Archive for September 2020
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4456 | Post No. : | 15932 |
In this article, I am discussing a classical dancer for whom the dancing was her passion, be it in the films or on stages. Her face was familiar to me as I had watched some of her films long back. But at that time, I did not evince interest in knowing her name. It was only after I joined the Blog in 2011 that I came to know her identity through none other than our own Prakashchandra ji, the veteran of our Blog in identifying the lesser known film artists with a high success rate. The name of the dancer is Rani.
Even after knowing her name, I still did not evince keen interest in knowing Rani’s background and the filmography. Like many lesser known film artists who worked in a few films and then went into the oblivion, I thought that Rani was one among them. But when I watched many Hindi film songs while writing my last four articles on the Hindi film dancers. I was surprised to note that Rani had danced with well known Hindi film dancers like Helen, Kumkum, Ragini, Madhumati, Bela Bose etc apart from her solo dances. This gave me an impression that Rani may have worked in more Hindi films than what her filmography on the various on-line sources indicated. After collating the data of her films from various sources and watching her dances in the films in case of doubts, I have come to a tentative figure of 54 films in which Rani had danced.
I was not sure about getting much of Rani’s background profile. However, recently, Tabassum who had worked with Rani in about half a dozen films in the 1960s, has posted a video ‘Dancer Rani – A Life Full Of Struggles’ on her Channel ‘Tabassum Talkies’. After watching the video, I felt very sad for Rani as in her later years, she has struggled a lot for her basic necessity of life. The Almighty has not been kind to her as now she is handicapped. It is really a pathetic situation for a dancer who used to say that dancing on the stage was like a worship for her and dancing in the films was means of her sustenance;
The following information has been paraphrased based on ‘Tabassum Talkies’ on Rani.
Rani (real name: Munawwar Sultana) was born in July 27, 1942 in Kolkata to Mohammed Gafoor Khan and Noorjahan Begum. She was adopted by her father’s close friend, Mohshin Khan who had no children. Since Rani was interested in dancing, her adopted father put her for training in Kathak under the tutelage of Ram Narayan Mishra and Krishna Maharaj of Lucknow Gharana.
At the age of 13, Rani started her filmy career in Bangla films. In 1960, her adopted father brought her to Mumbai to make her the Hindi film heroine. Rani flatly refused to work in Hindi films as an actor – not even in supporting roles as she was very passionate about dancing. So, she started her Hindi film career as a dancer in ‘Nai Maa’ (1960). Thereafter she got regular dancing numbers in many Hindi films mainly during 1963-69. In the 1970s, Rani’s dancing career went in downward mode and by the end of 1970s, she was almost unemployed.
During her active period of Hindi film journey, whatever she had earned was passed on to her adopted father to look after a large number of relatives who depended on her earnings. But in this milieu, a thought never occurred to her that she needed to save money for later period in her life when her dancing career in the films would come to a close. Due to failure of her love affairs when she was in Kolkata, she had decided to remain unmarried.
With almost nothing left for her subsistence, she met her former dancer colleague and the choreographer, Gopikrishna who took her as his Assistant Choreographer at a salary sufficient to take care of her minimum requirements.
As they say, when chips are down, one gets to face more problems. One day, Rani suddenly felt that her legs have lost stamina and she can no longer dance. She started using a walking stick and with this, her days of dancing were over. But her old age woes were not yet over. While catching a bus, she lost balance and fell, badly injuring her legs. She was no longer able to walk even with a stick. Instead, she now requires a walker.
As Rani was handicapped and there was no one to look after her, she got herself admitted to a charitable old age home at the outskirt of Mumbai. Presently, she is 78 years old and is an inmate of an old age home.
Rani had a younger sister, Rashida Khatoon who was a qawwali singer. She got married to Yasuf Azad Qawwal.
As I mentioned earlier, I have listed around 55 films in which Rani had danced. Some of the major films she worked were ‘Maaya’ (1961), ‘Sautela Bhai’ (1962), ‘Mere Mehboob’ (1963), ‘Dooj Ka Chaand’ (1964), ‘Ganga Ki Lahren’ (1964), ‘Jaanwar’ (1965), ‘Dil Diya Dard Liya’ (1966), ‘Sangarsh’ (1968), ‘Sambandh’ (1969), ‘Heer Ranjha’ (1970), ‘Loafer’ (1972), ‘Pathar Aur Paayal’ (1974), ‘Ham Kisi Se Kam Nahi’ (1977) etc. Most of her other films were of B grade category in the genres of stunt, action and costumes.
Rani also worked as Assistant Choreographer to Gopikrishan in ‘Khubsoorat’ (1980), ‘Aanchal’ (1980) and ‘Kudarat’ (1981).
From our Blog, I could track down 20 songs of which 5 songs are yet to be tagged to Rani. In addition, at least 4 songs, the video clips of which are available are yet to be covered on the Blog. I am hopeful that some more songs would be found on video sharing platforms. However, there are some films of Rani which are not traceable. To that extent, her dance numbers in these films are as good as lost for the present.
I am presenting Rani’s dance song, ‘bairu bichuaa bada dukh de o ram’ from ‘Ganga Ki Lahren’ (1964). This is a classical raag-based song picturised on kathak trained dancers, Kumkum and Rani. Lata Mangeshkar sings for both the dancers. The song is written by Majrooh Sultanpuri which is set to music by Chitragupt. The end of the song is followed by a dance competition between the two dancers of about one-minute duration.
This is the 6th song (out of 8) of ‘Ganga Ki Lahren’ (1964) to appear on the Blog.
Video Clip:
Audio Clip:
Song-Bairi bichhua bada dukh den ho raam (Ganga Ki Lehren)(1964) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Chitragupta
Lyrics
aaaa aa aa
aa aa aa
aa aa aa
aa aa aa
bairi bichhuaa
bada dukh de ho raam
shor karen
jhhan jhhan jhhan
jhhan jhhan jhhan
bairi bichhuaa
bada dukh den ho raam
shor karen
jhhan jhhan jhhan
jhhan jhhan jhhan
bairi bichhuaa
main jo chaloon to uljha den ye bol ke
main jo chaloon to uljha den ye bol ke
aadhi dagar tak main to reh jaaun dol ke
paapi na samjhe jiya ki lagan
bairi bichhuaa
bada dukh den ho raam
shor karen
jhhan jhhan jhhan
jhhan jhhan jhhan
bairi bichhu…aa
baandhoon chunar se ghoonghat ka khayaal ho
baandhu chunar se ghoonghat ka khayaal ho
zulfon se baandhoon to uthhna mohaal ho
chhote se mann ko badi uljhan
bairi bichhuaa
bada dukh de ho raam
shor karen
jhhan jhhan jhhan
jhhan jhhan jhhan
bairi bichhuaa
raat chaloon to yoon loote sukh chainwaa
raat chaloon to yoon loote sukh chainwaa
din ko jo nikloon to uthhen sau sau nainwaa
raat na dekhe
dekhe na ye din
bairi bichhuaa
bada dukh de ho raam
shor karen
jhhan jhhan jhhan
jhhan jhhan jhhan
bairi bichhuaa
bada dukh den ho ram
shor karen
jhhan jhhan jhhan
jhhan jhhan jhhan
bairi bichhu..aa
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4456 | Post No. : | 15931 |
Today’s song is from the film Husn ka chor-53.
