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

Archive for August 2017


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.

While discussing HFM in this blog, we have come across artists with same names who often get confused among each others. We in this blog call it “same name confusion”- a phrase coined by Mr Arunkumar Deshmukh, our beloved inhouse encyclopaedia. He has written lots of articles in this blog, as well as elsewhere, trying to clear confusions about artists with similar names.

It turns out that there is another kind of confusion among music lovers that can be described as “same mukhda confusion”. There are songs with similar mukhdas and we often find one song from a movie being passed off for another song from another movie just because the mukhdas of the two songs are similar.

Indeed, there are many songs, quite unrelated from each other, that have similar and sometimes even identical mukhdas.

Just the other day, a song was posted which went Socha thha kya kya ho gaya. Some people thought that it was the well known song from “Anmol Ghadi” (1946) sung by Suraiyya, but no, this song was from a lesser known movie viz. “Bhool Bhulaiyya” (1949). The “Anmol ghadi” (1946) song Socha thha kya kya ho gaya was covered in the blog way back in 2010 itself.

In the above case, the better known song came earlier, so one can argue that the song that followed later may have been “inspired” from the earlier song. Then the situation could be just the opposite as well, where it turns out that the better known song was preceded by a song with similar mukhda in the past. For instance Shaam e gham ki kasam is a well known ghazal from “Footpath” (1953) composed by Khayyam and sung by Talat Mehmood. Not too many people are aware that a ghazal with identical mukhda was composed four years ago for “Dil Ki Duniya” (1949), viz. Shaam ke gham ki kasam which was sung by Rajkumari under the baton of Pt Govindram.

Another example is Nigaahen milaane ko jee chaahta hai which is an extremely well known song from “Dil Hi To Hai” (1963). There are not one, but two songs with similar mukhdas that were composed in late 1940s. One is Nigaahen milaane ko jee chaahta hai from “Paraayi Aag”(1948) and the other is Nigaahen milaane ko jee chaahta hai from “Karwat”(1949).

Then there are lots of songs with mukhda containing “ambuwa” alongwith “koyal”/”papeeha”/”panchhi”.

There is no problem in having songs with similar mukhdas, as long as people can differentiate between the songs. But sadly, this leads to situations where even “knowledgeable” people and sites would pass on an unrelated song as song from other movies. I know at least one well known music site where songs with similar mukhdas are often passed off as songs from that movie even if that song itself may be a rare song not yet available.

“Taara” (1949) was directed by RD Parineeja for New Bombay Theatres production. The main cast of actors includes Shyama, Jawahar Kaul, Kuldip, Majnu, Nayantara, Chand Burque etc in it. The movie has twelve songs in it. As many as eight of these songs are covered in the blog. Or so I thought.

One of the songs discussed in the blog was Badla nazar aata hai which was discussed in the blog as a song from “Taara”(1949). This song was uploaded on YT as a song from “Taara”(1949). HFGK mentions this song as a duet by Satish Batra and Premlata and accordingly the uploader mentioned it as such. While discussing this song, I had mentioned that the song had just a female voice and even that voice did not sound like Premlata’s. Nevertheless, I thought that this was an error in HFGK and this song was indeed a female solo.

Now it turns out that the song uploaded was not at all from “Taara”(1949) but from a movie called “Rashid Dulhan”. This movie was released during the same era though its exact year of release is unknown. Mr Sadanand Kamath, our inhouse HFM researcher has now located the actual “Taara” (1949) song. The song is different from the song that the other YT uploader has uploaded. This song is indeed sung by Satish Batra and Premlata.

I also discover that another YT uploader had uploaded this actual song from “Taara”(1949) as far back as in 2013 itself but somehow that upload has not come to the notice of too many music lovers.

Now that the actual “Taara”(1949) song has been located and identified, I have modified the earlier writeup and attributed that song to “Rashid Dulhan”(Year unidentified).

Here is the actual “Taara”(1949) song. It is sung by Satish Batra and Premlata. Aziz Kashmiri is the lyricist though the movie ad credits P L Santoshi for the dialogues as well as songs. Music is composed by Vinod.

I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Badla nazar aata hai (Taara)(1949) Singers-Satish Batra, Premlata, Lyrics-Aziz Kashmiri, MD-Vinod
Both

Lyrics

Badla nazar aata hai
Badla nazar aata hai
zamaane ka zamaana
Badla nazar aata hai
?? khaamoshi ??
dukh dard na haaye jaana

Badla nazar aata hai
zamaane ka zamaana

kyoon dil mein uthhe tees
kyoon dil mein uthhe tees
bahe aankhon se paani

duniya ko garaz kya
duniya ko garaz kya
jo sune meei kahaani ee ee
apnon hi ne jab mera
dukh dard na haaye jaana
Badla nazar aata hai
zamaane ka zamaana

ab dil mein mohabbat ki
koi chaah nahin hai
milne ki nazar aati
milne ki nazar aati
koi raah nahin hai

marne ke liye
dhoondhta phirta hoon thhikaana
Badla nazar aata hai
Badla nazar aata hai
zamaane ka zamaana
Badla nazar aata hai

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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.

“Lakhpati”(1948) was directed by Ravindra Jaikar for Fim Chitra Corporation, Bombay. This movie had Sulochana Chatterji, D M Sapru, Rajan Haksar, Om Prakash, Baby Tabassum, Leela Chitnis, Narmada Shankar, Dharpure, Nagotkar, Satyapal etc in it.

This forgotten movie had eleven obscure songs in it.

One song from the movie has been covered in the blog. Here is the second song from “Lakhpati”(1948) to appear in the blog. This song is a remonstrating with the Almighty genre of song. It is sung by Meena Kapoor. Qamar Jalalabadi is the lyricist. Music is composed by Husnlal Bhagatram.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.


Song-Kisko haal sunaaun (Lakhpati)(1948) Singer-Meena Kapoor, Lyrics-Qamar Jalalabadi, MD-Husnlal Bhagatram

Lyrics

Kisko haal sunaaun oon
Kisko haal sunaaun
tum roothh gaye girdhaari
ho o
tum roothh gaye girdhaari ee
Kisko haal sunaaun

maata ka sang chhoot gaya hai
maata ka sang chhoot gaya hai
chhota sa man toot gaya hai
chhota sa man toot gaya hai
man ke tukde tumko pukaaren
man ke tukde tumko pukaaren
suno fariyaad hamaari
suno fariyaad hamaari ee
Kisko haal sunaaun oon
Kisko haal sunaaun
tum roothh gaye girdhaari
ho o
tum roothh gaye girdhaari ee
Kisko haal sunaaun

duniya hanse
man rowe mera aa
duniya hanse
man rowe mera
bol yahi insaaf hai tera aa
bol yahi insaaf hai tera
o mandir mein rahne waale
o mandir mein rahne waale
lut gayi kutiya hamaari
lut gayi kutiya hamaari ee
Kisko haal sunaaun oon
Kisko haal sunaaun
tum roothh gaye girdhaari
ho o
tum roothh gaye girdhaari ee
Kisko haal sunaaun


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.

Today’s song is from the film Bhool Bhulaiyan-49.

Films with this title were made three times.

The first was in 1933. This was the second full length comedy film after the Talkie era began ( the first was ” Muflis Aashiq “-1932, made by Madon Theatres,Calcutta. It was based on a drama written by Munshi Mahir. Vithaldas Panchotia had done the lead role as well as provided the film’s music with 32 songs in it ! ). The 1933 film was based on Shakespeare’s drama ” Comedy of Errors “. Comedians Nazir Ahmed Ghory and Manohar Janardan Dixit ( popularly known as Ghory and Dixit,emulating the antics of Laurel and Hardy.) had done the main roles in the film.

