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

Ik Pardesi Mann Bhaaya, Mere Mann Bhaaya

Posted on: August 25, 2018


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.

Blog Day : 3690 Post No. : 14600

हम हाल ए दिल सुनाएँगे, सुनिए के ना सुनिए
सौ बार मुस्कुराएंगे, सुनिए के ना सुनिए॰ ॰ ॰

Or
मुझको अपने गले लगा लो ए मेरे हमराही॰ ॰ ॰

Or
मेरे आंसुओं पे ना मुस्कुरा, कई ख़्वाब थे जो मचल गए॰ ॰ ॰

Or maybe
दीप के संग जलूँ मैं॰ ॰ ॰

Or maybe even
निगाहों से दिल में चले आइयेगा॰ ॰ ॰

And but why not
कभी तनहाईओं में यूं, हमारी याद आएगी॰ ॰ ॰

If I start listing favorites, then it will take a long time to get to the matter of the subject. Ah yes, the songs listed above clearly point to the artist this article is about. The songs listed are iconic as well as popular hits. When she recorded “Kabhi Tanhaai’on Mein. . .”, and her father listened to it for the first time, his prophetic reaction was that this song is going to remain in popular memory for generations. And these words are so true for so many of her other songs, if the above sampler is anything to go by. Going beyond the barriers of time and space, her songs continue to enchant and touch listeners and lovers of this music, across the world.

Yes, there is something about this voice – something so special that the emotion descends right down into the being and reach the soul. A voice that is soft like the first beams of the rising sun, that is fresh like the petals of a newly blossomed flower, that carries the brightness of a velvety full moon, that is gentle like the humming of the unhurried breeze of early morning, that carries within a perceptible tinge of a soothing pathos, signaling a touch of sadness that simply engulfs your heart when the words play “. . .tum ko kya batlaaun main, ke tumse kitna pyaar hai”. The emotions makes the heart overflow with a tender fondness of love, while at the same time you feel you can’t hold back your tears for the beseeching pleas from the heart.

That is the magic of her voice, that keeps bringing me back to her songs, over and over again. The tinge of sadness is evident even in the lilting songs of happiness, as if expressing the imperative emotion acknowledging the frailty of existence and the ephemeral passing of the moments of joy – a fleeting this and a fleeting that, and soon the life is done with. That despondency that always sits low at the bottom edge of the voice, is what makes it so endearing.

Mubarak Begum – an artist, an uneducated, unlettered artist, who struggled throughout her career, both to make a mark and to make ends meet at home – was the owner of this contented combination of ecstasy and sadness. A voice that will never be forgotten so long as there is a needle that can be placed on shellac.

Arriving at the 14 thousandth and 6 hundredth station of this remarkable journey that has lasted for over a decade now, we also combine the celebration with a century of songs for this remarkable, remarkably underrated and incredibly ignored artist. In an active career that lasted for a little over three decades – of which the last decade was a pitiful smattering of singing assignments, few and far between – she did not even get to a 200 song mark, despite the fact that she recorded the type of superlative gems that are sampled above.

She was born on 4th January in 1940, at Jhunjhunu in Churu district of Rajasthan. Her mother’s name was Chand Bibi. When she was born, a learned person associated with the family said that she has taken birth under very auspicious planetary conjunctions, and suggested that the child should be named ‘Mubarak’.

Her father was a lorry driver. She was one of five siblings. Her voice was tuneful and her singing was impressive from her early years. The family moved when she was just a child, to Ahmedabad. Her father arranged for her tutelage in classical music under the guidance of Ustad Abdul Karim Khan and Ustad Riyaazudin Khan. After spending her childhood in Ahemdabad, she moved once again with family to Bombay. The burden of the family and its economic frailty did not allow Mubarak to attend school. She could read a little, and not write much. It is said that in later years, when she would go for recordings, she would commit the song and its renditions into memory during the rehearsals, and would sing from memory when the recording happened.

In circumstances not clear, she was introduced to Rafiq Ghazanvi, and impressed as he was with her singing, he called her for an audition and recording. Appearing in a recording studio for the first time, encircled by a large number of people she was unfamiliar with, and standing in front of the mike, ready to render a piece, she lost her nerve and no sound came from her. She left the recording studio in this extreme stage fright. The incident was repeated once again, this time for a recording session for a film produced by Ram Daryani. Given that her first successful recordings is from 1949, these failed attempts would be in the time frame of 1948-49.