The film was made by Basant Pictures owned by Homi Wadia. He was the Producer, but surprisingly the film was directed by his elder brother J.B.H.Wadia (13-1-1901 to 4-1-1986 ). JBH had also written its story, screenplay and dialogues too. Another surprise was that this film was a Costume/action film. The brothers had separated in 1942 on the issue of Wadia Movietone continuing making stunt films or to start making social films. JBH wanted to make social films and Homi Wadia (22-5-1911 to 10-12-2004) advocated for continuance of stunt films. He separated from JBH and started his own Basant Pictures. The third surprise was that for the first (and the last) time JBH wrote part of the lyrics of one song in this film. Today’s song is that song.
The cast of the film was Usha Kiran, Mahipal, Brij Mohan (B.M.Vyas), Azeem Dalpat, Sardar Mansoor, Agha Shapoor, Bismilla etc.etc. The wadias, known for fantasy and stunt films, always made new stories by rehashing old stories from Arabian Nights. This was also one such movie. I had seen this film.
The lead pair was Mahipal and Usha Kiron. one speciality of Wadias was that in their films, the credits list used to be very lengthy ,as they were keen on writing almost every small actor’s names also.
Qamar(Mahipal) was a compulsive thief.Once he steals Princess Husn’s(Usha Kiran) jewels,but he is so dazed by her beauty and innocence that he returns her jewels.When several foreign Princes come to propose to her,he also goes there by disguising as a prince.Husn selects him,but the secret is revealed by Nadira(Lalita kumari),a dancer who loves Qamar.The king could not digest the selection by Husn. Qamar is put in Jail, from where he is rescued by Nadira and friends.One Faqir tells Qamar to become a real prince to win Husn.
Qamar sets out on a magic flying horse to meet Moon Fairy to get the Magic wish bowl.The Moon fairy is rescued by him from the custody of evil genie by killing the genie.Meanwhile Husn’s father faces mutiny and death if Husn is not married to the Vazir. Qamar arrives on a flying carpet and takes away Husn to the Moon.
The End.In the last scene this line is Flashed ” Heaven dwells in pure Hearts “.
It was great fun to watch such types of movies.The audience also participated in the ongoings on the screen by appropriately scolding, encouraging or clapping loudly.There was no need to think logically. It was pure entertainment, and a timepass.
Actor Brij Mohan aka B.M.Vyas was one artiste who started as a singer, became a drama actor and then ended up as a villain, character actor. B.M.Vyas was born as Brijmohan Vyas on Vijayadashami (22 October) day of 1920 in Churu, Rajasthan. He is the younger brother of the well-known poet and lyricist, Bharat Vyas. He was married at the age of 17 when his wife, Jamna was just 11. They had 71 years of marital bliss before Jamna passed away in 2008. They had six daughters and a son. After acting in over 200 films in various languages, Vyas quit acting in the early 1990s. Then he moved to his residence in Kalyan. Having seen various shades of life, Vyas lived a contented life with his children and grandchildren.
On 15 January, 1944, actor Prithviraj Kapoor realised his dream when Prithvi Theatre, his own drama company came into being. Mahakavi Kalidas’ classic Shakuntala was chosen to be their first performance. The play’s cast included Uzra Mumtaz (younger sister of Zohra Segal) to play Shakuntala, Prithviraj Kapoor to play Dhushyant, K N Singh was cast as Rishi Kanva, Shakuntala’s foster father, Sati Devi (Bijoya Ray’s sister, Ruma Guha Thakurta’s mother) as Gautami, caretaker of Kanva Ashram who raises Shakuntala, and Hemavati (Daya Kishan Sapru’s wife) to play Shakuntala’s friend Priyamvada, among others. A young, 24 years old, B M Vyas was recruited as a singer by the drama company to sing songs in their play at a monthly salary of 75 Rupees.
Once when rehearsals for their maiden show were in progress and Vyas was done with his singing rehearsals, he was watching rehearsals of the cast. One of his songs for the play was “Bitiya Rani Kahan Kahan Tapasvi Log, Milna Julna Rehgaya Nadi Naav Sanjog”. The cast was rehearsing for a scene which needed Rishi Kanva to recite a mantra in Sanskrit, but actor K N Singh was having trouble reciting it. Prithviraj was trying to help him but was also faltering in saying it perfectly. Vyas , an expert in Hindi and Sanskrit, having immense knowledge of Ved Mantra was witnessing the proceedings for two days. It was possibly the blessing of Goddess Saraswati that inspired him to say the mantra aloud. On hearing him intone the mantra with such Brahminical precision, Prithviraj was very impressed and asked him to help K N Singh in saying the mantra correctly. But soon K N Singh informed Prithviraj ji that he will not be able to speak Devbhasha (Sanskrit) and that he should look for another artiste for the role. Prithviraj asked Prithvi Theatre’s manager Ramesh Saigal to approach Vyas for the role. Vyas , who had already acted in a Rajasthani play Ramu Chanana earlier, readily agreed and stepped into the role and thus started his journey as an actor.
While the rehearsals were still on, Vyas suffered a personal tragedy and had to go back home in Bikaner, Rajasthan. There he fell sick with typhoid. Here rehearsals were in full swing as the play was to premiere on 9 March, 1945 at the Royal Opera House. The final date was about a month away so Prithviraj asked him to come back as soon as possible. Vyas returned with his wife though he was still unwell. On the day he resumed his rehearsals he couldn’t do much due to frequent blackouts. The medication he was on, did not seem to help him much. He remembers the doctor from Kalbadevi who treated him for free; with his medication, Vyas ji’s health improved considerably in just three days.
The final round of rehearsals was done and finally the day of Prithvi Theatre’s first play to be staged, arrived. For the first performance of Shakuntala, many known names of the film industry were present at Royal Opera House. In the scene where Rishi Kanva makes an entry on stage he was required to raise his hands for blessing but Vyas was still weak and his hands started shaking. He tried a lot to control them but to no avail. He then remembered that he had seen many old people whose hands and head would involuntarily shake, so he started to shake his head too. The end result was so effective that during the play’s interval Prithviraj came and hugged him. He asked him how he developed that body language, Vyas told him about his genuine problem. Prithiviraj told him that he did a wonderful job and should continue with the same every time the play was staged.
Vyas had a long association with Prithvi Theatre, from 1944 to 1955. During this period he toured with the group to various cities and got an opportunity to showcase his singing and acting skills in various plays like – Deewar, Pathan, Aahuthi, Gaddar, Kalaakar, etc. The dedication with which this iconic actor prepared for his roles can be observed from the fact that he could mouth dialogs from plays he participated in over six decades ago.
Vyas was interested in music since childhood. He is a self-taught singer. They had a Harmonium at home which Vyas learnt to play on his own. He liked to be around musically inclined people. He would listen carefully and learn. He fondly remembers the blind musician from his home town who would give him a free hand to play the various musical instruments he had. He never really had a Guru he could learn from but he says he learnt the art of teaching singing. He gave music tuitions when he was in Bikaner before moving to Mumbai.