The second was made by Ranjit Movietone in 1949. I have neither seen this film, nor any information about its storyline is available now. But, from the type of songs of the film, it does not seem to be a comedy film at all.

The third film of the same Title was made by T Series in 2007. This Bhool Bhulaiya-2007 was a remake of the Malyali film Manichitrathazhu-1993. The original film was so popular that there remakes also in Kannada-2004, Tamil-2005 and even Bangla-2005. This Hindi film of 2007 was claimed to be a Horror Comedy film, with psychiatric angle.

Film Bhool Bhulaiyan-49 was directed by Taimur Behramshah, an employee of Ranjit. Earlier too he had directed another Ranjit film-Lakhon mein ek-47. Later when Rajit was going downhill, he left it and started his own copant Taimur Art Films, under which he produced and directed his last film -Izzat-52. In all his 3 films, he had taken Bulo C Rani as his Music Director.

Bulo C Rani did 574 songs in his 71 films. He joined Ranjit in 1942 to assist Khemchand prakash, who gave him a break for singing in film Mehmaan-42. Bulo sang 34 songs in 19 films in all. Sometimes he used the name ‘ Bhola’ to sing songs. The songs of film Jogan-50 and the famous qawali ” Hamen to loot liya milke husnwalon ne ” were the highlights of his career. Born on 6-5-1920, his end came inn a tragic way of suicide on 24-5-1993.

Today’s song is sung by A.R.Oza- a name not known to many. Amritlal R. Oza was a Nagar bramhin from Gujarat. He joined Ranjit when Khemchand prakash, Gyan Dutt and Bulo C Rani were paid musicians there. His first song came in Pujari-46. He was very friendly with Bulo C Rai and Hansraj behl. He sang maximum songs for them only. At the same time he sang in Gujarati films and he became very famous and popular there. Some Hindi films in which he sang are, Lakhon mein ek-47, Nanad Bhojai-48, Bichhade Balam-49 ( he sang with Meena Kumari also), Bhool Bhulaiyan-49, Nili-50 etc. He sang 39 songs in 23 Hindi films, but sang many more in Gujarati. After retirement he settled in Ahmedabad, where he died on 13-5-1985.

Film Bhool Bhulaiyan-49’s cast was Agha, Zeb Qureshi M.A., Bhudo Advani, Pesi Patel, Maruti, Anwari etc etc.

Zeb Qureshi M.A. appeared in only 5 films, namely Santan-46, Director47, Aokhi Ada-48, Bhool Bhulaiyan-49 and Naujawan-51. Zeb was the elder sister of Mumtaz or Taji- wife of actor Shyam Chadha. When Shyam died during the shooting of film Shabistan-51, Taji migrated to Pakistan with her children. Zeb also went to Pakistan.

Comparatively, Agha jaan was a very well known actor. I have not counted, but my guess is that Agha was a Hero in nothing less than 20 films. In film Jwar Bhata-44 Agha was the Hero and Dilip kumar was a side hero in his first film. Later on ofcourse things changed.

Agha’s life story is very interesting. Funniest thing is that in film Bhool Bhulaiyan-49, the Hero-Agha- was not educated even upto III std., but his Heroine was easily one of the most educated actresses in Hindi films- she was M.A. and she always flaunted her degree.

Agha (21-3-1914 to 30-4-1992) was of Persian descent. He was born in Poona. He was known for comic roles and modeled himself on Bob Hope’s style of acting. He appeared in over 300 Hindi films in his career between 1935 and 1986. His son, Jalal Agha, also became an actor, most known for the song, Mehbooba Mehbooba from film Sholey-75.

Agha confessed that he went to school for just three days, “that was as long as I could stand it”. He spent time “mooching” around Poona Race course, as he wanted to become a jockey and loved horses. Later in life Agha owned 2 Race Horses and was seen on Bombay and Poona Racecourses very often.

Agha came to Bombay and joined his neighbourhood drama group. Writer Sanjit Narwekar,in his famous book,”Eena Meena Deeka”syas,” Aghajaan Baig or Agha was a fun loving practical joker, who finally gravitated towards Cinema.Legend has it that he saw Prithviraj kapoor and Mubarak exchanging swear words at each others while shooting for a silent film at the Jyoti studio-as was the practice between friends during the silent era.At first he was shocked but soon realised that anyway nothing would be heard in the film as it was a silent film. He himself was a fluent user of swear words and this trait attracted him towards films. The story is probably apocryphal,but the fact remains that he began doing small roles in films.” His interest in acting took him to films where in 1933 he started as a production manager in Kanwal Movietone.

Agha’s first film was Kanwal Movietone’s Stree Dharma also called Painted Sin (1935) starring Mehtab and Nazir. However, his films Karwan-e-Husn (1935), Wadia’sRangila Mazdoor (1938), and Anuradha (1940) helped him gain recognition as a comic actor. He acted in Kikubhai Desai’s (Manmohan Desai’s father) Circus Ki Sundari (1941) which was popular and this helped in getting lead roles in films like Muqabala (1942), Laheri Cameraman (1944) and Taxi Driver (1944). His most active years were from 1930s to 1960s.

He was the Hero in Bombay Talkies film Jwar Bhata-44,in which Dilip Kumar made a debut. Dilip was the secondary Hero. This fact Agha used to always tell. later on of course the picture reversed and Agha became a tailpiece to Dilip in his films.

Agha’s had 3 daughters and one son-Jalal Agha. His wife’s name was Masuma. One daughter Shahnaz Vahanvati acted in film Saat Hindustani-69. She is married to actor/director Tinu Anand. Another daughter acted in Mrig-Trishna-75. His third daughter was a Model for Ponds Cream,in the 70s.

Agha died on 30 April 1992 of a heart attack in Pune, Maharashtra, India. He was 78 years old. He was survived by three daughters and one son, Jalal Agha. Jalal Agha died on 5 March 1995, in New Delhi, also of a heart attack.

Agha was once nominated for Filmfare Best supporting actor’s award for Ghunghat-60.

Today’s song is perhaps the best song by A.R.Oza. In any case, it is one of my favourite songs from 1940s. You will also enjoy it


Song-Socha thha kya kya ho gaya (Bhool Bhulaiyya)(1949) Singer-A R Oza, Lyrics-Butaram Sharma, MD-Bulo C Rani

Lyrics

aaa
soch thha kya
kya ho gaya aa
kya ho gaya aa
mera naseeb yaar ajeeb
mera naseeb yaar ajeeb
kahaan so gaya
kahaan kho gaya
kahaan so gaya
kahaan kho gaya
aa
soch thha kya aa
kya ho gaya
kya ho gaya

ummeeden gayin
sab sahaare gaye
wo baaatein gayin
wo ishaare gaye
ummeeden gayin
sab sahaare gaye
wo baaatein gayin
wo ishaare gaye
dagaa deke apne wo pyaare gaye
hum ghareeb bemaut maare gaye
aa
socha thha kya aa
kya ho gaya
kya ho gaya aa

hai armaan bhari zinadgaani abhi
hai aankhein kisi se ladaani abhi
hai armaan bhari zindagaani abhi
hai aankhein kisi se ladaani abhi
hai ulfat ki sun’ni kahaani abhi
?? hai jawaani abhi
aa
soch thha kya aa
kya ho gaya
kya ho gaya

mera naseeb yaar ajeeb
mera naseeb yaar ajeeb
kahaan so gaya
kahaan kho gaya
kahaan so gaya
kahaan kho gaya


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.