Then in 1949, producer and actor Yakub gave her a chance to sing for his film ‘Aaiye’. This first successful recording was “Mohe Aane Lagi Angdaai Re”. Her singing was impressive and the word started to go around. Hansraj Behl invited her to sing 6 songs in the 1951 film ‘Phoolon Ke Haar’. Jamaal Sen called her to sing for him in 1953 – the film was ‘Daaera’. It is said that producer Kamaal Amrohi was so possessive of his film, and also very proud of its music and songs, that at a meeting of distributors, he was reluctant to show the film, but readily agreed to share the music and the songs.

In 1955, when ‘Devdas’ was under preparation, Sachin Da (SD Burman) called her over to sing the soulful ghazal of Sahir Sb – “Wo Na Aayenge Palat Kar. . .”. Bimal Roy, the producer and director was summarily impressed by her singing. Then in 1957 – recording of the mujra song for ‘Madhumati’ – “Hum Haal e Dil Sunaayenge. . .”.  Originally this was supposed to be a brief shot with just one she’er – “Tumhaara Dil Mere Dil Ke Muqaabil Ho Nahin Sakta. . .”, and just this one couplet and the next the couplet were recorded. On hearing the recording, Bimal Roy was so enchanted that he told Salil Chaudhry to make this a full song. And so, Shailendra was asked to write more and complete this ghazal (which incidentally based on certain references, is partly borrowed from the famous poet Daagh Dehlavi). So the part song was recreated as a full song and Mubarak Begum was called in for the recording once again.

The episode of ‘Hamaari Yaad Aayegi’ (1961) and the song “Kabhi Tanhaai’on Mein Yun. . .” is well known. Lata was the original choice of the producer Kedar Sharma and music director Snehal Bhatkar. But when an ego clash happened based on certain exchange between the producer and the singer, Kedar Sb replace Lata with Mubarak Begum, instead of giving in. The recording and the rendition – well, rest is history. This song became the signature recognition of the artist forever.

But this episode also possibly created a certain animosity between the singers. This, and then maybe the next major similar face-off between the two – when Shankar Jaikishan called in Mubarak Begum to record the wonderful hit song “Mujhko Apne Galey Laga Lo. . .” for the film ‘Hamraahi’ (1963), in a period when Lata was refusing to sing with Rafi Sb. It is Mubarak Begum’s claim (which she also mentioned to me in a private conversation) that she was systematically singled out to be sidelined by pressurizing producers and music directors. She has gone on record to state that there are instances (films ‘Jab Jab Phool Khile’ and ‘Kaajal’ both from 1965) when songs originally recorded in her voice were later on replaced by newer recordings in a different voice.

For an artist already from an economically weak origins, such bias and prejudice wrought havoc with her personal situations. Fate dealt her some very difficult cards in her life. Her husband abandoned her quite early, and vanished without a trace. Her daughter was diagnosed with Parkinsons at a very early age. With just a handful of recordings in the 70s and then almost no assignments after that, it can be easily surmised as to the difficult years she spent in her advancing age. At one time, with the help of some industry friends and with the intervention of Sunil Dutt, who was active in politics and a minister in the govt. for some time, she was given a small flat in Jogeshwari area of Bombay, and a monthly pension of Rs 3,000 was allocated. In 2008, the Films Division prepared a biopic-documentary on her life, which was screened first time at the International Film Festival in Goa that year.

She passed away on 18th July, 2016.

In 2011, a program was held in Delhi, at which she performed live, some of her most famous songs, plus some songs at the request of the audience. After the performance, AK ji (of Songs Of Yore) and I went backstage to have a brief private conversation with her. She was weak and needed help to even get up and walk. We talked for about fifteen minutes – she had complaints about the industry, as to how she was treated, and how her assignments were changed, even after recordings that were approved for release. A sad end to a difficult life of such gifted artist.

