Ye raat suhaanee hai muhabbat kee karo baat
Posted on: March 17, 2024
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.
|
Blog Day : |
5721 | Post No. : | 18240 |
Today’s song is from the film Madmast-1953.
This film was made by Sweet Pictures. It was produced by Jagdish Pant, directed by Jagdish Pant and even a song was written for this film by Jagdish Pant. Music Director was V.(Vistas) Balsara. The cast was Nirupa Roy, Shashikala, Sapru, Ansari, Mukri and others. 7 songs were written by Madhuraj, which was the name taken by Madhukar Rajasthani.
The film was noteworthy for a few of its singers. A new singer – Mahendra Kapoor -made his Debut with 2 duets in this film. Mahendra Kapoor became a well known and a prolific singer in later years. However, his songs in the film Madmast-1953 were a blot on his otherwise successful singing career. The reason is…..
Mahendra Kapoor won the Metro-Murphy All India Singing Competition in 1957. The prerequisite condition of the competition was that the participants should have no recorded songs earlier.
MK had many songs recorded much earlier way back since in 1953.His first recorded song was for composer V. Balsara for the movie Madmast-1953. He had sung two songs for this movie.
1)His first recording for this movie was “Kisi Ke Zulm Ki Tasveer Hai Mazdoor Ki Basti”, a duet with Dhan Indorewala (who had later got married to V. Balsara).
2) His other song in the movie was a qawwali with S.D. Batish, “Unhen Dekhen To Weh Munh Pher … Humen Aankhen Dikhaate Hain”.
He sang his first solo, “Kisko Daani Kahen … Tere Dar Ki Bhikmangi Hai Daata Duniya Saari” for Snehal Bhatkar’s Diwali Ki Raat in 1956.
The third song which he had sung was in Heer, the Punjabi movie Heer had music by Anil Biswas.
In addition to the above songs, he is also known to have recorded the following:-
3) A few lines for the song “Ek Taraf Joru Ne Hai Nikaala” for composer Bulo C Rani in the movie Madhur Milan(1955). This song had been sung by Mohd Rafi, Geeta Dutt and A.R. Ojha and penned by Raja Mehdi Ali Khan.
4) A duet with Sabita Banerjee for composer Sanmukh Babu Upadhyaya, “Oh Bedardi Jaane Ke Naa kar Bahaane” for the movie Lalkaar(1956)
When confronted, he lamely said that he had not taken any money for the above songs!!!
This was told by MK himself in an interview for the column ‘kya bhooloon kya yaad karoon’ (sahara samay).(The Blog beetehuedin.com has all these details including the court case, in MK’s interview.)
The second noteworthy point of the film was that another new singer-Dhan Indorewala, who was the wife of the Music Director, V.Balsara- sang 2 duets only in this film.
The third noteworthy point was about yet another singer in today’s duet, Bahadur Nanji, who was only an occasional singer and sang very few songs.
The last noteworthy point was about the Music Director V. Balsara, who rose from being an Arranger and an assistant to many MDs and had a limited success. Many arrangers, after working for a long time, desired to become music directors themselves. Some of them became MDs also, however history says that most such arrangers failed as MDs. Of course, there are few cases where they have succeeded too, but such cases are very few.
Datta Davjekar, Timir Baran Bhattacharya, Master Eric, Chic Chocolate, Shridhar Parsekar, Anil Mohile, Vasant Pawar, Hemant Kedar (Ramkrishna Shinde), Bal Parte, Bhushan and many other names can be quoted as arrangers who failed as MDs in Hindi films. Few people know that the original arranger in the Hindi film industry was Mohd Shafi – who too became a music director later in his career. According to D.O. Bhansali, a leading sound recordist of the 60s and the 70s, a group of arrangers, namely Dattaram, Enoch Daniels and Sebastian D’souza together gave music to film ‘Street Singer’ (1966), under the name of ‘Suraj’. After this one film, the group disintegrated.
There are however some cases where the one time assistants or arrangers became famous and successful independent music directors. In fact, most MDs were assistants in the beginning of their careers to gain knowledge and experience. There is an interesting case where a well known MD worked as an arranger/assistant to another famous MD, because he respected the senior MD. I am talking about C Ramchandra who became the assistant and arranger to Anil Biswas for the film ‘Girls School’ (1949). By 1949, CR himself was a much in demand and popular MD, but because of his respect for Anil Biswas he agreed to be his assistant on request from Anil Biswas ! This was the respect given to seniors in early days of Hindi films in Bombay !