“Alakh Niranjan”(1950) aka “Raja Gopichand” was directed by Gunjal for super Pictures, Bombay. This movie had Nirupa Roy, Durga Khote, Sapru, Ulhas, Trilok Kapoor, Shanta Kunwar, Chanda Kumari, Chaube Ji, Mitthu Miyaan, Master Ratan etc in it.

This obscure movie had ten songs in it. One song from the movie has been covered in the blog.

Here is the second song from “Alakh Niranjan”(1950) to appear in the blog. This song, like the first one, is sung by Sulochana Kadam. Manohanlal Khanna is the lyricist. Music is composed by Premnath (the music director, different from the actor of the same name).

Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.


Song-Ghir ke baadal aaye (Alakh Niranjan)(1950) Singer-Sulochana Kadam, Lyrics-Manohar Lal Khanna, MD-Premnath (MD)

Lyrics

ghir ke baadal aaye
ghir ke baadal aaye
chain jiya naahin paaye
haaye
chain jiya naahin paaye
ghir ke baadal aaye

ho o
nisdin palchhin saanjh sakhaare
saavan bhaadon nain hamaare
nisdin palchhin saanjh sakhaare
saavan bhaadon nain hamaare
rim jhim rim jhim neer bahaaye
chain jiya naahin paaye
ghir ke baadal aaye

birha ke dukh sah na sakoongi
tujh bin saajan rah na sakoongi
birha ke dukh sah na sakoongi
tujh bin saajan rah na sakoongi
jeewan jyoti bujh na jaaye
chain jiya naahin paaye
ghir ke baadal aaye

ho o
kaisi ye aayi ye barsaaten
soone din hain sooni raaten
kaisi ye aayi ye barsaaten
soone din hain sooni raaten
ghor niraasha din bachaayen 9?)
chain jiya naahin paaye
ghir ke baadal aaye


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.

Today’s song is from film ‘Baghdad Ka Jaadu’ (1956). The HFGK is silent on the singer names, but MD is indicated as Shafi M Naagari.

The name of the city of Baghdad became famous all over the world after the Arabian Night stories became popular in almost all languages of the world. There was an air of mystery around the city where many or most stories are told by Princess Scheherzade to the Sultan Shahryar. These are said to be 1001 stories, each told in parts every night by her to delay her death. These stories were first published in English in 1706 and in quick time became extremely popular throughout the world.

Our Indian film producers and their ‘Story Departments’ proved one up on the original book and made up their own variety of stories mixing different stories or even creating newer ones and using Arabic names to make them sound as authentic Arabian Night stories. Film ‘Baghdad Ka Jaadu’ is one such film which was a convoluted attempt to ‘make up’ a novel story using permutation and combination of the popular plots. Lo and Behold ! Out came an outlandish, beaten track mixed up story for the film !

But, as always, the devoted audience of such Action/Stunt films really never bothered about the authenticity or the logic of the film stories, nor were they worried about the histrionic talents of the actors. They wanted fights, daredevil stunts, magic, lavish costumes, animal antics and seductive dances for 2 hours. All the rest was unimportant for them.

Producers of such films knew this and hardly gave any credence to the feasibility or logical base to the stories. Instead they employed trained fighters, known actresses, lavish sets, shining costumes, lilting dances and music together with trained horses, dogs, elephants, monkeys etc. In almost all the films starring Nadia, there is h Horse called ‘Punjab Ka Beta’, a dog named gunboat and an old car called ‘Rolls Royce Ki Beti’. (After Nadia joined her friend Homi Wadia’s Basant films, these were changed to Rajput the Horse, Moti the dog, and an old car called Austin Ki Bachhi).

Film ‘Baghdad Ka Jaadu’ has music by Shafi M Nagari. Now, who is this composer ? A search on HFGK  gives 6 more names of films for him, namely ‘Shamsheerbaz’ (1953), ‘Sher Dil’ (1954), ‘Carnival Queen’ (1955), ‘Diler Daku’ (1957), ‘Circus Queen’ (1959) and ‘Chini Jaadugar’ (1959). Well known music expert and collector Shri Girdharilal Vishwakarma ji has confirmed that this person is none other than composer Mohammed Shafi.

During the studio system and later on, few known MDs too availed of this trick to find a way out of the rules. For example, Snehal Bhatkar used different names to give music as long as he worked in HMV. C Ramchandra used the name Annasaheb or P Ramakant when giving music to action/stunt films. Even Anil Biswas is said to have used the name Bhola to give music (validation required), Lata mangeshkar gave music in the name of Anandghan, GM Durrani  used the alias Gunjan and SD Batish used Nirmal Kumar. So, it is no wonder that while assisting Naushad for so many years, Mohammed Shafi used an alias for giving music to outside films.

Composer Mohammed Shafi (25-12-1925 to 30-4-1980) was one of those talented artistes of Hindi film music who was only used by others and never got enough credit for his work. He is honoured as the ‘Original Arranger’ in the industry. He was an excellent sitar player. He started with Imperial Film company where he played Bulbul Tarang. In 1937 he went to Calcutta and joined New Theatres. He played sitar in films like ‘Kapal Kundala’ (1939) and ‘Aandhi’ (1940), as an assistant to Pankaj Mullick and KC Dey. He played sitar in film ‘Ujaala’ (1942). In this film, the hero -Prithviraj Kapoor was shown as a sitar player, hence the expertise of Shafi was fully utilised in this film.

Starting with film ‘Haqdaar’ (1946), he gave music to 19 Hindi films and 2 Marathi films. Under his direction, Mohammed Rafi sang his first Marathi song. He worked with Naushad for 14 years as his assistant and arranger. He was considered a ‘Dada’ in background music. He gave background music to about 70 films (for Naushad and others). For ‘Mughal e Azam’ (1960), K Asif used to send his personal car to fetch him to studio. It was Shafi who gave the first break to Suman Hemmadi (Kalyanpur) in ‘Mangu’ (1954) and Hemlata in the unreleased film ‘Iraada’. His last film as music director was ‘Dayaar e Medina’ (1975).

Shafi had bought his first car when he was just 15 year old. He had a posh flat in Shivaji Park area of Dadar in Bombay. In the end, everything was gone. He had helped the families of Shakeel Badayuni and Ghulam Mohammed after their deaths. However in his last difficult days, except Rafi Sb, no one came for his help. In the final few months, he suffered from memory loss. His Begum ruefully said – “Good that he does not remember anything. All took his advantage and gave him nothing. There were more things to forget than to remember ! ”

It is said that the entire music of ‘Sohni Mahiwal’ (1958) was done by him. Naushad was sick during this period and did not attend even one recording. The songs “Do Hanson Ka Joda” and “Dhundho Dhundho Re Saajna” from the 1961 film ‘Gunga Jamuna’, were his creations. He used to give tunes to many otherr composers too-whoever asked for help.

The cast of the film ‘Baghdad Ka Jaadu’ includes Nadia, John Cawas, Krishn Kumari, Sheela Kashmiri, Vijaya Choudhari, Dalpat etc. Most people know evrything about Fearless Nadia (Mary Evans, daughter of Australian soldier Herbert Evans and Greek mother Margaret), but not many people know much about John Cawas.

