Dol re tu dol man re dol re tu dol
Posted on: October 31, 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.
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Today’s song is a NFS – NON-FILM SONG – of 1945, sung by Juthika Roy.
During my early years of writing on this Blog, I had run a series “The joy of NFS” in the month of June 2014, in which I had discussed 10 NFS songs by different singers. I have been a great fan of NFS, because in my younger age I was listening to them from time to time. However, the last NFS I wrote about was more than almost 2 years ago. While checking on Youtube for some other song, I accidentally saw this song and I was tempted to write on it. This song is uploaded by the well known collector Syed Zafar Shah, who has been generously uploading many old songs. May God increase his tribe !
Dance, Music and Songs have a special place in Indian culture. Dance requires training, Music requires musical instruments, but songs are for everyone. Centuries ago, Dance and Music was the prerogative of the Kings and the Rich. But songs had already permeated into the daily lives of people. From birth to death, from celebrations to festivals and from Naamkaran to Marriage, songs were available and used freely by the womenfolk. Songs had also entered the educational system. I remember, during my school days in the late 40’s, teachers insisted that we recited poems like a song, so that we remembered them. Even the Tables or the Pahades were loudly repeated by the entire class in tune. This helped to make the dry mathematics enjoyable. Due to that, people in the age bracket of 70+ still do remember the tables of 1/4,1/2,3/4,1 1/4, 1 1/2 etc even today. In the age of computers, Calculators and Mobiles, I find it easier and faster to calculate in my old learned way !
In India, the first recording was done in 1902 by a German team and there was no looking back after that. HMV opened a factory to make records in Calcutta. In those days, records and gramophones were affordable only to the rich people. In 1936, All India Radio started. from 1931 onward talkie films provided film songs, but film song records were regularly made only by the end of the 30’s decade. Until then Non Film Songs were popular all over the country.
During the period 1930 to almost 1950, it was the era of NFS. In the early years, Saigal, Pankaj Mullick, Juthika Roy, Jagmohan and Talat Mahmood ruled this segment. I remember we had a gramophone and one of my uncles was a fan of NFS, so we had many records of these singers. Very soon Hemant Kumar and S.D.Burman also joined the singing group. Bengali singers were in the forefront of singing NFS. Faiyyaz Hashmi, Kamal Dasgupta and his brother Subal Dasgupta looked after the lyrics and the music. Slowly in the western India too, almost every singer sang NFS. Lata, Asha, Geeta, Mukesh, Rafi and even Kishore Kumar cut several NFS records.
After 1960. the NFS died its natural death. The melody of Bangla singers ended with the demise of all those singers. That is why music lovers in the age bracket of 70+ remember the Golden period of NFS by the specialists. The newer generations, however , have missed the train. Once the NFS started featuring on the Blog, almost all famous and popular old time NFS were discussed. So far we have 254 NF songs by 81 singers listed on this Blog. Initially, when the NFS of Jagmohan, Pankaj Mullick, Juthika Roy etc were discussed, music lovers from far and wide countries put their comments on every song. These were the indicators of the popularity of the NFS.
Do you know that in the initial 2-3 years, NFS were not discussed on this Blog. When I started visiting this Blog, commenting on old songs, I was under the impression that only film songs are discussed here. However, Somewhere in late 2011, AK ji, of Songsofyore, had written on this Blog, about the importance of NFS. After reading his views,I too wrote a rather lengthy comment supporting the inclusion of NFS on this Blog. Our contention was that, Prior to Hindi Film Music becoming popular all over India,it was those ghazals,Geets and Bhajans,privately sung and recorded by various artistes which had ruled the tastes of music lovers. In fact many famous singers had recorded NFS in the beginning phase of their singing careers. Some names are Talat Mehmood, Saigal, Pankaj Mullik, Jagmohan and JUTHIKA ROY ! Juthika Roy’s name is to Non Filmi Songs what Lata’s name is to Film songs !
I do not think there was a single singer in those days who had not sung a Non Filmi geet in some type like Bhajan or gazal etc. I am sure many senior readers must have grown up listening to these NFS Bhajans and Geets. In fact more than a filmi song, maybe these people have some old geet or Bhajan embedded in their memories with some persons,events or places.
For the rise and evolution of NFS on the National level, 2 persons should get the credit. One- Music Director Kamal Dasgupta and two-Lyricist Fyaz Hashmi. They are the two people who promoted NFS in Bengali in Bengal and Hindi Geets making them an All India affair. With all his work in the film line, the name of Kamal Dasgupta will be remembered forever, for making the Geet form of songs in Hindi and Bangla, popular in India. His pioneering contribution to promoting the Non Film Songs, is beyond words. Music lovers throughout the country are indebted to him for this work. Poet Lyricist Faiyaz Hashmi and composer Kamal Dasgupta were regularly churning out wonderful melodies on 78 RPM every month and listeners all over India were enjoying them fully. Surprisingly, while Kamal’s name was written correct, Hashmi was credited in several ways like F Hashmi, F. Hashmi, Faiaz Hashmi, Faiyyaz Hashmi, Faiyaz Hashmi, Fayyaz Hashumi, Falyyaz Hashmi, Fayyaz Hashimi etc.