His piano, univox and melodica, the instruments V.Balsara loved, be it for composing music for films or otherwise, have come to personify Vistas Ardeshir Balsara, the music director, who died in Kolkata’ on 24-3-2005.
The ‘gentleman musician’, as the affable Parsi was known among friends, had only his music to give him company in the twilight years as he grappled alone with ill health in the absence of his wife and two sons had predeceased him. The striking feature of Balsara was his never-say-die spirit. At 83, Balsara was still going strong on the music front with his Bengali film production ‘Til Theke Taal’ running in theatres in West Bengal.
He settled in Kolkata in 1954 after he was invited by legendary musician Jnan Prakash Ghosh, to the city. Earlier, he had been in Mumbai, then Bombay.
Born on 22nd June 1922, Balsara learnt music from his mother Nazamaye, and gave his first solo performance at the age of six with the pedal harmonium, in use in those times, at a packed C J Hall in Mumbai. Barely ten years later, the young lad was assisting famous Music Director Ustad Mustaque Hussain, in a Bombay film production ‘Baadal’ and had made a place for himself as a permanent assistant music director at the Filmistan studio under popular directors Madan Mohan, Khemchand Prakash and Ghulam Haider.
Balsara had his brush with the who’s who of the music world after he became the orchestra director of music company HMV in 1947 and then switched over to the R K Films banner three years later to work with the likes of Shankar Jaikishan and Naushad.
As the Founder Secretary of peer bodies like Bombay Cine Musicians’ Association and Bombay Cine Music Directors’ Association, Balsara earned the love and respect of his associates and young musicians.
Basking in the audience appreciation during a musical soiree in Kolkata’s Hindustan Park in 1953, the young musician decided to make this cultural capital his home a year later with a prized film assignment ‘Agni Pariksha’. At the coveted New Empire Theatres, he charmed audiences again in 1962 arranging music for Rabindranath Tagore’s celebrated play ‘Debatar Grash’ while debuting his own group the Indian Symphony Orchestra.
He gave Kolkata another first — the city’s maiden stereo recording in 1970 — when he put together ‘The Sound of Music’ recording strains of four Indian instruments in one album.
He had to his credit numerous popular film albums, both in Hindi and Bengali, a language he chose to speak more frequently in and with much more ease than his native Gujrati.
From the obscure ‘Circus Girl’ in 1943 to O Panchi-44, Rangmahal-48, Madmast-53, Talash-52, Char Dost-56, Vidyapati-64, Qurbani-52, Wohi Ladki-67, Jogi aur Jawani-75, Pyar-69, Jai Baba Vaidyanath-79 in Hindi to Madhu Shraboni, Joy Baba Baidyanath, Maa, Chalachal, Panchatapa, Subho Bibaha, Manik, Kanchan Kanya, Panna and Pathey Holo Dekha in Bengali, he had an enviable repertoire.
Balsara who was greatly influenced by western music learnt to play the piano from Hildafield, a German musician. His knowledge of the piano made him use it to play Indian classical music also with ease. He mastered the technique of using the instrument for playing Indian classical music from Muneswar Dayal of Gaya. He was equally at ease with string and wind instruments.
Today’s duet is sung by Dhan Indorewala and Bahadur Nanji. Bahadur Sohrabji Naanji was born in Mumbai on 14th December 1921. His father, Sohrabji Naanji was a stage actor in Imperial Theatre, Calcutta (Kolkata). He lost his mother when he was only 2 years of age. Bahadur Naanji completed his matriculation from Behram Jijibhai Charitable Institute. From childhood, he was interested in singing. He got his primary training in music from his elder sister who was a music teacher. He learnt to play the harmonium from her.
In the early 40s, he sang 7 version songs with Suraiya from the films of New Theatre . His playback singing career started with ‘Lahiri Cameraman’ (1944) and ‘Rangeele Dost’ (1944) by joining the banner Standard Pictures. However, for ‘Bairam Khan’ (1946), Ghulam Haider rejected him during his audition test along with Mohammed Rafi. He left Standard Pictures and joined HMV as a musician and chorus singer during 1946-50. In the early years, sometime, Mohammed Rafi used to join him in the chorus singing in HMV recordings.