That way, not much info is available about him either. He was born in 1910 at Jabalpore (in Madhya Pradesh, India), which means he was 2 years younger than Nadia. He was a body builder and joined Wadia Movietone. ‘Hunterwali’ (1935) was his first film, while it was the third film for Nadia. Their on-screen pairing soon became very popular and they acted together in almost 15 films or so. Their last film together was ‘Circus Queen’ (1958). John Cawas also directed some films like ‘Mala The Mighty’ (1942) and ‘Baghdad Ka Jaadu’.

After quitting films John became the Manager of Wadia Movietone and was given the third floor flat in the office building of WM itself, where he breathed his last on 4-10-1993. He was unmarried

Sheela Kashmiri was another small time actress about whom not much is known. She started her career as a child artist in films like ‘Damaad’ (1951), ‘Poonam’ and ‘Rangeeli’ (1952), ‘Parineeta’ (1953), ‘Hamlet’ (1954), ‘Daaku’, ‘Munimji’ and ‘Baraati’ (1955). As an adult, she was heroine in only 3 films – ‘Arab Ka Sitaara’ (1961) (with Kamran), ‘Deccan Queen’ (1962) (with Samar Roy) and ‘Tarzan And Gorilla’ (1963) (with Azaad). In all she did 38 films. Her last film was ‘Baankelal’ (1972). She married the producer AA Nadiadwala, and settled as a housewife in Mumbai.

There are only 5 songs listed for this film, in Geet Kosh. Three of them are already discussed here. Today’s song is the 4th song. This song has no details of singer or record number given in HFGK. Anyway, let us now see the video and enjoy it.

[Ed Note: On screen, we can see John Cawas leading a group of armed men and women, and also leading the singing. There is one more primary singer on screen who is lip syncing the male voice. The lines in female voice are performed on screen by Sheila Kashmiri and Krishna Kumari. I request other readers to please confirm and/or correct these identifications.]


Song – Hum Duniya Mein Azaad Rahenge (Baghdad Ka Jaadu) (1956) Singer – Male Voice, Female Voice, Lyrics – Preetam Dehlavi, MD – Mohammed Shafi
Male Voice + Female Voice
Chorus

Lyrics

hum duniya mein azaad rahenge..e..e

hum duniya mein azaad rahenge
ya lad kar mar jaayenge
dushman ki taaqat se darr kar
dushman ki taaqat se darr kar
dushman ki taaqat se darr kar
sar na kabhi jhukaayenge
hum duniya mein azaad rahenge. . .

azaadi ka naara hai ye
saamne gaddaaron ke
azaadi ka naara hai ye
saamne gaddaaron ke
rokey se hum ruk nahin sakte
dushmsn ki talwaaron se
rokey se hum ruk nahin sakte
dushmsn ki talwaaron se
toofaanon se taqqar lenge..e..e
toofaanon se taqqar lenge
hum aage badhte jaayenge
hum duniya mein azaad rahenge. . .

zaalim ko apni himmat se
neecha aaj dikhaana hai
zaalim ko apni himmat se
neecha aaj dikhaana hai
zulm o sitam ki deewaaron se
apna sar takraana hai
zulm o sitam ki deewaaron se
apna sar takraana hai
apne haathon se hum apni
apne haathon se hum apni
bigdi aaj banaayenge
hum duniya mein azaad rahenge. . .

azaadi ki keemat ho gar
jaan khushi se de dena
azaadi ki keemat ho gar
jaan khushi se de dena
soney ke ambaar agar hon
saath ghulami na lena
soney ke ambaar agar hon
saath ghulami na lena
aane wali duniya ko
aane wali duniya ko
aise jeena sikhlaayenge
hum duniya mein azaad rahenge. . .

chaahe zamaana saath na de
apni manzil par jaayenge
chaahe zamaana saath na de
apni manzil par jaayenge
raste ki har mushkil ko
ab khaatir mein na laayenge
raste ki har mushkil ko
ab khaatir mein na laayenge
zinda rehne ki khaatir
zinda rehne ki khaatir
ab maut se hum takraayenge
hum duniya mein azaad rahenge. . .
e. . . e. . . e. . . e. . .

hum duniya mein azaad rahenge
ya lad kar mar jaayenge
dushman ki taaqat se darr kar
sar na kabhi jhukaayenge
hum duniya mein azaad rahenge. . .

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हम दुनिया में आज़ाद रहेंगे॰॰ए॰॰ए

हम दुनिया में आज़ाद रहेंगे
या लड़ कर मर जाएँगे
दुश्मन की ताक़त से डर कर
दुश्मन की ताक़त से डर कर
दुश्मन की ताक़त से डर कर
सर ना कभी झुकाएँगे
हम दुनिया में आज़ाद रहेंगे॰॰॰

आज़ादी का नारा है ये
सामने गद्दारों के
आज़ादी का नारा है ये
सामने गद्दारों के
रोके से हम रुक नहीं सकते
दुश्मन की तलवारों से
रोके से हम रुक नहीं सकते
दुश्मन की तलवारों से
तूफानों से टक्कर लेंगे॰॰ए॰॰ए
तूफानों से टक्कर लेंगे
हम आगे बढ़ते जाएँगे
हम दुनिया में आज़ाद रहेंगे॰॰॰

ज़ालिम को अपनी हिम्मत से
नीचा आज दिखाना है
ज़ालिम को अपनी हिम्मत से
नीचा आज दिखाना है
ज़ुल्म ओ सितम की दीवारों से
सर अपना टकराना है
ज़ुल्म ओ सितम की दीवारों से
सर अपना टकराना है
अपने हाथों से हम अपनी
अपने हाथों से हम अपनी
बिगड़ी आज बनायंगे
हम दुनिया में आज़ाद रहेंगे॰॰॰

आज़ादी की कीमत हो गर
जान खुशी से दे देना
आज़ादी की कीमत हो गर
जान खुशी से दे देना
सोने के अम्बार अगर हों
साथ ग़ुलामी ना लेना
सोने के अम्बार अगर हों
साथ ग़ुलामी ना लेना
आने वाली दुनिया को
आने वाली दुनिया को
ऐसे जीना सिखलाएंगे
हम दुनिया में आज़ाद रहेंगे॰॰॰

चाहे ज़माना साथ ना दे
अपनी मंज़िल पर जाएँगे
चाहे ज़माना साथ ना दे
अपनी मंज़िल पर जाएँगे
रस्ते की हर मुश्किल को
अब खातिर में ना लाएँगे
रस्ते की हर मुश्किल को
अब खातिर में ना लाएँगे
ज़िंदा रहने की खातिर
ज़िंदा रहने की खातिर
अब मौत से हम टकराएँगे
हम दुनिया में आज़ाद रहेंगे॰॰॰
॰॰ए ॰॰ए ॰॰ए ॰॰ए

हम दुनिया में आज़ाद रहेंगे
या लड़ कर मर जाएँगे
दुश्मन की ताक़त से डर कर
सर ना कभी झुकाएँगे
हम दुनिया में आज़ाद रहेंगे॰॰॰


This article is written by Mahesh Mamadapur, 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.

zamaanaa bade shauq se sun raha tha
hameen so gaye daastaan kehte kehte
hameen so gaye

Today is the remembrance day of legendary singer Mukesh. (23 July 1922 to 27 August 1976).

“Each word from his lips was a pearl. No one could sing the way Mukesh did, with the right diction, inflexion and intonation. His vocal timbre was out of this world.”

These are the words of composer Salil Choudhary in praise of the voice of Mukesh.

There are many die-hard fans of Mukesh and his tribe swears by him. To hear his voice, is to understand the world around us in its purest form. For his voice represents truth, purity, honesty and it was sung straight from the deepest portions of his heart. A soothing voice to the disheartened, God’s own voice in his bhajans, optimism in his patriotic songs, true love in romantic numbers, and moreover the voice of the greatest showman our country has ever seen, the voice of Mukesh will remain an inseparable chapter in the annals of HFM.