In the early 1940s Bharat Vyas called his younger brother to Mumbai. Soon Vyas ji got the opportunity to act and sing as many as twenty songs for the Rajasthani play Ramu Chanana written by Bharat. Music Director Naushad Sahab’s assistant Ghulam Muhammad who hailed from Rajasthan was very impressed when he heard Vyas’s voice in the play. He took him to meet Naushad Sahab who was working on the soundtrack of the film Pehle Aap (1944). Vyas got an opportunity to sing a group song “Hindustan Ke Hum Hain, Hindustan Hamara; Hindu Muslim Dono Ki Aakhon Ka Tara” with established singers G. M. Durrani and Shyam Kumar along with a new singer Mohammed Rafi. Since this song was supposed to be sung by soldiers on screen, Vyas and Rafi Sahab had to wear heavy boots and do a rhythmic march while singing to give an effect of an army troop. Such effects could not be added to a song with the technology available then; it all had to be done in real time. However the first ever song Vyas sang for a film was “Alakh Niranjan, Jai Jai Jai Manaranjan” from Bhartrihari (1944) which was picturized on Arun Ahuja (Govinda’s father).
After Vyas joined Prithvi Theatre as a singer, he had to do regular riyaz at home. A music teacher who often heard him sing once asked if he would be willing to give music tuitions. Since his monthly salary was 75 Rupees then, Vyas agreed as this would give him additional income. The teacher took him to meet Jaichand Kapoor and soon Vyas started giving music tuitions to his elder son, Brijmohan. However his younger brother seemed more inclined and started learning music from Vyas. This youngster was none other than our legendary playback singer, Mahendra Kapoor who always acknowledged that B M Vyas was his first Guru.
Vyas gave playback in four films – Bhartrihari (1944, MD: Khemchand Prakash), Pehle Aap (1944, MD: Naushad), Maharana Pratap (1946, MD: Ram Ganguli) and Naulakha Haar (MD: R C Boral) before destiny took him on a different path. He remembers meeting Rafi Sahab years later who sweetly said “Pandit ji you changed our line (singing)” to which Vyas admitted that he did not see much of a future for himself in singing and hence switched to acting.
After Prithvi Theatre’s first play Shakuntala was staged, Devika Rani (owner of Bombay Talkies) was keen to know who played Rishi Kanva. When she saw the 24 yrs old Vyas she was surprised, she never expected to see such a young man. She offered him a role in a Bombay Talkies film to be directed by actor Jairaj but the film was never made.
When Ramesh Saigal moved away from Prithvi Theatre, he joined Chetan Anand’s company India Pictures as Production Manager. They were working on their next film Neecha Nagar (1946) when Ramesh Saigal offered Vyas a small role (protagonist’s elder brother) in the film. Prithvi Theatre never laid any restrictions on their actors; they could take outside work while working in their plays. Vyas was eager to face the camera and accepted the role with open arms. He is credited as ‘Vyas ji’s in this film. Soon he played a small role in Raj Kapoor‘s Aag (1948) where he is credited as ‘Brijmohan’. But the role that gave him recognition in the film industry was in Barsaat (1949) where he played actress Nargis’ father. For this film he is credited as ‘B. M. Vyas’. Thus Vyas ji’s film career took off and he never looked back.
He has had a long and very successful career of more than four decades and has been part of many memorable classics. He has always been a character artist who started his career with portraying old characters. His last film most probably was Maa (1991).Vyas was very keen to work with the great filmmaker V Shantaram and approached him for work. Shantaram was planning Do Aankhen Barah Haath (1957) and was busy casting actors to play six prisoners in the film. He did not tell him that he is Bharat’s younger brother who was the lyricist of the film. When Vyas approached him, Shantaram was initially a bit apprehensive due to his height but soon cast him as one of the prisoners, Jalia Nai. They had a month-long schedule in Kolhapur. When the reels were sent to Rajkamal Studios for processing, it was found that due to dirt particles on the lens there were lines all across the frame in all the reels and the whole month’s hard work had gone to waste. They had to reshoot the entire thing. Vyas had a tough time managing schedules due to this re-shoot as he had other films in hand too. My favourite scene of this film is where Jalia comes with an intention to kill the Jailor played by Shantaram himself. That scene showcases Vyas ji’s ability as a performer, his entire body language, facial expressions, use of eyes and voice in this scene is a class act, beyond words.
About the classic scene from Sampoorna Ramayan (1961) Vyas said when he was offered the role of Ravan he was thrilled, being Shastri in Sanskrit he had read so much about this mythological character. Hence he was really keen to play the part but Ravan is expected to have a powerful physique while Vyas ji had a lean frame. To overcome this hurdle he got cotton padded clothing made for the role to look fuller. The rising temperature due to lights in addition to studio heat, he would sweat profusely in those cotton padded cloths but he did not let it hinder his performance. That innovative scene where Ravan is interacting with his nine heads was a collective brainchild of Babubhai Mistry and Homi Wadia. Vyas had to enact from a fixed position in front of a stationary camera for fifteen days but the end result was very effective.
On being asked about the most memorable and satisfying moment from his entire career Vyas narrated this incident. Prithvi Theatre’s play Gaddar was being staged in which he was playing the role of Maulana. Once filmmaker Kidar Sharma came to see the play, and was very impressed with his dialog delivery in Urdu. He asked Vyas to meet him. Sharma was working on his next film Shokhian (1951) and was looking for an actor to play the role of Baba Ghani. He gave Vyas a long dialog written in Urdu which Baba Ghani had to say to inspire the soldiers who are running away from the battle field to come back. Vyas said that he can’t read Urdu. Sharma was surprised and asked then how he played the role of Maulana in Gaddar. He said he rehearsed his lines written in Devnagri script and played the part. He asked Sharma to get the dialog written in Devnagri, and promised to prepare and say them the next day.
Next day he said the lines with such perfection that Sharma gave him a small Silver Coin as a token of appreciation. After that Sharma would often ask him to say the lines whenever important people came to meet him. Once actor Dilip Kumar came and he was asked to say the lines in front of him as well. Dilip Sahab was very impressed and remembered that he had heard this voice before. Vyas told him that he may have seen Raj Kapoor’s Barsaat (1949) where he played actress Nargis’ father. Dilip Sahab then recommended Vyas ji’s name to play actress Naseem’s father in the film Baaghi (1953), produced by his brother Ayyub Khan. Fortunately copies of Shokhian (1951) are available and this scene is here for all of us to see. It was heartening to see Vyas recite the same dialogues with such enthusiasm even today, after almost sixty years.
B M Vyas acted in 175 films. His first film was Neecha Nagar-46 and last film was Oh,Darling ! yeh hai India-95.
Vyas ji left for a better world on 11 March, 2013. (Adapted from articles from Maitri Manthan and Blog beete hue din, with thanks.)
Today’s song is a comedy song, sung by Mohd. Rafi, Asha Bhonsle and chorus.
