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

Tum jhhoothh na jaano saajan mera pyaar

Posted on: August 13, 2021


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular 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

Blog Day :

4774 Post No. : 16524

Today, August 13, 2021 is the 44th Remembrance Day of a playback singer who was associated with the historic moment in the Indian film industry when for the first time, a system of playback singing was introduced in the film ‘Dhoop Chhaaon’ (1935)/’Bhaagya Chakra’ (Bangla). Yes, the playback singer is Parul Ghosh, one of the first three female playback singers – other two being Suporva Sarkar and Harimati Dua.

I am not sure as to how many of the Hindi film music lovers of the present generation have heard of Parul Ghosh as a playback singer. Or how many are aware that she was the sister of Anil Biswas, the ‘Bhishma Pitamaha’ among the Hindi film music directors and the wife of Flute maestro, Pandit Pannalal Ghosh. The main reason for her name being not known to the present generation is that Parul Ghosh had a short stint as a playback singer and that too in the 1940s during which time, she sang very close to 100 songs.

Parul Ghosh (1915 – 13/08/1977) was born in Barisal (now in Bangla Desh). She was the second child among three in the family, the first being Anil Biswas and the last being Sunil Biswas. Her mother, Satyabhama Biswas was a classical singer and a kirtankar. In 1924, Parul Ghosh got married to Pannalal Ghosh, a close friend of Anil Biswas. At the time of the marriage, Parul Ghosh was 9 and Pannalal Ghosh was 13.

Sometime in 1930, Anil Biswas shifted his base to Kolkata. Pannalal Ghosh and Parul Ghosh also fallowed him. While Anil Biswas was employed in Hindustan Recording Company as a singer and composer, both Pannalal Ghosh and Parul Ghosh were employed in New Theatres (NT) as the musician and singer, respectively. It is said that while working with NT, Parul Ghosh sang some Bangla film songs. To devote more time on his first love, flute, Pannalal Ghosh shifted to Mumbai along with his family in 1940. At that time, Bombay Talkies was conducting audition for new playback singers. Parul Ghosh also went for audition and got selected.

In Mumbai, the playback singing career of Parul Ghosh started in the right earnest. At that time, the top-most female playback singers like Amirbai Karnataki, Shamshad Begum, Zohrabai Ambalewaali, Zeenat Begum etc came from the family of professional singers. On the other hand, Parul Ghosh was first a house-wife then a playback singer. It took some time for her to create a space for herself in the midst of the top playback singers of that time.

After singing a couple of songs in ‘Kanchan’ (1941) and ‘Mala’ (1941) which failed at the box office front, Parul Ghosh sang as many as 8 songs in Bombay Talkies’ ‘Basant’ (1942) under the music direction of her brother, Anil Biswas. {For the reason of the contractual obligation, Pannalal Ghosh was credited as the music director for the film). The film was a hit and its songs became very popular.

In ‘Basant’ (1942), Shanti Sudha Ghosh, the elder daughter of Parul Ghosh also sang two solo songs for Baby Mumtaz (Madhubala) thus making her probably the first female child play-back singer of Hindi films. Also, this may probably be for the first time that two mother-daughter version songs were sung in the film. Shanti Sudha Ghosh rendered two songs for Baby Mumtaz which were also rendered by her mother, Parul Ghosh for Mumtaz Shanti in the film. These two songs are hamko hai pyaari hamaari galiyaan and mere chhote se man mein chhoti si duniya re.

Following the success of ‘Basant; (1942), Parul Ghosh sang 5 songs for Devika Rani in ‘Hamaari Baat’ (1943) under the music direction of Anil Biswas and 5 songs for Protima Dasgupta in ‘Namaste’ (1943) under the music direction of Naushad. In musical blockbuster film, ‘Kismet’ (1943) in which songs of Amirbai Karnataki dominated, Parul Ghosh sang only one song, papeeha re mere piyaa se kahiyo jaaye which became very popular.

In ‘Sawaal’ (1944). Parul Ghosh sang 5 songs under the music direction of her husband, Pannalal Ghosh. In this film, I liked the ghazal, aaj pehlu mein dard sa kya hai, rendered by her. In ‘Jwaar Bhaata’ (1944), Parul Ghosh sang as many as 8 songs under the music direction of Anil Biswas. One of her best songs in this film was bhool jaana chaahti hoon. In ‘Milan’ (1946) she rendered a beautifully raaga-based song, suhaani beriyaan beeti jaayen. Parul Ghosh rendered 4 songs for ‘Tohfa’ (1947) under the music direction of M. A. Rauf Osmania. She has beautifully rendered an emotion-filled ghazal, hamne tumne kiyaa thha jo aabaad.

Sometime in 1947, due to domestic compulsion, Parul Ghosh reduced her playback singing assignments and chose the life of a house-wife looking after her two daughters and her husband. She sang for the last time as a playback singer in ‘Andolan’ (1951) under the music direction of her husband, Pandit Pannalal Ghosh. This was also the last film for Pannalal Ghosh as a music director. From 1955-60, the family stayed in Delhi after Pannalal Ghosh took up the job as a Composer and Director of All India Radio, Delhi Vadhya Vrinda (Orchestra).

I have been able to collate songs rendered by Parul Ghosh, from the various sources which works out to 95 songs in 33 films. As expected, she sang the maximum number of her songs (30) in 7 films under the music direction of her brother, Anil Biswas.