Jaane Kahaan Gaye Wo Din” (‘Mera Naam Joker’, 1970) was sung as if a lifeless body was screeching for the injustices it had been subjected to. The more one hears this song in solitary confinements, the more one wonders how a playback singer could emulate the character with such authentic despondency.

Dost Dost Na Raha” (‘Sangam’, 1964) portrays the entire film in 3 minutes. It’s the voice which gives potency to the emotional expressions of all the three characters involved.

Listen to “Ramaiyya Vastavaiya” (‘Shri 420’, 1955) and “Dil Ne Phir Yaad Kiya” (‘Dil Ne Phir Yaad Kiya’, 1966). The voice that appears late in the songs, makes one to sit up and take notice.

Kisi Ki Muskuraahaton Pe Ho Nisar” (‘Anaari’, 1959) , “Haal e Dil Hamara” (‘Shriman Satyawadi’, 1960),  and “Chhodo Kal Ki Baaten Kal Ki Baat Puraani” (‘Hum Hindustani’, 1960) etc. brim with confidence and instil optimism in the minds of the listeners.

Kahin Door Jab Din Dhal Jaaye” (‘Anand’, 1970) explains the loneliness of the actor, even though the whole film is about his lively nature and knowing very well that it’s the dusk of his life.

It would not be an exaggeration to say for the film ‘Kabhi Kabhie’ (1976), the title song sung by Mukesh is what continues to remain in public memory after all these years.

OP Nayyar, who used Mukesh sparingly, just for less than half a dozen songs, reluctantly gave his only solo to the singer in ‘Sambandh’ (1969) for a background song during the rolling of titles. Today, what remains of the film is the song “Chal Akela, Chal Akela, Chal Akela”.

The list of such impeccable playback sounds rendered to the character’s portrayal on the screen is quite long and almost seems to be endless. Each song, a perfect gem, sung with utmost sincerity and humility.

Today, I bring to the music lovers, a NFS, again the voice articulating melancholy, the virtue for which Mukesh will remain unforgettable.

Translation (Provided by Sudhir)
———————————————-

aabaad raho mere dil ko jalaane waale
tum shaad raho meri hasti mitaane waale

May you be and remain well settled
O the one who has burnt my heart to cinders
May you be ever cheerful and happy
O the one who has erased my very being and existence
[Notes: shaad = happy, cheerful;
hasti = being, existence]

aana kabhi turbat pe do aansoo bahaane ko
teere e nazar se khoon ke dariya bahaane waale

Pray that you may visit my grave sometime, some day
And shed just a drop of tear (for me)
O the one who has shed rivers of blood
With the arrows of glances
[Notes: turbat = grave, earth]

shama bhi jala dena mere mazaar pe tum
har dam hi aashiqon ke dil ko jalaane waale

May you light a lamp
When you come visiting my burial crypt
O the one who has always lit the fires
To burn the hearts of the admirers
[Notes: shamma = lamp, light
mazaar = tomb, masoleum
aashiq = lover, admirer]


Song – Aabaad Raho. . . Mere Dil Ko Jalaane Waale  (Mukesh – NFS) (1950) Singer – Mukesh, Lyrics – Madhukar Rajasthani, MD – V Balsara

Lyrics

aabaad raho o o o
aabaad raho o o o
mere dil ko jalaane waale ae
dil ko jalaane waale
tum shaad raho o o o
tum shaad raho o o o
meri hasti miṭaane waale
hasti miṭaane waale

aana kabhi turbat pe
do aansoo bahaane ko
o o o o o
aana kabhi turbat pe
do aansoo bahaane ko
o o o o o
teere e nazar se khoon ke
teere e nazar se khoon ke
o dariya bahaane waale ae
dariya bahaane waale

shamma bhi jala dena
mere mazaar pe tum
shama bhi jala dena
mere mazaar pe tum
har dam hi aashiqon ke
har dam hi aashiqon ke
o dil ko jalaane waale ae
dil ko jalaane waale
aabaad raho o o oo
aabaad raho oo
mere dil ko jalaane waale
dil ko jalaane waale

————————————–
Devnagri script lyrics (Provided by Sudhir)
—————————————
आबाद रहो ओ ओ
आबाद रहो ओ ओ
मेरे दिल को जलाने वाले
दिल को जलाने वाले
तुम शाद रहो ओ ओ
तुम शाद रहो ओ ओ
मेरी हस्ती मिटाने वाले
हस्ती मिटाने वाले

आना कभी तुरबत पे
दो आँसू बहाने को
ओ ओ ओ ओ
आना कभी तुरबत पे
दो आँसू बहाने को
ओ ओ ओ ओ
तीर ए नज़र से खूं के
तीर ए नज़र से खूं के
ओ दरिया बहाने वाले
दरिया बहाने वाले

शम्मा भी जला देना
मेरे मज़ार पे तुम
शम्मा भी जला देना
मेरे मज़ार पे तुम
हर दम ही आशिकों के
हर दम ही आशिकों के
ओ दिल को जलाने वाले
दिल को जलाने वाले

आबाद रहो ओ ओ
आबाद रहो ओ
मेरे दिल को जलाने वाले
दिल को जलाने वाले


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.

“Air Mail” (1960) was directed by B J Patel for People’s pictures, Bombay. The movie had Ranjan, Malini, Jyoti, Rajan Kapoor, Merajkar, Maruti etc in it.

This obscure movie had six songs in it. Two of these songs have been covered in the blog in the past.

Here is the third song from “Air Mail” (1960) to appear in the blog. This song, a”remonstrating with the Almighty” genre of song, is sung by Suman Kalyanpur. Anand Bakshi is the lyricist. Music is composed by Sardul Kwatra.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Sun meri fariyaad kiya hai maine tujhko yaad(Air Mail)(1960) Singer-Suman Kalyanpur, Lyrics-Anand Bakshi, MD-Sardul Kwatra

Lyrics

tere darbaar mein ae daata
sada insaaf hota hai
usey tu paar karta hai
jise toofaan dubota hai

sun meri fariyaad
kiya hai maine tujhko yaad
sun meri fariyaad
kiya hai maine tujhko yaad
kar dega barbaad meri duniya ek saiyyaad
sun meri fariyaad

jab jab tere bandon ne di teri duhaai
tab tab maalik toone hi unki laaj bachaai
aaj magar khaamosh hai tu u
aaj magar khaamosh hai tu
kyun dekh ke ye bedaag (?)
sun meri fariyaad
kiya hai maine tujhko yaad
kar dega barbaad meri duniya ek saiyyaad
sun meri fariyaad

is taraf ek sikandar ki shaan hai
is taraf begunaahon ki jaan hai
aaj saare zamaane ke saamne
tere insaaf ka imtihaan hai
naam mitega tera bhi ee
naam mitega tera bhi
mere mitne ke baad
sun meri fariyaad
kiya hai maine tujhko yaad
kar dega barbaad meri duniya ek saiyyaad
sun meri fariyaad
kiya hai maine tujhko yaad


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.

“Amar Keertan”(1954) was a “bhakti pradhan” movie which was directed by K C Pandit for Punjab Film Corporation, Bombay. The movie had Asha Mathur, Shahu Modak, Naaz, Jayant, Rajendra, Seeta Bose, S Prakash, Prem Kumar, Sitaram, Maya Das, Hira Sawant, Kumkum, Lallan, Bansari, Neerja, Chaand Burque etc , with guest appearances by Ameeta Devi, Kamal Mehra and Madan Puri.