Actually,in 1985,Jagmohan Sursagar wrote in his Autobiography…..
” In the initial stages Kamal Dasgupta was influenced by Rabindranath Tagore. Tagore’s songs and compositions(Rabindra sangeet) were extremely popular, but were limited to Bangla people only. Ghazal, qawwali, Dadra, Naat, Thumri, Hori, Kajari etc used to come to market but had a very limited listenership. These never reached the top.
” The fusion of Gazal,Dadra and Qawali with Bangla Geet style gave birth to Hindi Non Film Songs or geets. As such Geet had a known and accepted place in Literature, but not in Music. To establish this new Genre, Kamal babu used lyrics by Pt.Madhur, Pt. Anjum and Faiyaz Hashmi, got them sung by Jagmohan, Hemant, Talat, Juthika etc. Their records were inscribed with ‘ Hindi Geet (Hindustani Song) ‘. What thus started as NFS Geet from 1936 continued upto next 20 years non stop. “
Kamal Dasgupta was born on July 28, 1912, in Kalia village in the district of Jassore, then in British India (now in Bangladesh). He was initiated into music by his father Prashanna Dasgupta. He later learnt it from his brother Bimal Dasgupta. Afterwards, he became a disciple of the legendary Dilip Kumar Roy and Ustad Zamiruddin Khan. He did his matriculation from Calcutta Academy. Later, he completed his B Com from Komilla Victoria Collage. He joined Banaras Hindu University (BHU) for his masters. He earned his PhD from BHU for his work on Mirabai’s bhajaans and music.
Kamal Dasgupta was a versatile musical genius. He used to sing modern songs in Bangala, Hindi, Urdu and Tamil. He was a brilliant composer who composed around 8,000 songs. His first composition was recorded in 1932 in the voice of Satyaboti, (she seems to be the mother of actress Leela Desai). His composition was classical based and folk music. Later he tended to lean towards Thumri style and Naats. In 1935, Kamal Dasgupta joined the Gramophone Company of India in Calcutta as a music director. During this stint, he developed a close and lasting association with the poet Nazrul Islam. They became fond of each other and the relationship lasted for eleven years (1934-45). The culmination of their friendship were 400 songs – inspired by the works of the poet.
Calcutta was the major hub of Indian films produced in the 1930s. New Theatres and Madan Pictures were the main studios along with the other companies. After earning a name with his compositions, Kamal tried his luck in films. His first picture was Pandit Moshai (1936) in Bangla which was followed by Sarbjanin, Vivahotsab and Devyani between 1936-1942. The legendary actor, director Prathmesh Chandra Barua was impressed by his music and gave him a break in Jawaab in 1942. PC Barua directed both the version in Hindi and Bangla. The film was an instant hit. It had cult numbers like Toofan mail ye duniya toofan mail, Ae chand chhup na jana and Kuchh yaad na rahe.
Kamal Dasgupta’s next film was MP productions social, Hospital, starring Kanan Devi, Ahindra Choudhary and Heeralal. The very same year he did another Barua Production, Ranee. The cast included J Ganguly, Kalawati, PC Barua and Jamuna. Like his earlier films, his music became popular. Kamal Dasgupta was as successful in films as he was in his private recording career.
In 1944, he moved to Bombay and did the film Meghdoot (1945), based on the Sanskrit poet Kalidas. Leela Desai and Sahu Modak were in the lead. The film was directed by the legendary Debki Kumar Bose. During his stay in Bombay, he did several films across different genres. His next film was Arabian Nights, directed by Niren Lahari. The cast included Kanan Devi, Nawab and Robin Majumdar. All the numbers of the film became very popular. The same year, he did a social film Bindiya, starring Ragini, Amar, M Shakeer and E Billimoriya. The film was directed by CM Luhar. Kamal Das Gupta used the voices of Anima Dasgupta, Kalyani Das, Hemant Kumar and Amar. His next film was the mythological Krishna Leela (1946) which was directed by Debki Kumar Bose and had Kanan Devi and Paresh Banerjee in the lead. 1946 was the busiest year for Kamal Das Gupta. He did Zameen Asmaan for director Dwarka Khosla, starring Ranjana, Jeevan and Kusum Deshpande.
Coming back to Calcutta, he did Faisala (1947) followed by Manmani. The film had Ragini and Jairaj in the lead. The film was directed by Sarvottam Badami. His last film with his mentor PC Barua was Iran Ki Ek Raat (1949) – a costume drama, starring Jamuna, Narang, Chandrakant and Chandrawati. Its melodious number were: Ulfat mein jise banaya tha, Chhalke chhalke sarabein jawani ke palaye, Kaun hai teer andaaj bada, Ae dil kya and Khel hai ye zindagi. His last release was Phulwari in 1951. He had 40 films to his credit. He gave music to 17 Hindi films. His first film was Jawab-42 and the last Hindi film was Phulwari-51. He had also sung 1 song in Hindi in film Jawab-42.