Song-Ho gaya tere Majnu ko Ishq ka bukhaar (Husn Ka Chor)(1953) Singers- Rafi, Asha Bhonsle, Unknown male voice, Lyrics-Raja Mehdi Ali Khan, MD-Bulo C Rani
Chorus
All
Lyrics
ho gaya ho gaya ho gaya ho gaya
ho gaya
ho gaya
tere majnu ko ishq ka
bukhaar bukhaar bukhaar
hmm hmm
haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
ho gaya tere majnu ko ishk ka
bukhaar
bukhaar bukhaar
haay haay re haye re
hoye hoye re hoye re
zara apni nabz mujhe dikha aa
o mere beemaar
haay haay re haaye re
hoye hoye re hoye re
arre o mareez
khaaya thha kya
teer-e-nazar
teer-e-nazar
arre o mareez
piya thha kya
khoon-e-jigar
khoon-e-jigar
arre o mareez
dekha thha kya
arre patli kamar
haaye patli kamar
uyi tauba
tujhe bhoot ban ke
chimat gaya hai kisi ka pyaar
haay haay re haaye re
hoye hoye re hoye re
main koi hakeem bulaati hoon
tere dil ka dard mitaati hoon
main koi hakeem bulaati hoon
tere dil ka dard mitaati hoon
ae haseenaaa
ae hasena
waqt na bekaar ho
main mareez-e-ishq hoon
meri dawa parde mein ho
main mareez-e-ishq hoon
meri dawa parde mein ho
is tarah se kis tarah
karoon tera aitbar
haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
hoye
mera majnu shor machaaye re
mera majnu shor machaaye re
mera sanam to bichhda jaaye re
ae ae ae ae
bichhda jaaye re
koi aaye re aaye re aaye
bachaaye re
paani ee
paani o paani
paani
ho ho paaaani
nahin kuchh jaan baaki
ab mohabbat karne waale mein
mohabbat karne waale mein
mohabbat karne waale mein
khuda bakhse bahut si
khoobiyaan ki marne waale mein
aji haan marne waale mein
aji haan marne waale mein ae ae
hoye hoye
hoye hoy re hoye hoy
ho ho hoy
utar gaya mere majnu ka ishk ka
bukhaar bukhaar bukhaar
haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
haay haay re haaye re
hoye hoye re hoye re
hay hay re haye re
hoye hoye re hoye re
hoy hoy
Dushman sar par khada jaag re
Posted on: September 28, 2020
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4455 | Post No. : | 15930 |
“Sikandar e Aazam”(1965) was directed by Kedar Kapoor for N C Films, Bombay. This “historical” movie had Prithviraj Kapoor, Dara Singh, Mumtaz, Veena, Prem Chopra, Rajan Haksar, Vijaylaxmi, Burhanuddin, Saudagar Singh, H Prakash, Praveen Pal, Shyam Kumar, Jagdeesh Sethi, Jeewan, Madhumati, Helen, Ganga, Premnath etc in it.
This movie had five songs in it. Four songs have been covered in the past. Here are the details of these songs :-
| Song | Remarks |
|---|---|
| Jahaan daal daal par sone ki chidiyaan karti hai baseraa | 15.08.2008 |
| Ho more gore badan pe gulaabi nazariyaa na daal | 05.09.2010 |
| O mere yaar o dildaar mere saath saath tera pyaar | 17.11.2011 |
| Pilaayi toone o saqiyaa | 05.09.2020 |
One can see that the iconic patriotic song Jahaan daal daal par sone ki chidiyaan karti hai baseraa is from this movie.
The fifth snd final song from the movie is also a patriotic song. This song is sung by Mahendra Kapoor and chorus. Rajinder Krishan is the lyricist. Music is composed by Hansraj Bahl.
This song, being discussed on 28 september 2020 pays tribute to Mahendra Kapoor, a singer of many iconic patriotic songs whose remembrance day falls on 27 september. Today is the 113th birth annivdrsary of the great Freedom fighter martyr Shaheed Bhagat Singh(28 september 1907-23 march 1931 and we pay our humble tribute to him on this day.
Lyrics of this song were sent to me by Avinash Scrapwala.
With this song, all the songs of “Sikandar e Azam”(1965) are covered in the blog and the movie thus joins the list of movies that have been YIPPEED in the blog.
Song-Dushman sar par khada jaag re (Sikandar e Azam)(196) Singer-Mahendra Kapoor, Lyrics-Rajinder Krishan, MD-Hansraj Bahl
Chorus
Lyrics
(dialogues not included)
dushman sar par khadaa jaag re ae°°°°°
ae ae
dushman sar par khadaa jaag re ae°°°°°
ae ae
bhaarat ki santaan
katraa katraa simat simat kar
ban jaaye toofaan
toofaan
toofaan
toofaan°°°°°
ae maa tere bachche kayi karod
aye maa aa tere bachche kayi karod
aandhi toofaan ke paaley
laaj teri ke rakhwaale ae
maa aa
tere bachche kayi karod
ae maa aa tere bachche kayi karod
ae maa aa tere bachche kayi karod
teraa aanchal chhoonewaalaa
haath kaat kar rakh denge
tere charnon mein dushman ka
kataa huaa sar rakh denge
nikal pade hain rann mein tere
doodh ki keemat denewaale ae
aandhi toofaan ke paaley
laaj teri ke rakhwaale ae
ae maa aa tere bachche kayi karod
ae maa aa tere bachche kayi karod
lahoo ragon mein ubal rahaa hai
aaj kaam ye aayegaa
jahaan giregi ek boond
wahaan ek qilaa ban jaayegaa
maataa bete amar hain tere
mit kar bhi nahin mitnewaale ae
aandhi toofaan ke paaley
laaj teri ke rakhwaale ae
ae maa aa tere bachche kayi karod
ae maa aa tere bachche kayi karod
dushman samjhe sirf ahinsaawaadi se
ye takkar hai
wo kya jaane har ungli mein
ek sudarshan chakkar hai
datey huye hain mod mod par
Bhim aur Arjun matwaale ae
aandhi toofaan ke paaley
laaj teri ke rakhwaale ae
ae maa aa tere bachche kayi karod
ae maa aa tere bachche kayi karod
aandhi toofaan ke paaley
laaj teri ke rakhwaale ae
maa aa tere bachche kayi karod
ae maa aa tere bachche kayi karod
ae maa aa tere bachche kayi karod
tere bachche kayi karod
aye maa aa tere bachche kayi karod
tere bachche kayi karod
aye maa aa tere bachche kayi karod
tere bachche kayi karod
ae maa aa tere bachche kayi karod
tere bachche kayi karod
————————————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————————–
दुश्मन सर पर खडा जाग रे ए°°°°°
ए ए
दुश्मन सर पर खडा जाग रे ए°°°°°
ए ए
भारत कि संतान
कतरा कतरा सिमट सिमट कर
बन जाए तूफ़ान
तूफ़ान
तूफ़ान
तूफ़ान°°°°°
अय माँ
तेरे बच्चे कई करोड़
अय माँ आ
तेरे बच्चे कई करोड़
आंधी तूफ़ान के पाले
लाज तेरी के रखवाले ए
माँ आ
तेरे बच्चे कई करोड़
अय माँ आ
तेरे बच्चे कई करोड़
अय माँ आ
तेरे बच्चे कई करोड़
तेरा आँचल छूनेवाला
हाथ काट कर रख देंगे
तेरे चरणों में दुश्मन का
कटा हुआ सर रख देंगे
निकल पड़े हैं रण में तेरे
दूध कि कीमत देनेवाले ए
आंधी तूफ़ान के पाले
लाज तेरी के रखवाले ए
अय माँ आ
तेरे बच्चे कई करोड़
अय माँ आ
तेरे बच्चे कई करोड़
लहू रगों में उबल रहा है
आज काम ये आयेगा
जहां गिरेगी एक बूँद
वहाँ एक किला बन जाएगा
माता बेटे अमर है तेरे
मिट कर भी नहीं मिटनेवाले ए
आंधी तूफ़ान के पाले
लाज तेरी के रखवाले ए
अय माँ आ
तेरे बच्चे कई करोड़
अय माँ आ
तेरे बच्चे कई करोड़
दुश्मन समझे सिर्फ अहिंसावादी से
ये टक्कर है
वो क्या जाने हर ऊँगली में
एक सुदर्शन चक्कर है
डंटे हुए है मोड़ मोड़ पर
भीम और अर्जुन मतवाले ए
आंधी तूफ़ान के पाले
लाज तेरी के रखवाले ए
अय माँ आ तेरे बच्चे कई करोड़
अय माँ आ तेरे बच्चे कई करोड़
आंधी तूफ़ान के पाले
लाज तेरी के रखवाले ए
माँ आ
तेरे बच्चे कई करोड़
अय माँ आ तेरे बच्चे कई करोड़
अय माँ आ तेरे बच्चे कई करोड़
तेरे बच्चे कई करोड़
अय माँ आ तेरे बच्चे कई करोड़
तेरे बच्चे कई करोड़ अय माँ आ तेरे बच्चे कई करोड़
तेरे बच्चे कई करोड़
अय माँ आ तेरे बच्चे कई करोड़
तेरे बच्चे कई करोड़
This article is written by nahm, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4455 | Post No. : | 15927 |
Lata Mangeshkar – 91st birthday on 28/09/2020
————————————————————————–
Today is the day when the “Nightingale of India”, Lata Mangeshkar was born 91 years ago.