There were eleven songs in the movie. One song from the movie has bee covered in the blog.

Here is the second song to appear from the movie. This song is sung by S D Batish. Wali Sahab is the lyricist. Music is composed by S D Batish.

Only the audio of this song is available. I request our knowledgeable leaders to throw light on the movie as well as on the picturisation of this song.


Song-Panchhi bhool gaya pathh apna (Amar Keertan)(1954) Singer-S D Batish, Lyrics-Wali Sahab, MD-S D Batish

Lyrics

panchhi bhool gaya
bhool gaya
bhool gaya aa aa
aa aa aa
aa aa
bhool gaya
panchhi bhool gaya
bhool gaya path apna
ho panchhi bhool gaya
is jeewan ko jeewan samjha
is jeewan ko jeewan samjha
us jeewan ko sapna
ho panchhi bhool gaya
bhool gaya path apna
ho panchhi bhool gaya

tadpaaye jo hriday aur ka
wo kaise kal paaye
wo kaise kal paaye raam ji
wo kaise kal paaye
beeje beej babool ka moorakh
beeje beej babool ka moorakh
aam kahaan se khaaye ae
aam kahaan se khaaye ae
jis maarg par chala hai moorakh
jis maarg par chala hai moorakh
us maarg se bachna
ho panchhi bhool gaya
bhool gaya path apna
ho panchhi bhool gaya

maat pita bhagini sut naari
maat pita bhagini sut naari
tab tak tere sangi re ae
tab tak tere sangi re ae
jab tak jeewan deep jale hai
tab tak kaaya changi re
jaisi karni waisi bharni
jaisi karni waisi bharni
ye bhagwan ki rachna
ho panchhi bhool gaya
bhool gaya path apna
ho panchhi bhool gaya
is jeewan ko jeewan samjha
is jeewan ko jeewan samjha
us jeewan ko sapna
ho panchhi bhool gaya
bhool gaya path apna
ho panchhi bhool gaya
bhool gaya aa aa
bhool gaya aaa


This article is written by Mahesh Mamadapur, 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.

Mukesh and his co-singers – 4
————————————————

A song recorded and composed by Roshan in 1950, was the topic of discussion on a TV program nearly 5 decades later. The singer (judge on the show) was requested by none other than Anil Biswas, to sing a few lines of the famous song. The specific reference was to the word “ib” in the song “Sun Bairi Balam Sach Bol Re Ib Kyaa Hoga” from ‘Bawre Nain’ (1950). She rendered the song in an effortless manner without any background music. It is difficult to believe that she could sing so well at the spur of the moment.

Her career was cut short for various reasons. She has given quite a few interviews and when asked to sing few lines was always so very melodious in spite of her old age. Yes, I am talking about Rajkumari Dubey.

Here is her mini-biography, aptly written by Shri Sadanandji and with comments added by our Arun Kumar ji. I am also herewith providing the link to her wiki-page.

Many singers such as Suraiyya, Shamshad Begum, Amirbai Karnataki, Geeta Dutt et al may not be the most favourite singer of music lovers. But, there is no doubt whatsoever that such singers are always held in high esteem, because, whatever few songs they sang, remain classic, as most of them were sung in the golden era when music was given utmost importance. Rajkumari for sure is one such gifted singer.

Of the many songs sung by her and liked by me, “Main Wo Dulhan Hoon Raas Na Aaya Jise Singaar” from ‘Mahal’ (1949) tops the list. Rajkumari has sung quite a few memorable songs in the film, but the tsunami caused by Lata with her solos, unfortunately never allowed Rajkumari to come to the fore.

For this post, I bring to the readers, her duets with Mukesh. There are 8 of them in total as listed below and also confirmed by Shri Harish Raghuwanshi ji. I am thankful to him for his ever-ready attitude to help me with this series.

7 out of the 8 songs are already posted on the blog. I have given the respective links of the 7 songs in the table, in case anyone wants to enjoy all the songs of the two singers. It’s interesting to note, that out of the 8 songs, 4 have been composed by Snehal Bhatkar and as many as 5 written by Kidar Sharma.

Again, I suppose, it’s the duet from ‘Bawre Nain’ (1950), which most people would remember, and associate with this pair of singers. There is excellent restraint and comfort amongst the singers in delivering this duet. It is definitely one of the first question-answer type of songs. But then, I cannot confirm if it’s the very first.

The duets from ‘Thhes’ (1949) are also often played on Radio Ceylon. I am very fond of Ghulam Mohammed’s compositions and the one from ‘Hanste Aansoo’ (1950) is a personal favourite. Needless to say and as often said in this series, the numbers could have been much more. But unfortunately, we find that the duets of Mukesh with such vintage era singers do not even touch the two figure mark.

Today’s duet is of a more recent discovery in the sense that it does not figure in Mukesh Geet Kosh. Two songs from this film ‘Ram Darshan’ (1950) have been posted on the blog. Both the songs are solos sung by Mukesh and posted by our Sudhir ji.

There are some 16 songs in this film. With this post, 3 of them will be posted. A couple of more songs from the movie (one sung by Manna Dey) are available on the internet. So out of the remaining 10-11 songs, are there any other Mukesh numbers that are yet to be traced? Even though it seems very unlikely, anything new discovered pertaining to the voice of Mukesh will always be welcome news. Interestingly, Cineplot website has not included the duet of this post, but speaks of another song from the film titled “Ram Ram Ram Ram…Ho Moree Mann”. I have sought clarifications or any other info which Shri Harish ji may be having and will keep the feedback posted.

Here is the third song from the movie to be posted on the blog; a duet which Mukesh has sung with Rajkumari. My next short post will be on 27th August and will be a stand-alone song (not featuring in either of my two series).

 

Name of song Movie (year) Music Director Lyricist
Hamaare Sainyya Daaru Pee Ke Aaye Do Dil (1947) Pt Govindram DN Madhok
Ye Bura Kiya Jo Saaf Saaf Keh Diya 

 

Suhaag Raat (1948) Snehal Bhatkar Kidar Sharma
Bolo Bolo Sajan

 

Thhes (1949) Snehal Bhatkar Kidar Sharma
Chhup Chhup Ke Teer Chalaaye Na Koi

 

Thhes (1949) Snehal Bhatkar Kidar Sharma
Is Patange Ki Haqeeqat

 

Thhes (1949) Snehal Bhatkar Kidar Sharma
Maine Sapna Jo Dekha

 

Hanste Aansoo (1950) Ghulam Mohammad Majrooh Sultanpuri
Mujhe Sach Sach Bataa Do Baawre Nain (1950) Roshan Kidar Sharma
Sakhi Ri Mo Se Rooth Gayo Ri Mero Shyam Ram Darshan (1950) Rij Ram-Balmukand Ramesh Gupta

[Ed Note: In my opinion, Cineplot has correctly identified this song, as the song no. 7 listed for this film, in the Geet Kosh. Clearly, at the time of publication of volume 2 of the Geet Kosh, the information about the singers of this song was not available. And hence, this song did not get included in the Mukesh Geet Kosh. Later, when the actual gramophone record of this song was traced, the voices of the singers were identified. But it also created a discrepancy, regarding the leading lines of this song. The song, as heard on the gramophone record, starts with the words “rooth gayo ri mero shyam“. Whereas the song listed in the Geet Kosh starts with the words “Ram – 8, Ho Morey Mann Kab Sumroge Ram, Rooth Gayo Ri”.