Parul Ghosh faced a series of tragedies after she withdrew from playback singing. In 1951, her second daughter, Noopur died of small pox when she was around 2 years. In 1960, her husband, Pandit Pannalal Ghosh suddenly died of heart attack at the age of 48. Shanti Sudha, her elder daughter who got married to Devendra Murdeshwar, one of the senior disciples of Pandit Pannalal Ghosh died of cancer in January 1975. All these tragic events had led to deterioration in the health of Parul Ghosh who became bedridden after her elder daughter’s death. During this period, she was looked after by her two nieces (her younger brother, Sunil Biswas’s daughters) and some of the disciples of Pandit Pannalal Ghosh to whom she was the ‘Guru Maa’. Parul Ghosh died on August 13, 1977 at Malad.

On the occasion of the 44th Remembrance Day of Parul Ghosh, I am presenting one of my favourite songs of her from the film ‘Seedha Rasta’ (1947). The song is ‘tum jhooth na jaano saajan mera pyaar’, written by Amar Verma and set to music by S K Pal. The song is picturised on Kamala Kotnis. The video clip of the song end abruptly while the audio clip which I have uploaded has the full song.

In a Radio interview some years back, Anil Biswas had said that his mother’s voice had the melody of a flute and the texture of a shehnai and Parul Ghosh inherited the same quality of voice from her mother. This song reaffirms what Anil Biswas had said about Parul Ghosh’s voice.

——————————————————————————————————————————————————————-

Note: Some of the personal information about Parul Ghosh have been sourced from

(1) the interviews of V G Karnad and Anand Murdeshwar, disciple and grandson, respectivey of Pandit Pannalal Ghosh which are available on http://www.pannalalghosh.com and (2) an article ‘Sublime Genius – Pannalal Ghosh’ written by the late Mohan Nadkarni which is available on his website, https://mohannadkarni.org

Audio Clip:

Video Clip:

Song-Tum jhooth na jaano saajan mera pyaar (Seedha Raasta)(1947) Singe-Parul Ghosh, Lyrics-Amar Verma, MD-S K Pal

Lyrics (Based on Audio Clip)

tum jhooth na jaano saajan mera pyaar
tumhen kaise samjhaaun
tumhen kaise samjhaaun
tum jhooth na jaano saajan mera pyaar
tumhen kaise samjhaaun
tumhen kaise samjhaaun
beete din ki hai yaad

beete din ki hai yaad
jab kabhi aati
dil jalta hai
jyun jale diye ki baati
aankhon se bahti hai aansoo ki dhaa..aa.aar
jiya kaise bahlaaun
jiya kaise bahlaaun

kal tak jo thhe wo aaj rahe na hamaare
ek jhalak dikha kar toot gaye do taare
maine na jaana ulfat ke din chaa…aar
ro ro ke pachhtaaun
ro ro ke pachhtaaun

tumhre haathhon haay mit gayi anjaani
tumhre haathhon haay mit gayi anjaani
ab roti hai..ae ae
ab roti hai
meri barbaad kahaani
badnaam huye
chhoda hamne gharbaar
gharbaar
kise fariyaad sunaaun
kise fariyaad sunaaun
tum jhoothh na jaano saajan mera pyaar
tumhen kaise samjhaaun
tumhen kaise samjhaaun

5 Responses to "Tum jhhoothh na jaano saajan mera pyaar"

Sadanand Ji,
Thanks for the post on Parul Ghosh. I have heard her songs without knowing many other details. I had a wrong impression that she was sister of Pannalal Ghosh.(would correct it now). Sorry to read about tragedies in her later life. I have heard flautist Devendra Murdeshwar also, an accomplished artiste.

Like

Satish ji,

Thanks for going through the write-up.

There were a couple of emotional moments in the life of Parul Ghosh. I was moved by one instance which was revealed by her grandson, Anand Murdeshwar in an interview.

Parul Ghosh’s eleder daughter, Shanti Sudha Murdeshwar was suffering from cancer. At that time (1974) Parul Ghosh gave to Anand Murdeshwar, a beautiful flute and expressed a wish that he learns to play the flute and that his mother would like to hear him in her lifetime. So, he took to playing the flute on emotional grounds. He took the gayika part of the training from his grandmother, Parul Ghosh. and flute training from his father, Devendra Murdeshwar. After a year of training, he could play raaga Shree to the accompaniment of the tabla. On 27th December 1974, he staged a performance for his mother and attempted a shruti which his grandfather, Pannalal Ghosh used to take. This was an emotional moment, which deeply moved both his mother and grandmother. In less than one month from his maiden flute performance, he lost his mother.

That was the time when Anand Murdeshwar decided to choose flute instead of purcussion, which he was inclined to learn.

Like

Really Touching to read/know.

Like

Sadanand ji,

Many Thanks for this insightful post on Parul Ghosh.

I have read the comments on arguably her most famous song from Kismat 1943.

So the film version was duet and solo a record version of Parul Ghosh ?

Arunkumar has another solo and 2 more duets in the film. So, its quite possible that this duet with Parul Ghosh is also sung by him. Somehow, I am unable to attribute it to Kavi Pradeep as the co-singer on hearing the song.

Mahesh

Like

Mahesh ji,

Thanks for your appreciation.

I have heard all the 3 songs where the voice of Arun Kumar Mukherjee is involved and I am of the view that the male voice in the original sound track song ‘papeeha re……’ is that of Kavi Pradeep. He has a ‘heavier’ voice than that of Arun Kumar Mukherjee.

The 78 RPM record version (Record No. N.26194) of the song was a solo rendition by Parul Ghosh. However, the mp3 clip uploaded by SAREGAMA has the soundtrack version which begins with a part of the singing of Kavi Pradeep.

Like

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