In 1973, she won the National Film Award for Best Female Playback Singer for the song “Beeti Na Bitaayi” from the film Parichay, composed by R. D. Burman, and written by Gulzar.
In 1975, she again won the National Award, this time for the song “Roothe Roothe Piya” from the film KoraKaghaz, composed by Kalyanji Anandji.
She won her third National Film Award for Best Female Playback Singer for her rendition of the song “Yaara Sili Sili” from the film “Lekin”, which was composed by her brother Hridaynath Mangeshkar.
In 2001, Lata Mangeshkar was awarded the Bharat Ratna, India’s highest civilian honour.
A lot of information about her early days, family background and career progress are available here.
I have selected a song from 1985 to post on this occasion. Scores of her hit, known and popular songs from all decades are yet to be posted, so it was no easy task to arrive at a single song. This is a solo from the film ‘Arjun”, written by Javed Akhtar and composed by R. D. Burman. It is a typical, teasing and appeasing song, where hero Sunny Deol and Heroine Dimple are running around usual garden locations in Mumbai, while Dimple is singing this song by LataMangeshkar. Actually the stanza’s are very uplifting and motivating for someone who is dejected. Sunny deol looking like a petulant child and Dimple is trying to make him see the positive side of things. The encouraging tone sounds less romantic and more children’s song, if only heard. I was a fan of Dimple those days, and saw her few films. I thought I might have seen this one too, but when I found the video, it was clear that I was seeing it for the first time. The catchy tune and song I knew well, but remembered only the mukhda bit with hazy re-collection of words. All these years I have been humming this song, sometimes using “Neeli neeli aankhon”, after “neele neele ambar par” which was also a favourite. My sister would often correct me that it is ‘Bhoori bhoori” not ‘neeli neeli”.
I heard the pop/rock song ‘kokokorina” by Ahmed Rushdi sometime back. Stumbled upon the song at Wikipedia page on Kishore Kumar, to be precise. I heard the song, it didn’t ring a bell, so I had never heard it before. But the song seemed somewhat familiar as if its tune is taking me to some other song. On hearing it a few more times, I landed on this sometime ‘neeli’ and sometime ‘bhoori bhoori aankhon wala ekladka hai” song. I have since searched the net to find if there is a connection, or only I feel like that. Seems I am the only one who could connect these two songs. The RDB page on itwofs.com features as many as 42 songs, linking to inspiration and similar tunes. But this case of “Arjun’ song is not listed there.
I see that in the Wikipedia page also this song is mentioned in relation to RDB songs by Lata in the 80’s :
Some Rahul Dev Burman compositions for Lata in these years include “Aaja Sar-e-Bazaar” in Alibaba Aur 40 Chor (1980), “Bindiya Tarase” in Phir Wohi Raat (1981), “Thodi Si Zameen” in Sitara (1981), “Kya Yahi Pyar Hai” in Rocky (1981), “Dekho Maine Dekha” in Love Story (1981), “Tune O Rangeele” in Kudrat (1981), “Jaane Kaise Kab” in Shakti (1982), “Jab Hum Jawan Honge” in Betaab (1983), which became instantly popular, “Humein Aur Jeene” in Agar Tum Na Hote (1983), “Tujhse Naraaz Nahin” in Masoom (1983), “Kahin Na Ja” and “Jeevan Ke Din” in Bade Dil Wala (1983), “Jaane Kya Baat” in Sunny (1984), “Bhoori Bhoori Aankhon” in Arjun (1985), “Sagar Kinare” in Sagar (1985), “Din Pyar Ke Aayenge” in Savere Wali Gaadi (1986). “Kya Bhala Hai Kya”, “Khamosh Sa Afsana” and “Seeli Hawa Chhoo” in Libaas (1988).
I have made a very brief list of such songs, which starts with ‘tu meri zindagi hai”, and if two posts for today are over, then two more songs in the list remain.
As for the blog, Lata Mangeshkar’s tally stands at 3589 out of 5645.
With sixes galore, turning the matches in IPL, I will end this post with this very positive stanza of the song:
tu maane na maane aisa din aayegaa
jab duniyaa ke chehre se gham dhul jaayegaa
phool khilenge rang hansenge aanchal aanchal
aangan aangan goonjengi khushiyon ki paayal
Audio :
Video :
Song-Bhoori bhoori aankhon waala ek ladka hai (Arjun)(1985) Singer-Lata, Lyrics-Jawed Akhtar, MD-R D Burman
Lyrics
Gaga ma re
La lala
Re gasa
Aaa
oooo
oooooo
bhoori bhoori aankhon waala
ek ladka hai
sapney dekhne se jaane kyun
ghabraata hai
bhoori bhoori aankhonwaala
ek ladka hai
sapney dekhne se jaane kyun
ghabraata hai
gumsum gumsum
khoyaa khoyaa saa rehtaa hai
sapneydekhne se jaane kyun
ghabraat ahai
ho bhoori bhoori aankhon waala
ek ladka hai
lalalala
lalalala
lalalala
meri aankhon mein hain
kitne saare sapne
rang birange
meethhe meethhe
pyaare sapne
ho meri aankhon mein hain
kitne saare sapne
rang birange
meethhe meethhe
pyaare sapne
deewaane tu bhi
aankhon mein sapne rakh le
banke chamkenge raaton mein
taare sapne
ho bhoori bhoori aankhon waala
ek ladka hai
sapney dekhne se jaane kyun
ghabraata hai
tu maane na maane
aisa din aayegaa
jab duniyaa ke chehre se
gham dhul jaayegaa
o tu maane na maane
aisa din aayegaa
jab duniyaa ke chehre se
gham dhul jaayegaa
phoolkhilenge rang hansenge
aanchal aanchal
aangan aangan goonjengi
khushiyon ki paayal
ho bhoori bhoori aankhon waala
ek ladka hai
sapney dekhne se jaane kyun
ghabraata hai
gumsum gumsum
khoyaa khoyaa sa rehtaa hai
sapney dekhne se jaane kyun
ghabraata hai
lalalala
lalalala
lalalala
lalalalala
lalalalala
hoho
hoho
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4455 | Post No. : | 15926 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part I: 1946-1947
Today (28 september 2020) is the 91st birthday of Swar Samragyi Lata Mangeshkar (DoB 28 September 1929). We as part of HFM lovers extend her a very happy birthday and wish her many happy returns of the day.