As we scan the lyrics of the song, we find that the line “Ho Morey Mann Kab Sumroge Ram” appears almost midway in the song, in the voice of Mukesh. That gives us a clue. It is likely that the song as appearing in the film, (and also as listed in the information booklet of the film) starts in the voice of Mukesh, uttering the name of Lord Ram, and then saying the line “Ho Morey Mann Kab Sumroge Ram”. Then the voice of Rajkumari takes over with the words “Rooth Gayo Ri. . .”. However, on the gramophone record, the leading words in the voice of Mukesh have been omitted, and the song starts directly with the lines sung by Rajkumari. It is clear from the words in the song that the male protagonist has gone away seeking solace in the name of Lord Ram, in his quest for ‘Ram Darshan’. The female protagonist is obviously waiting and pining for him to come back. The male person is seeking Lord Ram, and the female person is seeking her beloved, using the name of Shyam (Lord Krishna).

If we agree with this explanation, then the music director for this song is identified as the duo of Rij Ram-Balmukand. As I scan the songs posted on the blog, I find that this the first time this music director’s name is appearing here. So this is a debut song for this music director duo. I request our more knowledgeable readers to please add more information about this music director duo.]

Song – Sakhi Ri Mo Se Rooth Gayo Ri Mero Shyam  (Ram Darshan) (1950) Singer – Rajkumari, Mukesh, Lyrics – Ramesh Gupta, MD – Rij Ram-Balmukand

Lyrics

rooth gayo ri mero shyam
sakhi ri mo se
rooth gayo ri mero shyam
sakhi ri mo se
rooth gayo ri mero shyam

jab se gayo
paati hoon nahin deenhi
jab se gayo paati hoon nahin deenhi
nirmohi ne
sudh hoon na leenhi
nirmohi ne sudh hoon na leenhi
aiso bhayo ri anjaan
sakhi ri mo se
aiso bhayo ri anjaan
sakhi ri mo se
rooth gayo ri mero shyam
sakhi ri mo se
rooth gayo ri mero shyam

jhoothi mamta
jhoothi maaya
jhoothi mamta
jhoothi maaya
satya usi ka naam
satya usi ka naam
kab sumroge raam
o morey mann
kab sumroge raam
o morey mann
kab sumroge raam

nis din naina
dars ko tarsen
saawan bhaadon se sakhi barsen
saawan bhaadon se sakhi barsen
chheen le gayo ri muskaan
sakhi ri mo se
chheen le gayo ri muskaan
sakhi ri mo se
rooth gayo ri mero shyam

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
रूठ गयो री मेरो श्याम
सखी री मो से
रूठ गयो री मेरो श्याम
सखी री मो से
रूठ गयो री मेरो श्याम

जबसे गयो
पातिहुं नहीं दीन्ही
जबसे गयो
पातिहुं नहीं दीन्ही
निर्मोही ने
सुधहुं ना लीन्ही
निर्मोही ने
सुधहुं ना लीन्ही
ऐसो भयो री अंजान
सखी री मो से
ऐसो भयो री अंजान
सखी री मो से
रूठ गयो री मेरो श्याम
सखी री मो से
रूठ गयो री मेरो श्याम

झूठी ममता
झूठी माया
झूठी ममता
झूठी माया
सत्य उसी का नाम
सत्य उसी का नाम
कब सुमरोगे राम
ओ मोरे मन
कब सुमरोगे राम
ओ मोरे मन
कब सुमरोगे राम

निस दिन नैना
दरस को तरसें
सावन भादों से सखी बरसें
सावन भादों से सखी बरसें
छीन ले गयो री मुस्कान
सखी री मोसे
छीन ले गयो री मुस्कान
सखी री मोसे
रूठ गयो री मेरो श्याम


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.

Wandering into the world of movies of 1930s and 40s gives me immense pleasure. Digging for difficult to find information about old films, directors, music directors, singers or actors is an interesting challenge for me.While on a chase for such information, I frequently come to dead ends and then have to seek another road to gaining knowledge. It is very sad that in our country, documentation about films of 1930s and 40s is very poor.

While compiling the HFGK, the indefatigable Shri Harmandir Singh ji has, however, recorded his findings about old time artistes, when he met them. These are recorded in the magazine “Listeners’ Bulletin” published regularly every quarter by him, and they are a great help to small time writers like me in providing information. These artistes ranged from all genres of films- right from the mythologicals to action and stunt films.

The genre of action and stunt films had a slow and natural death from the decade of the 1950s and thru to the dawn of the 70s decade, it became totally extinct. It was a great pleasure to see these movies from the 1930s to the 50s. I grew up seeing and enjoying these films along with the mythologicals, socials, crime, comedy, musical and mystery films. (I meticulously avoided seeing tear jerkers, tragedies and films like, ‘Suhaagan’, ‘Bhabhi Ki Choodiyan’, ‘Aurat Teri Kahani, and ‘Main Tulsi Tere Aangan Ki’ etc.).

Like social and mythologicals, the action and stunt films genre had its own set of audience. There was a fixed set of specialist actors, producers, directors, MDs, and even theatres for such films. In the 1930’s, the major producers for the action and stunt films were the Wadia Brothers – JBH and Homi Wadia. In the 1940s, it was the Kadam Brothers – Harishchandra Rao and Chandra Rao Kadam and in the late 1940s and the 50s it was Palav Brothers – Master Bhagwan and Shankar Palav.

Today’s song is from one such stunt/costume drama from 1940 – ‘Hind Ka Laal’, made by the Wadia Brothers under their banner of Wadia Movietone. This film makes its debut on our blog today. The film was directed by Homi Wadia and his assistant Ram ji Arya. This was his first film with his name credited. Later Ram ji Arya directed 5 more films- ‘Manthan’ (1941), ‘Jungle Ki Pukar’ (1946), ‘Bhedi Dushman’ (1946), ‘Sher e Bangal’ (1947) and ‘The Actor’ (1950). The music director for this film was Madhulal Damodar Master.

The name Madhulal Master must be unknown to the newer crop of music lovers, because he retired from film music in 1952 – much before many readers would have been born. The story of the life of Madhulal Master is as strange as the story of his death. On the morning of 19th June, 1990, The Times of India, Bombay flashed a news – “The old time Music Director and a Director of Indian Institute of Puppetry, Shri Madhulal Damodar Master is found murdered in his Shivaji Park home.”

Born on 21-6-1903, Madhulal joined the film industry to become a comedian. However, his first assignment came as an assistant sound recordist, then an assistant music director for two films and finally an independent music director for Krishnatone Film Company for their film ‘Navchetan’ (1932). In the next 21 years he gave music to 34 Hindi films, few Gujarati films and some documentaries. Unable to cope up with the changed pattern of music and public taste, he retired from this profession after his last film – ‘Jungle Ka Jawahar’ (1952). After retirement, he pursued his hobby of puppet making and soon developed a flourishing business. Internationally well known, he is the only Indian member honoured by the International Puppeteers Organization. Very few people know that it was his JOKER PUPPET which was used by Raj Kapoor in his ambitious film ‘Mera Naam Joker’ (1970).

He was invited as a special guest for the release ceremony for the HFGK Vol I, on 8-10-1988, after Harmandir ji meticulously made special efforts to locate him in Bombay. He was overwhelmed with this gesture. Madhulal ji showed a catalogue to Harmandir ji, in which Madhulal ji had recorded information about all songs composed by him with details of the every film that he did in his career. Harmandir ji was wonder struck with his systematic data compilation. In the ceremony, senior artistes like Naushad, Sitara Devi, Rajkumari ji etc all touched his feet with respect. He regaled the audience with his humorous talk for an hour. He had spent 38 years before this in anonymity. It is very sad that his life ended in such a tragic way. (His murderer was never found out. Niether was the motive established, nor was any case filed.)