For the century celebrations of Mubarak Begum, I have picked this gem of a lilting rendition from ‘Daak Babu’ – a film from 1954. Listening to this song, I was surprised to see that this song is not already showcased on our blog. Such a beautiful song – lovely words, sweet melody and such lovely rendition – how this song has escaped the attention of listeners is a surprise. The song writer is Prem Dhawan and the music is composed by Dhaniram.

Anyway, we have it up now on our blog, and for your listening pleasure. Centuries and centuries have come and passed. And many more are still awaited. Congratulations to Atul ji and all the band-wagoneers. Enjoy this enchanting song of first love.

Song – Ik Pardesi Mann Bhaaya, Mere Mann Bhaaya  (Daak Babu) (1954) Singer – Mubarak Begum, Lyrics – Prem Dhawan, MD – Dhaniram

Lyrics

ik pardesi mann bhaaya
mere mann
mere mann bhaaya ri
usey apna kahoon ya sapna
ho usey apna kahoon ya sapna

akhian mein aan samaaya
jo aan
jo aan samaaya ri
usey apna kahoon ya sapna
ho usey apna kahoon ya sapna

mann boley ye teri bhool hai
mann boley
mann boley ye teri bhool hai
tu un charnon ki dhool hai
tu un charnon ki dhool hai
par mujhko samajh na aaya
samajh na
samajh na aaya ri
usey apna kahoon ya sapna
ho usey apna kahoon ya sapna

oo oo oo oo oo oo
oo oo oo
main aaj sambhal na paaun ri
main aaj
main aaj sambhal na paaun ri
main jhoomon ri balkhaaun ri
main jhoomon ri balkhaaun ri
kis ne ye jaadu jagaaya
ye jaadu
ye jaadu jagaaya ri
usey apna kahoon ya sapna
ho usey apna kahoon ya sapna

oo oo oo oo oo oo
oo oo oo
mera un sang itna naata ri
mera un sang
mera un sang itna naata ri
unhen dekhe mann khil jaata ri
unhen dekhe mann khil jaata ri
jisey dekh jiya lehraaya
ke jiyaraa
ke jiya lehraaya ri
usey apna kahoon ya sapna
ho usey apna kahoon ya sapna

ik pardesi mann bhaaya
mere mann
mere mann bhaaya ri
usey apna kahoon ya sapna
ho usey apna kahoon ya sapna

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

इक परदेसी मन भाया
मेरे मन
मेरे मन भाया री
उसे अपना कहूँ या सपना
हो उसे अपना कहूँ या सपना

अखियन में आन समाया
जो आन
जो आन समाया री
उसे अपना कहूँ या सपना
हो उसे अपना कहूँ या सपना

मन बोले ये तेरी भूल है
मन बोले
मन बोले ये तेरी भूल है
तू उन चरणों की धूल है
तू उन चरणों की धूल है
पर मुझको समझ ना आया
समझ ना
समझ ना आया री
उसे अपना कहूँ या सपना
हो उसे अपना कहूँ या सपना

ओ ओ ओ ओ ओ ओ
ओ ओ ओ
मैं आज संभाल ना पाऊँ री
मैं आज
मैं आज संभाल ना पाऊँ री
मैं झूमूँ री बलखाऊँ री
मैं झूमूँ री बलखाऊँ री
किसने ये जादू जगाया
ये जादू
ये जादू जगाया री
उसे अपना कहूँ या सपना
हो उसे अपना कहूँ या सपना

ओ ओ ओ ओ ओ ओ
ओ ओ ओ
मेरा उन संग इतना नाता री
मेरा उन संग
मेरा उन संग इतना नाता री
उन्हें देखे मन खिल जाता री
उन्हें देखे मन खिल जाता री
जिसे देख जिया लहराया
के जियरा
के जिया लहराया री
उसे अपना कहूँ या सपना
हो उसे अपना कहूँ या सपना

इक परदेसी मन भाया
मेरे मन
मेरे मन भाया री
उसे अपना कहूँ या सपना
हो उसे अपना कहूँ या सपना

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1 Response to "Ik Pardesi Mann Bhaaya, Mere Mann Bhaaya"

Congratulations to Atul ji 🙏
Congratulations to Sudhir ji too and all associated with this blog …!!!
Many thanks for this post Sir ji 🙏

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(© 2008 - 2018) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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 over TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1150
Total Number of movies covered =4028

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