She has been the most influential singer of HFM (and by extension all Indian film music).
A lot has been written on her career and her songs and her life. Instead of joining that race and repeating the already much repeated facts about her, I would take this occasion to stat my discussion of her HF songs yearwise, right from the beginning. So one can see that it is going to be a long series, which may have started on her birthday and it will contunue on and on, and each post will discuss one year. She has been around for more than six decades. It will take me at least 40 posts, may be more to discuss her songs over the years. I plan to publish one article every year. At this rate, this series could take upto one year. But then what is one year for this blog which is going on for more than 12 years !
This writeup, which is part I takes up the years 1946 and 1947. Why two years ? Because this series will discuss a Lata Mangeshkar song from the year under discussion. Lata Mangeshkar made her debut in 1946 but all songs sung by her in 1946 are already covered in the blog. 1947 is the second year for her HFM career. Here just one song sung by her remains undiscussed. So I had to take up the year 1947 as well so that I could discuss a song of the year with the article.
Coming to 1946, here are the details of the songs sung by Lata Mangeshkar in HFM in 1946:-
| Movie | Music director | Lata song in the blog | Lata HFM songs in the year | Lata solo songs | Male duet | Female duet | Other songs | Lyricists | Song detail |
|---|---|---|---|---|---|---|---|---|---|
| Jeewan Yaatra | Vasant Desai | 1 | 1 | 1 | 0 | 0 | 0 | Dewar Sharar | Chidiya boley choon choon choon |
| Sona Chaandi | D C Dutt | 1 | 1 | 1 | 0 | 0 | 0 | Wali Sahab | Pyaare Bapu ke charnon ki le lo prasann |
| Subhadra | Vasant Desai | 2 | 2 | 2 | 0 | 0 | 0 | Pt Sudarshan (1) Pt Indra (1) | Piya aayegaa…gori sudh na bisaar piya aayegaa Pt Indra Chandra Saanwariya oye baansuriya oye bajaaye gayo re Pt Sudarshan |
| Total Three movies | Two music directors | 4 | 4 | 4 | 0 | 0 | 0 | Four lyricists | All solos |
The next year 1947, which was an important year for the country saw Lata Mangeshkar faring more or less how she had fared the previous year, as can be seen from the table below :-
| Movie | Music director | Lata song in the blog | Lata HFM songs in the year | Lata solo songs | Male duet | Female duet | Other songs | Lyricists | Song detail |
|---|---|---|---|---|---|---|---|---|---|
| Aap Ki Sewa Mein | Datta Dawjekar | 2 | 3 | 3 | 0 | 0 | 0 | Mahipal | Paa laagoon kar joree re Ek naye rang mein dooje umang mein |
| Shaadi Se Pehle | Pt Ramakant Paingankar-Karnad | 1 | 1 | 0 | 1 | 0 | 0 | Pt Mukhram Sharma | Chalo ho gayi taiyyar Duet with Rafi |
| Shehnaai | C Ramchandra | 1 | 1 | 0 | 0 | 0 | 1 | P L Santoshi | Jawaani ki rail chali jaaye re with Chitalkar and Geeta Dutt as co singers |
| Total Three movies | Three music directors | 4 | 5 | 3 | 1 | 0 | 1 | Three lyricists | Three solos, plus her first male duet and first multiple singers song |
If someone had done an year end analysis of Lata Mangeshkar’s career prospects at the end of 1947, he would have written off her chances as a playback singer. Such an analyst would have lots of facts backing his judgement. Lata Mangeshkar had a thin feeble voice, unlike the buland voices of the predominantly Punjabi female singers of those days. Forget laypersons, even a few studio owners, such as Filmistan’s boss rejected Lata’s voice outright, despite the recommendations of music director like Ghulam Haider. If one had to give opportunities to a new voice, then Geeta Roy showed far more promise. Unlike Lata, who was struggling on family and career fronts, Geeta Roy was getting her breaks almost without much struggle. And her voice was loved by all prominent music directors and movie producers.
So, Lata Mangeshkar did not have it easy in her career. She has faced lots of hardships. She has overcome them all. Moreover, she stood for her rights, took on powerful influential individuals in the induustry and got her way. Not just that, she survived and outlived them all.
Many people, with the benefit of hindsight may think that Lata Mangeshkar had a smooth career in film industry. Not at all. She has survived lots and lots of hardships that would have destroyed lesser mortals. One forgotten fact is that an attempt was made to poison her. It was a tactic that was earlier used against Master Madan in 1940s. Lata Mangeshkar’s enemies had planted a cook in her residence who was slowly poisoning her meals. It was an incident of early 1960s. The matter was detected in time and the cook ran away.
Her detractors accuse her of sabotaging the careers of some of her contemporaries. I think this accusation has an element of exxagaration. Even in the prime of her career, there were lots and lots of movies where she did not sing. She would typically sing songs in 50 odd movies in a year out of 100 odd movies released in that year. If these contemporaries were as good as they thought, they had enough opportunities to get work in the movies where Lata Mangeshkar did not sing. It takes far more than just raw singing ability to get work and get repeated. It takes lots of social networking which Lata Mangeshkar was good at. A few of her contemporaries known to be regarded as her competitors did not possess even a fraction of the networking abilities that Lata and her equally illustrious younger sister Asha Bhonsle possessed.
My observation about Lata Mangeshkar is that she was like an iceberg, and only the tip of her abilities were used in HFM. And even that has resulted into a body of work that is quite formidable.
One can see from the above two tables that Lata Mangeshkar was a struggler for most of the 1940s and she had very little to show for her struggles by the end of 1947. Lots and lots of things happened thereafter. She has the luck and the ability to turn it around spectacularly in the years to come. We will look at these facts in details in the future posts of this series.
It has been mentioned above that all Lata songs of 1946 have been covered in the blog. The table for 1947 shows that one Lata song from 1947 remains uuncovered. The song under discussion is that remaing song.