The cast of the film ‘Hind Ka Laal’ includes Sardar Mansoor, Radharani, Boman Shroff, Bismilla, Master Mohammed, Mithoo Mian, Azuri etc. Radharani, the leading lady of this film, was a case of ‘Same Name Confusion’. There were 3 Radharanis operating at the same time, creating lot of confusion and a mix up of their filmography. When I started finding out about them, it took me almost 3 months to have clear information to differentiate them. Here is some information about them. I am not giving their detailed Filmography here.

  1. The first Radha Rani was from Calcutta. She was a born actress. Daughter of a retired captain and a European mother, she was active doing dramas and dances, right from her school days. She learnt swimming and horse riding too. She sang very well. In 1930 she joined the British Dominion Film Co. in Calcutta and acted in many silent films, with Debaki Bose, Sabita Devi, Dhiren Ganguly etc. Her Hindi and Bangla diction was good. She acted in ‘Yahudi Ki Ladki’ (1933) with KL Saigal. Her other films were ‘Sawaal’ (1943), ‘Bhai’ (in Bangla), ‘Romantic India’ (1936). Her career ended in 1946 when she got married and went to England.
  1. The second Radharani of Calcutta was one of the finest non Bengali singers. She was from a rich Marwaadi family settled in Bengal for many generations. Her Bangla was very good. She sang Pala Keertan songs (songs of Radha and Krishna’s romance), which became very popular. She cut many private song records with the Hindustan Records company. She joined New Theatres and acted and sang in film ‘Kashinath’ (1943). Producers from Bombay invited her to come to Bombay. She acted in some films and also sang in ‘Paraya Dhan’ (1943), ‘Shri Ramanuj’ (1946), ‘Kurukshetra’ (1945), ‘Baap’ (1946), ‘Laaj’ (1946) etc. She worked till 1948.
  1. The third actress with the name Radharani, worked exclusively in Wadia Movietone films. Her voice was not very good. Nevertheless she sang songs in films, like ‘Hind Ka Laal’ (1940), ‘Manthan’ (1941), ‘Bambaiwali’ (1941), ‘Jungle Princess’ (1942) etc. Later, she married Zahoor Raja and migrated to Pakistan with him.

Additionally Shamshad Begum sang an NFS “Tere Poojan Ko Bhagwan” in 1934, for Jeinophone record company, under the name of Radha Rani (since this was a Hindu Bhajan). This bhajan is already discussed on this Blog.

‘Hind Ka Laal’ has 11 songs listed in the Geet Kosh. Today’s song is sung by Master Mohammed. He started his career as an actor and composer in Krishnatone Films production – ‘Harishchandra’ (1931), one of the earliest Hindi talkie films in the first year of talkie cinema in India. He composed 20 songs in ‘Seeta swayamvar’ (1933). Same year he acted in and composed music for India’s first talkie fantasy film ‘Laal e Yaman’ (1933). He used to sing songs in his films.

He was MD for many films of Fearless Nadia – from her first big film ‘Hunterwali’ (1935)  to ‘Sher e Baghdad’ (1946). He gave music to 24 films and composed 217 songs. His last film as MD was ‘Sati Seeta’ (1946).

As a singer he sang 41 songs in 18 films. His last song was in the film ‘Hind Ka Laal’. He was also an actor. He acted in 23 films. His last film as an actor was ‘Flying Prince’ (1946).

A notable feature is that he included patriotic songs in each of his films. Some of his famous songs are “Hum Watan Ke Watan Hamaara” from the film ‘Jai Bharat’ (1936) and “Jhanda Ooncha Rahe Hamaara” from the film ‘Lutaru Lalna’ (1938). Another song from the same film “Jagat Ka Sapna” is based on Hindu-Muslim unity. Though he gave music influenced by Parsi Theatre, his name will be remembered in HFM history as a composer for patriotic and Hindu-Muslim unity songs.

The story of this film is summarized below.

People of Samargarh complain to the Commandant Chandrasen (Master Mohammed) about the harassment by the goons of Veersingh (Dalpat), the Wazir. He goes to convey this to the king (Bismilla), only to find him entertaining his moll Manorama (Gulshan) and the joker Kesar (Mithoo Mian). Manorama insults him and he taunts her. For this, Veersingh arrests him. Kasturi (Nazira), a daasi, conveys this episode to princess Kamla Kumari (Radha Rani). Her friend Prem Kumar (Sardar Mansoor) attacks the Wazir, but Wazir kills Chandrasena and puts the king in jail. Army chases Prem Kumar, who falls in a river and is reported dead.

However, he is saved by well wishers and becomes a rebel calling himself ‘Hind Ka Laal’. His horse is known as ‘Punjab Ka Beta’. Veersingh wants to marry Kamla Kumari. He kidnaps her and is about to run away when Manorama stops him. He kills her. Meanwhile, Prem Kumar and his friends attack Veersingh. In the final battle Veersingh is killed and the king is released. The king announces the marriage of Prem Kumar aka Hind Ka Laal and Kamla Kumari. …. The End … Clap Clap Clap ! (638)


Song – Dagmag Doley Desh Ki Naiya (Hind Ka Laal) (1940) Singer – Master Mohammed, Lyrics – Pandit Gyan, MD – Madhulal Damodar Master

Lyrics

dagmag do..le
desh ki naiya
paar lagavo krishn kanhaiya
paar lagavo krishn kanhaiya

kaal toofaan ne desh ko ghera
kaal toofaan ne desh ko ghera
chaaya chaaron ore andhera
chaaya chaaron ore andhera
tujh bina koi na aur khiwaiya
tujh bina koi na aur khiwaiya
paar lagavo krishn kanhaiya
paar lagavo krishn kanhaiya

dukh saagar mein gotay khaaye
dukh saagar mein gotay khaaye
waqt ki lehron ke patwaari
waqt ki lehron ke patwaari
aan bachavo pakad khiwaiya
aan bachavo pakad khiwaiya
paar lagavo krishn kanhaiya
paar lagavo krishn kanhaiya
dagmag dole desh ki naiya
dagmag dole desh ki naiya

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

डगमग डो॰॰ले
देश की नैय्या
पार लगावो कृष्ण कन्हैया
पार लगावो कृष्ण कन्हैया

काल तूफान ने देश को घेरा
काल तूफान ने देश को घेरा
छाया चारों ओर अंधेरा
छाया चारों ओर अंधेरा
तुझ बिना कोई ना और खिवय्या
तुझ बिना कोई ना और खिवय्या
पार लगावो कृष्ण कन्हैया
पार लगावो कृष्ण कन्हैया

दुख सागर में गोते खाये
दुख सागर में गोते खाये
वक़्त की लहरों के पतवारी
वक़्त की लहरों के पतवारी
आन बचावो पकड़ खिवय्या
आन बचावो पकड़ खिवय्या
पार लगावो कृष्ण कन्हैया
पार लगावो कृष्ण कन्हैया
डगमग डोले देश की नैय्या
डगमग डोले देश की नैय्या


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What is this blog all about

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 13500 song posts by now.

This blog is active and online for over 3300 days since its beginning on 19 july 2008.

Total number of songs posts discussed

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Movies with all their songs covered =1015
Total Number of movies covered =3721

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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