1930s in Calcutta. According to Anil Biswas, they were the last to leave the recording studio and walked down to their respective homes together.
As far as I know, Anil Biswas was the first music director to compose ‘raag maalas‘ (multiple classical raagas used in a single song) in a Hindi film song “Ritu Aaye Ritu Jaaye Sakhi Ri” in ‘Hamdard’ (1953). In “Na Dir Dim Taa Naa Dere Naa” from ‘Pardesi’ (1957), he successfully experimented blending a song rendered in a Hindustani classical raag with orchestration played on Carnatic musical instruments.

Apart from classical / semi-classical genre, Anil Biswas was very fond of composing songs using the folk music not only from his home state East Bengal (now Bangladesh), but from all over India. My favourite under this genre of song from Anil Biswas is “Naache Re Gori Dhingo” from ‘Laajawaab’ (1950). The other folk based songs like “Kachchi Hai Umariyaa Kori Hai Chunariyaa” from ‘Chaar Dil Chaar Raahen (1959) and “Rimi Jhimi Barse Paani Aaj Morey Angnaa” from ‘Pardesi’ (1957) are also good to the ears.

It took me another four decades to know about Anil Biswas’ Hindi film music profile and to realise that he was an institution by himself. He was the first in Bombay film industry to use orchestration. He was the first to use the concept of counter-melody in the song compositions. It is my guess that in Bombay film industry, Anil Biswas may have composed the highest number of songs using actors as singers when the playback singing system was yet to gather momentum . During this period, he had to make singers out of actors like Surendra, Sardar Akhtar, Jyoti, Husn Bano etc by fine tuning their singing style to suit for the filmy songs.

In my earlier article on Anil Biswas, I had said that after Lata Mangeshkar started singing for him from ‘Anokha Pyaar’ (1948) onward, his song compositions became more melodious than before. With Talat Mehmood joining him in 1950 and Mukesh being his favourite from 1945 onward, Anil Biswas reached his zenith in churning out melodious songs in the 1950s. This proves that a music director, in addition to his own talent, requires singers who can inspire him to compose the songs to his best. However, despite the gems of songs he composed during 1950s, most of his films failed at the box office.

In this context, it is interesting to note that after attending a TV reality show ‘SA RE GA MA PA’ sometime in 1998, Anil Biswas had said to one of his well-wishers that he wished this type of programme was available during his time to choose from the budding singers instead of persisting with playback singers like Shamshad Begum and Amirbai Karnataki. I guess, what he wished to convey was that his soft song compositions did not always match with the thick and heavy throated voices of playback singers who were popular at that time. Also such singers put some limitation on the music director for experimentation with the complex compositions.

In the minds of the Hindi film music lovers of the golden period, one question props up quite naturally. Why did Anil Biswas sparingly use Mohammed Rafi as a playback singer for his songs? The total number of songs sung by Rafi for Anil Biswas was in single digit whereas Lata Mangeshkar sang for him around 115 songs.

Anil Biswas had said in an interview (probably with a person from RMIM), that Rafi’s voice did not suit his style of compositions. OP Nayyar had also said the same thing in the context of not using Lata Mangeshkar in his songs. But most of the music lovers know the real reason as to why Lata Mangeshkar did not sing for OP Nayyar. But there is a difference in respect of Anil Biswas vis-a-vis OP Nayyar. Anil Biswas did use Rafi as a playback singer in a few films. In ‘Heer’ (1956), Rafi got his first opportunity to sing solos for Anil Biswas though he had sung for the maestro, two solos in ‘Doraaha’ (1952) which finally got recorded in Talat Mehmood’s voice.

Apart from the reason which Anil Biswas gave for not using Rafi, the real reason, if any, may not be known to us. It is in this context, I was planning to make an analysis as to what other factors might have contributed for Anil Biswas in not using Rafi, apart from his mindset. Since the article has become too long, I will discuss this in detail some other time.

What would have been the impact on Anil Biswas’s career if he had also used Rafi regularly in addition to Mukesh and Talat Mehmood is a moot point. His compatriot, Naushad switched over to Rafi after ‘Baiju Baawra’ (1952) and the results speak for themselves. It is worth noting that both the music directors were strong advocate of maintaining the classical purity in Hindi film music.

Coming to the song on the occasion of the double celebration for Anil Biswas, I was keen that the song which I wish to select for the occasions should belong to the folk genre. After searching from the list of songs composed by Anil Biswas, I short listed “Kaise Keh Doon Bajariya Ke Beech” from the film ‘Laadli’ (1949). The film was a home production for Anil Biswas as it was produced by Asha Biswas under the banner of Variety Pictures.

However, after hearing the full song, I suddenly remembered that this was the song for which I had decided to send lyrics for posting in the early days of my association with the blog. On checking, it turned out that the song has not yet been covered here. So the deciphering of lyrics of this song seems to have remained in the planning stage only. Today, I can say that the song was waiting for the appearance on the blog only for today’s occasion of the double celebrations for Anil Biswas.

This lilting song is sung by Lata Mangeshkar who was around 20 years of age at that time. The lyrics written by Nazim Panipati fit well for a girl at the threshold of her youth. It is interesting to note how Lata sings ‘uyi daiyaa’.

I guess the song was picturised on Sulochana Chatterji who had a lead role along with Jairaj in the film. Kuldeep Kaur was in the role of ‘other woman’. The lyrics and the background music give an impression of a nautanki (folk theatre) song.