“Aap Ki Sewa Mein”(1947) was directed by Vasant Joglekar for Chandrma Pictures Bombay. This obscure movie had Dixit, Kesri, Shantarin, Saroj Borkar, Nimbalkar, Smson, D R Gokhale, Bhal Marathe, Vijaya, Baby Nalini etc in it. The movie had eight songs in it. Four songs have been covered in the past.
Lata Mangeshkar had sung three solos in the movie. Two of these songs have been covered in the blog in the past.
Here is the third and final Lata solo from “Aap Ki Sewa Mein”(1947) to appear in the blog. The song is penned by Mahipal (later a hero of mythological movies). Music is composed by Datta Davjekar.
Listening to the voice in this song, one can notice the influence of Suraiyya in her voice, who was a leading female playback singer of those days.
With this song, all the Lata Mangeshkar HFM songs of 1947 have now got covered in the blog.
In the next instalment of this series, we will discuss Lata Mangeshkar HFM songs sung by her in Hindi movies released in 1948.
Song-Ab kaun sunega mere man ki baat (Aap Ki Sewa Mein)(1947) Singer-Lata, Lyrics-Mahipal, MD-Datta Davjekar
Lyrics
ab kaun sunega
ab kaun sunega aa aa
mere man ki baat
ab kaun sunega aa aa aa
mere man ki baat
jiske chhoote sabhi sahaare ae ae ae
jiske chhoote sabhi sahaare
uska haar(?)
ab kaun sunega aa aa aa
mere man ki baat
ab kaun sunega
jo karte thhe kabhi ishaare ae ae
jo karte the kabhi ishaare
doob gaye we chand sitare
doob gaye, doob gaye
dub gaye oe chaand sitare
raah dikhaane aayi mujhko
raah dikhaane aayi mujhko, toofaanon ki raat
ab kaun sunega aa aa aa mere man ki baat
ab kaun sunega
jyot diye ki ee ee jab bujh jaaye ae ae ae
jyot diye ki ee jab bujh jaaye
aansu kya usko sulgaaye
aansu kya aa
aansu kya
aansu kya usko sulgaaye
bhar bhar aatin ankhiyaan
ankhiyaan
bhar bhar aatin ankhiyaan
man sookha sookha jaaye
ab kaun sunega aa aa
mere man ki baat
ab kaun sunega aa aa
mere man ki baat
ab kaun sunegaa
This article is written by Peevesie’s Mom, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4455 | Post No. : | 15925 |
“Man Pasand” (1980 – censored on 26-6-1980 and released on 11-7-1980) was among the first few movies whose music cassette was purchased by my father along with “Yaarana” when they hit the market. And since then I am a huge fan of their songs. I Know almost all of them by heart.
This was a movie produced by Amit Khanna and directed by Basu Chatterji. Rajesh Roshan was the music director and Amit Khanna himself wrote the lyrics. The movie itself was inspired by the famous stage play by George Bernard Shaw – ‘Pygmalion’ (first published in 1913), and also on the hugely popular iconic film ‘My Fair Lady’ (1964 – Rex Harrison and Audrey Hepburn). The movie stars Dev Anand, Tina Munim, Girish Karnad, Simple Kapadia, Leela Mishra, Jalal Agha (appears as a guest in the song with this post), Piloo Wadia and Mehmood.
The movie has Dev Anand and Girish Karnad playing best friends, bachelors and musicologists. They encounter a loud and foul-mouthed vendor of ‘datun’ {neem branches} in the late-night local trains of Mumbai. Then and there, Dev (Pratap) throws a challenge that he can transform the unpolished girl into a graceful and talented singer and Karnad (Kashinath) picks up the bet and agrees to marry the girl if Pratap is successful.”
The above is from the last post that I wrote for this movie, in 2018 to celebrate Dev Anand’s 95th birthday.
We revisit the movie today. It has songs in the voice of another legend. When this movie was being made i.e. at the time of recording the songs of this movie, our Nightingale or Saraswathi- incarnate (as she is addressed by her ardent fans) must have been in her late 40s or just turned 50. She had been in the industry for nearly 37-38 years having stepped into the film world at the young age of 13, with the sole aim of supporting her family after the untimely death of her father. There was a time when she was rejected by Sashadhar Mukherjee for having a “thin-voice”. But it is that same “thin-voice” which was used in later years for songs that were filmed as early morning songs- “jaago mohan pyaare jaago” (Jaagte Raho); “jyoti kalash chalke” (Bhabhi Ki Choodiyan); “Satyam Shivam Sundaram” & “Bhor bhaye panghat pe” (Satyam Shivam Sundaram); and the bhajan which Saira Banu lip syncs in the morning hours in “Shaagird” – ‘Kanha kanha aan padi main tere dwar’. These are only a sample of what India’s Nightingale -Lata Mangeshkar – has given us over a career span of about 66-67 years. From the discography available on various websites it looks like she has stopped singing film songs sometime in 2010- that is why I have said that the career span is about 66/67 years. Of course, there was a time when she used to sing for actresses who were 50 years younger to her; then she switched to singing one or at the most two songs per movie after 2001 but has kept her date with recording songs by bringing out non-film albums and bhajans etc. I read somewhere that after a 14-year hiatus she recorded a song for some movie called “Dunno Y—Na Jaane Kyun” (2010).
She is a recipient of various awards including the Dadasaheb Phalke award in 1989, the Padma Bhushan (1969), Padma Vibhushan (1999) and finally the Bharat Ratna in 2001. She definitely is India’s Ratna (Gem), don’t know if we will have another like her ever!!!!
Coming back to the song for this post. This is the song by which Pratap (Dev Anand) introduces a fully trained & graceful Kamli (Tina) to upper class, high-society, party-going friends of his. He showcases her as an accomplishment of his scientific method of music coaching. The song which is composed by Rajesh Roshan as a semi classical number was picturised on a young Tina Munim and gives us a sample of what the ‘Koyal Kanthi’ Lata Mangeshkar is all about. Why I say sample is because this is a very short song. There are other songs where she has sung full classical and semi classical for close to ten minutes or even more. Here I remember another song where, in a Dev Anand movie, S D Burman has given Lata Didi (as the film industry addresses her) an 8½ minute song which has various ragas incorporated in it (any guesses which song I am referring to).
“Man Pasand” has had a rather slow journey on the blog. The movie has 8 songs of which the first one in Mohd. Rafi’s voice was posted in March of 2009. The previous song posted was in 2018 on the occasion of Dev Anand’s birth anniversary.
Here is the penultimate song the post for which began a day before Devsaab’s birth anniversary in 2019.
I can write a lot more about the song and the near-parallel careers of Devsaab and Latadidi in the film industry. But I choose to halt here.
Wishing our dear Lata Mangeshkar, a very Happy 91st birthday. Salute to her on her long innings in the industry.