Following this, the maverick composer got completely disillusioned by the film industry and recording companies. His favourite songs which were sold in the lakhs didn’t carry his name on the jackets. At the age of 44, he married his favourite singer, Firoza Begum and embraced Islam. Kamal Dasgupta, by now, became Kareemuddin Ahmed. He kept on doing movies whenever an offer came. His last film in Bangla was Bodhu Baran in 1967.
He shifted to Dhaka. When Bangladesh became independent, he became a citizen in 1972. The composer was a man of taste. He owned a Buick, a rare thing in Calcutta in the 1950s. He was a great human being. He fed hundreds of people during the Bengal famine. He was also extremely fond of cricket. He was blessed with three sons – Shafin Ahmed, Hamin Ahmed and Tahsin Ahmed. They followed their father in music and cricket. Two brothers played cricket at the state level and Hamin Ahmed was selected for the national team of Bangladesh. Kamal Das Gupta with his failing health and lack of proper medical treatment succumbed to his ailments and passed away in Dhaka on February-2, 1974, at the age of 62.
From the 30s to the 50s, Juthika Roy was on everybody’s lips. Born on 20th April 1920 at a small village called Shenhati-near Howrah in Bengal,to Satyendra Nath and Snehlata Roy,she was more interested in singing than studies,but in that small village who would teach her? This was compensated by her father by bringing several records for her to practice.
When she was 7 years old, her father took her to HMV at Calcutta. Satyendranath wanted Juthika or Renu (her Real name) to emulate Master Madan who too had cut records in the 7th year. She passed her audition, but due to her tender age HMV asked her to come after 5-6-years. Her father took her to A I R Calcutta, where she not only passed the audition but also sang her first Bangla geet on Radio.
In 1930,her father was transferred to Calcutta and she was trained by Gyanranjan Sen. Through him her father contacted Kazi Nazrul Islam who liked her songs very much. Kazi was always in Silk Saffron robes and chewing Paan. He was the Chief Lyricist and music Director at HMV. He insisted and Juthika’s first Record was out.It was a Bangla Bhajan. She also met Kamal Dasgupta in that period. Kamal had played a major role in shaping her career as a singer. For most of her songs he gave the music. Together they sang some duets in Bangla and Hindi also. HMV made a contract with her to cut 2 Bangla and 9 Hindi song Records every year. Thus during the period 1934/35 to early 50s she brought out many records. Her name became popular all over the country.
She has sung 10 qawalis/Naats and her most famous qawali was ” Mohd. se badh kar koi nabi hai “.
She was offered but never liked to act or sing in films.However she did sing in few Bangla and 2 Hindi films(4 songs in all). Due to her Meera Bhajans,she was called ” Aadhunik Meera “.
She was the most favourite singer of Gandhi and Jawaharlal Nehru. She was invited by Jawaharlal Nehru to sing on the eve of Independence day celebrations. She had a pleasant experience of singing in Gandhi ‘s presence in early days. She was selected to sing on Delhi AIR on the 15th August 1947,when Pandit Nehru was unfurling India’s National Flag.
In 1984,Juthika Roy stopped singing and she was leading a peaceful and contented life in Calcutta till she died on 5th February 2014.
Let us now enjoy today’s NFS by Juthika Roy. It is entirely different from her other NFS, because a western style with a western orchestra has been used in this song.
Song- Dol re tu dol man re dol re tu dol (Juthika Roy NFS)(1945) Singer-Juthika Roy, Lyrics-Faiyaz Hashmi, MD-Kamal Dasgupta
Lyrics
Dol re tu dol
man re dol re tu dol
pyaar se mohe piyaa ne
aaj liya mol
Dol re tu dol
man re dol re tu dol
chup rahke main kuchh bhee chhupaa na sakee
mohabbat se dil ko bachaa na sakee
chup rahke main khud bhee chhupaa na sakee
mohabbat se dil ko bachaa na sakee
banaa hee liya mere hriday mein ghar
mere nainon ke dwaar ko
Dol re tu dol
man re dol re tu dol
chaandnee kee preet bharee
chhaaon mein
baithh ke meree khushee kee naao mein
chaandnee kee preet bharee
chhaaon mein
baithh ke meree khushee kee naao mein
mastee mein jhoom ke
baahon ko choom ke
man ko mere sikhaaya
prem anmol
Dol re tu dol
man re dol re tu dol
chaman mein mere ae
phagun ban ke phool khilaaye
meree galee mein
maine gagan ke taare lutaaye
chaman mein mere ae ae
?? ban ke phool khilaaye
meree galee mein
maine gagan ke taare lutaaye
ab mera hone wo
gaye
mere geet ke bol
bol
bol
dol re tu dol
man re dol re tu dol
pyaar se mohe piyaa ne
aaj liyaa mol
dol re tu dol
dol re tu dol
dol re tu dol
man re dol re tu dol
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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