With the changing scenarios in Hindi film music in the 50s, Bahadur Naanji switched over his career as a musician. He became an expert in playing musical instruments like organ, violin, piano, viola etc. After leaving HMV in 1950, he joined music director V Balsara as his assistant. In ‘Madmast’ (1953), V Balsara gave him a chance to sing a duet with Dhan Indorewala, wife of V Balsara. He also worked with some of the top music directors like Naushad, Shankar-Jaikishan, O P Nayyar, Roshan, Madan Mohan, Hemant Kumar, Neenu Majumdar, K.Datta etc.
Bahadur Naanji was also an expert in writing western musical notations in which he assisted Anil Biswas in ‘Pardesi’ (1957) and ‘Angulimal’ (1960).He had also sung a duet with Mubarak Begum for an unreleased film Bambi. Bahadur Nanji died on 24-11-2017 at the age of 96 years.( with thanks to blog beetehuedin.com and my notes).
Let us now enjoy the duet….
Song- Ye raat suhaani hai muhabbat ki karo baat(Madmast)(1953) Singers- Dhan Indorewala, Bahadur Nanji, Lyricist- Madhuraj aka Madhukar Rajasthani, MD- V.Balsara
Both
Lyrics
ha ha ha ha ha ha ha ha haa
ha ha ha ha ha ha ha ha haa
lalalalalalalaa (hahahahaha)
lalalalalalalaa (hahahahaha)
lalalalalalalaa (hahahahaha)
lalalalalalalaa (hahahahaha)
Ye raat suhani hai
muhabbat ki karo baat
nazron ki do dilon ki
do roohon ki mulaaqaat
Ye raat suhani hai
muhabbat ki karo baat
nazron ki do dilon ki do roohon ki mulaaqaat
pehle hi milan mein re
paheli na bujhaao
pehle mujhe is lafz ka matlab to bataao
aa ha matlab to bataao
phir aage badhe baat
phir aage badhe baat
is baat ka matlab hai bahut paas ko aanaa
paas ko aanaa
armaanon ko armaanon ki maujon mein milaanaa
haan haan maujon mein milaanaa
nazron ki do dilon ki do roohon ki mulaaqaat
nazron ki do dilon ki do roohon ki mulaaqaat
roohon ki mulaaqaat
Ye raat suhani hai
muhabbat ki karo baat
nazron ki do dilon ki do roohon ki mulaaqaat
lalalalalaa
ahahahahaa
lekin mujhe andar se koi tok raha hai
zanjeer banke mere qadam rok raha hai
zanjeer banke mere qadam rok raha hai
phir kaise base baat
phir kaise base baat
ye sharm ka parda hai
ise door hataao
door hataao
ghadiyaan hain milan ki ye
inhen yoon na ganwaao
haan inhen yoon na ganwaao
jeewan ke is aangan mein ho ?? barsaat
jeewan ke is aangan mein ho ?? barsaat
aangan mein ho ?? barsaat
Ye raat suhaani hai
muhabbat ki karo baat
nazron ki do dilon ki
do roohon ki mulaaqaat
Ye raat suhani hai
muhabbat ki karo baat
nazron ki do dilon ki
do roohon ki mulaaqaat
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
March 17, 2024 at 2:04 pm
Arun Sir,
Mahendra Kapoor’s early career was marked by controversy surrounding his initial recordings for the film ‘Madmast’ in 1953, which conflicted with the conditions of the Metro-Murphy All India Singing Competition he won in 1957. MK’s assertion that he hadn’t accepted payment for these recordings is understandable. Despite this, his widely recognized debut song, ‘Aadha Hai Chandrama,’ in the 1958 film ‘Navrang’ with Asha Bhosle, remains a landmark in his career.
The inclusion of his early recordings in his official record raises an interesting question. However, we won’t dwell on this topic further, as it’s not uncommon for many renowned artists to have less successful debuts that they may choose not to highlight.
I liked your post, “Ye Raat Suhaani Hai”
Gandhi Vadlapatla
LikeLike
March 17, 2024 at 4:32 pm
yes sir.
Many well known artistes like Meena Kumari, Johnny Walker, Sudha Malhotra, Mala Sinha etc. have tried to hide their Debut films, as those were failures, or small time ventures.
Thanks for liking the post.
-AD
LikeLiked by 1 person