Audio
Video
Song-Suman Sudha Rajni chanda aaj adhik kyun bhaaye (Manpasand)(1980) Singer-Lata, Lyrics-Amit Khanna, MD-Rajesh Roshan
Lyrics
suman sudha
rajni chanda
aaj adhik kyun bhaaye
suman sudha
rajni chanda
aaj adhik kyun bhaaye
suman sudha
prem singhaashan piya biraaje
pankha jhaloon main haule
mohit mugdh unhin ko taakoon
ban mayur mann dole
suman sudha rajni chanda
aaj adhik kyun bhaaye
suman sudha
rajni chanda
aaj adhik kyun bhaaye
suman sudha
ooo aaaaa mmmmm aaaaa
pratibimb meri aashaon ka
tum santosh ho mera
aalingan sundar sapnon ka
khushiyon ka kosh ho mera
suman sudha rajni chanda
aaj adhik kyun bhaaye
suman sudha
rajni chanda
aaj adhik kyun bhaaye
This article is written by nahm, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4454 | Post No. : | 15924 |
Tribute to S. P. Balasubramaniam
—————————————————
The great playback singer of south india left for heavenly abode after his month long illness and Covid – 19 related complications, which had him hospitalised since August. He is said to have recorded his last song on 5th August at Hyderabad. Some sources are reporting he has total 40000 songs to his credit. This calculates to more than two songs per day, in a 50 year career. The career spanning 5 decades and active career he was much revered and loved in the south India’s movie and music fan. The four primary languages of the south, namely Kannada, Telegu, Tamil and Malayalam have the major share of his songs.
When thinking of his songs, the first film that comes to mind is “Ek Duje Ke liye” (1981). When I looked up the songs of this film and found this info about how S. P. Balasubramaniam finally got to sing the songs of this film:
This was singer S.P. Balasubramaniam’s debut Hindi film. Music directors Laxmikant – Pyarelal were not keen on using him for the film since they had not worked with him before. Director K. Balachander convinced them that S.P. Balasubramaniam was the right choice since his imperfect diction would suit the role of South Indian man played by Kamal Haasan in the film.
When S.P. Balasubramaniam first met Laxmikant – Pyarelal for this film, the music director duo had asked him to sing a song. The singer first sang the title song of “Mere Mehboob” (1963) composed by Naushad. The composers then asked him to sing a simple song and he sang “Jaanewalo Zara Mud KeDekhoMujhe” (“Dosti”, 1964) composed by Laxmikant – Pyarelal themselves. According to S.P. Balasubramaniam, it was this song that convinced the composers of his abilities.
Tere Mere Beech Mein (Duet) – This duet with Lata Mangeshkar was the first song S.P. Balasubramaniam had recorded for this film. He spoke a few Tamil lines in this song including “Nee romba nallapaadarae” meaning “You sing very well”. He later said that he found the words ironical since they came from a newcomer like him and were addressed to the legendary Lata Mangeshkar. He was apparently so nervous during the recording that he had accidentally spilt tea on her saree. Understanding his plight, Lata had praised S.P. Balasubramaniam during the rehearsals in order to put him at ease.
These details finally made me decide that I want to post a song from this film. I found that only two song from this film is posted in the blog till date:
Mere jeewan saathi pyaar kiye jaa
Solah baras ki baali umar ko salaam
And this beautiful song which was all the rage in the 80’s is not yet posted, which has two solo versions. One is by Lata Mangeshkar, a happy solo and other is by SPB a sad, very sad solo. Lata version is beautifully shot in picturesque locales of Goa with Rati Agnihotri singing and Kamaal Haasan, not comprehending the hindi song, trying to understand where she is pointing in the other direction. The last scene of this song, with both Rati Agnihotri and Kamaal Haasan, standing with their backs to the rock outcroppings, looking out to the see from the vantage point, with the beach below and the mountains just beyond, was the picture perfect poster on the movie hoardings, even in theatre’s.
The SPB version is shot in a hotel room, where both Kamal Haasan and RatiAgnihotri find themselves in adjoining room. They have promised Rati’s mother that they will not contact and meet each other for a year, so cannot meet. How inane is that, if they met by accident and not by design, than it is divine intervention. But this was an opportunity to create an intense song situation, with Rati doing more histrionics, with a sea-shell:). In an earlier scene, Rati’s mother burns the photo of Kamaal Haasan. Rati, in a fit of inspiration to prove her true love, mixes the burnt carbon remains of the photograph with tea and drinks it. I think the mother was played by Shubha Khote.
The song also won the following awards :
1981 – National Film Awards – Best Male Playback Singer – Tere Mere Beech Mein (Male) – S.P. Balasubramaniam
1981 – Filmfare Awards – Best Lyricist – Tere Mere Beech Mein (Duet) – Anand Bakshi
So I am presenting a song, which won SPB a National Film Award for best playback singer in 1981, as a tribute on his passing away. Of course his memory will be forever alive through his numerous songs. May his soul rest in eternal peace.
S. P. Balasubramaniamversion :
Lata Mangeshka rvesion :
Song-Tere mere beech mein kaisa hai ye bandhan anjaana (Ek Dooje Ke Liye)(1981) singer-S P Balasubrahmaniam/ Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics
SP Balasubrahmaiam version:
———————–
tere mere beech mein
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana
main ne nahin jaana
tu ne nahin jaana
main ne nahin jaanaaa
tu ne nahin jaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana
ik dor kheenche doojaa
dauda chala aaye ae
ik dor kheenche doojaaaa
dauda chala aaye ae
kachche dhaage mein
bandhaa chalaa aaye
aise jaise koyee
ho o o aise jaise koyee
deewaaaaaana
aise jaise koyee
deewaaaaaana
main ne nahin jaanaaa
tu ne nahin jaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana
neend na aaye mujhe
chain na aaye ae
neend na aaye mujhe
chain na aayeea
laakh jatan karoon
rokaa na jaaye
sapnon mein teraa
ho oo
sapanon mein teraa
aana jaanaa
sapanon mein teraa
aana jaanaa
main ne nahin jaanaaa
tu ne nahin jaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana
—————————
Lata Mangeshkar version :
—————————
ooooo
oooooooo
tere mere beech mein aen
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana
maine nahin jaanaaa
tu ne nahin jaana
maine nahinjaanaaa
tu ne nahinjaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana
ik dor kheenche doojaa
dauda chala aaye ae
ik dor kheenche doojaaaa
dauda chala aaye ae
kachche dhaage mein
bandhaa chalaa aaye
aise jaise koyee
ho oo aise jaise koyee
deewaaaaaana
aise jaise koyee
deewaaaaaana
main ne nahin jaanaaa
tu ne nahin jaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana
oh ho
aapadiyaa
aah ha ha
jaise sab samajhgayaa
pehnoongi main tere haathhon se kanganaaa
pehnoongi main tere haathhon se kanganaaa
jaayegi meri doli tere hi anganaa
chaahe kuchh kar le
ho o
chaahe kuchh kar le
zamaaaaaana
chaahe kuchh kar le
zamaaaaaana
maine nahin jaanaaa
tu ne nahin jaana
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana
(Tamil words)
rumba
ye rumba ruka kya hai
kitni zubaanen bolen log hamjolee
kitni zubaanen bolen
log hamjolee
duniyaa mein pyaar ki
ek hai boli
bolen jo shama’a
ho oo
boli jo shama’a
parwaaaaaana
bolen jo shama’a
parwaaaaaana
main ne nahin jaanaaa
tu ne nahin jaana
(tamil words)
kya
tere mere beech mein
tere mere beech mein
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana
kaisa hai ye bandhan anjaaaaaana
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