Whenever I listen to the song, I start remembering “Maiya Mori Main Nahin Maakhan Khaayo’ by Surdas. Though both the songs belong to different genres, I feel that there is a similarity of intent in both these songs – garnering sympathy in an innocent way. In Surdas’ bhajan, Lord Krishna seeks sympathy from Yashoda maiya by giving explanations that he did not eat maakhan (butter). It is the innocence of Krishna more than his explanations which impresses Yashoda and in the end she hugs him. This Surdas bhajan is one of the best in displaying the child psychology where innocence is not pretentious.

What Nazim Panipati has done in the song under discussion is to display the psychology of a girl who is in the threshold of her youth. He has nicely woven the song with verses like ‘mera nanha saa dil kamjor hai’, ‘ye (jiya) kamzaat hai’ and ‘mohe kose hai baali umariya’ to seek the sympathy. Here also the innocence of the girl is not pretentious as she is too shy to tell directly as to what is in her mind.

Enjoy the song.


Song – Kaise Keh Doon Bajariya Ke Beech (Laadli) (1949) Singer – Lata Mangeshkar, Lyrics – Nazim Panipati, MD – Anil Biswas

Lyrics

suno suno 
suno suno
suno suno re suno re suno 
suno sunooo.. oo.. oo..

kaise keh doon bajariya ke beech
ye to kaanon mein kehne waali baat hai
kaise keh doon bajariya ke beech
ye to kaanon mein kehne waali baat hai

mere seene mein aahon kaa shor hai
mera nanha saa dil kamjor hai ai
mera nanha saa dil kamjor hai
mose ekli raha nahi jaat hai
ye to kaanon mein kehne waali baat hai re
kaise keh doon bajariya ke beech
ye to kaanon mein kehne waali baat hai

aankhon aankhon mein kaatu main raat re ae
jiyaa maane na haaye mori baat re ae
jiyaa maane na haaye mori baat re
teri kasam
teri kasam
teri kasam ye bada kamzaat hai
uyi daiyaa
ye to kaanon mein kehne waali baat hai re
kaise keh doon bajariya ke beech
ye to kaanon mein kehne waali baat hai

mori sooni padi hai atariya aa
mohe kose hai baali umariya aa
mohe kose
mohe kose hai baali umariya
chupke chupke
chupke chupke jawaani bulaat hai
ye to kaanon mein kahne waali baat hai re
kaise kah doon bajariya ke beech
ye to kaanon mein kahne waali baat hai re
kaise kah doon bajariya ke beech
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

सुनो सुनो
सुनो सुनो
सुनो सुनो रे सुनो रे सुनो
सुनो सुनो॰॰ओ॰॰ओ॰॰ओ

कैसे कह दूँ बजरिया के बीच
ये तो कानों में कहने वाली बात है
कैसे कह दूँ बजरिया के बीच
ये तो कानों में कहने वाली बात है

मेरे सीने में आहों का शोर है
मेरा नन्हा सा दिल कमजोर है
मेरा नन्हा सा दिल कमजोर है
मोसे एक्ली रहा नहीं जात है
ये तो कानों में कहने वाली बात है
कैसे कह दूँ बजरिया के बीच
ये तो कानों में कहने वाली बात है

आँखों आँखों में काटूँ मैं रात रे
जिया माने ना हाए मोरी बात रे॰॰ए
जिया माने ना हाए मोरी बात रे
तेरी कसम
तेरी कसम
तेरी कसम ये बड़ा कमज़ात है
ऊई दैईय्या
ये तो कानों में कहने वाली बात है
कैसे कह दूँ बजरिया के बीच
ये तो कानों में कहने वाली बात है

मोरी सूनी पड़ी है अटरिया
मोहे कोसे है बाली उमरिया
मोहे कोसे
मोहे कोसे है बाली उमरिया
चुपके चुपके
चुपके चुपके जवानी बुलात है
ये तो कानों में कहने वाली बात है
कैसे कह दूँ बजरिया के बीच
ये तो कानों में कहने वाली बात है
कैसे कह दूँ बजरिया के बीच

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4 Responses to "Kaise Keh Doon Bajariya Ke Beech"

Sadanandbhai,
Compliments for selecting a song of my liking. In fact, during my college days, I had taught this song to my g-friend for singing it in the college function. (those were the days, when cassette recorders were not so much in use and you had to learn a song from one who knew the tune as well as could sing) (It is another long story, how this became a point of quarrel with Bakul, with whom I married later.)
I have many points where I do not see eye to eye with you, but not having writing skill like yours, I challenge you to have a verbal discussion with me ant time. For example, You have stated that AB was the first to give RaagMalika in Films. The fact is, that Saigal sang a RaagMalika much earlier in Film ‘Tansen’. (Refer to my program, at Sargam, on the same subject, in the CD I gave you.)

Bharatbhai,

I just now completed watching the film TANSEN (1943) once more. I did not find any raagmala song of K L Saigal in the film unless I have missed. There is, however, one raagmala sargam rendered by K L Saigal but it is not a song.

By the way, I have talked about ‘raagmala song’ in my article. I quote:

“As far as I know, Anil Biswas was the first music director to compose ‘raag maalas‘ (multiple classical raagas used in a single song) in a Hindi film SONG “Ritu Aaye Ritu Jaaye Sakhi Ri” in ‘Hamdard’ (1953)”.

Aap kijaankari ke liye:
1952 mein ‘Raagrang’ film ke gaane ‘Eri aali piya been’ mein shuru ke music ko aap phirse gaana nahi kahenge par woh raag ki mala hi hai vaisa main maanta hun.
Okay isko chhodo to usi saal ki film ‘Baiju Bawra’ mein
Guru jab Shishya ko GANA shikhata hai to woh RaagMala nahi thi?

Yes, BAIJU BAWRA (1952) has a raagmala song.

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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.

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13800 song posts by now.

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