Ab meraa Raam rakhwaalaa pada hai tum se paalaa
Posted by: Atul on: January 5, 2025
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 duet from the film Jawaab-1955. The film was produced and directed by Ismail Memon, for his own banner Ismail Films, Bombay. The music was by Naashad and all the 8 songs were written by Lyricist Khumar Barabankvi ( real name- Mohammed Haider Khan). The cast of the film was Geeta Bali, Nasir Khan, Balraj Sahni, Achala Sachdev, Johnny Walker, Mukri, Uma Devi and many others.
The film was a story of a poor Rickshaw puller-Balraj Sahni and his wife- Achala Sachdev. He was keen that their only son -Nasir Khan should get properly educated and become a big man in the society. While the son sincerely fulfils father’s wish about his education by graduating, there are so many obstacles in the love affair between Nasir and Geeta Bali, who want to get married. Finally, as in a majority of Hindi films, the end is happy as all these obstacles are tackled successfully, at the cost of the tolerance of the audience !
The year 1955 gave us some really meaningful and entertaining films. Raj Kapoor’s ‘Shri 420’ tried to bring in limelight, as usual, the hypocrisy of elite society. It was a great film with a message, good direction and everlasting music by Shankar-Jaikishan, the three specialities of an RK film. From this film onwards, “Raju” became the favourite name of Raj Kapoor’s Heroes.( Like ‘Shanker’ was Shammi Kapoor’s lucky name in early films. Similarly ‘Vijay’ was the favourite film name of Amitabh Bachhan in 20 films, of Jeetendra in 18 films and of Mithun Chakravarti in 16 films.).
Guru Dutt’s film Mr.and Mrs.55 was perhaps his last light comedy movie, which has peppy music by O P Nayyar. Later he made serious films like Pyaasa-57, Kagaz ke phool-59 and Sahib, Bibi aur Ghulam-62, for which he will be known forever. Sunil Dutt made his Debut with Railway Platform. V.Shantaram’s Jhanak Jhanak Payal Baaje was an example of how an art film devoted to Dance can also become a commercial success. The film being in color also helped. Seema and Devdas were serious films. Pather Panchali hit the Indian screens. Azaad, Insaniyat, Munimji, Udan Khatola and Baradari were entertainers with very good music.
Children’s film society was established in 1955. Shammi Kapoor and Geeta Bali got married. New Theatres of Calcutta made its last film Bakul and downed its shutters forever.
Today, instead of looking into the bio and work of the regular artist, we will look into the life story of a less discussed artist. Naashad was the Music Director of this film. his assistant in this film was arranger Shyamrao Kamble. LUCK plays an important role in our film industry. It is this Luck which has built bright careers and it is this Luck that has brought down people’s careers.
It was a matter of Luck that Devika Rani chose the hesitant, shy and simple Ashok Kumar as her hero in films, otherwise he would have, at the most, become a Cinematographer or a senior Lab Technician in the Photography department of Bombay Talkies ! It was a matter of sheer luck that Khan Mastana was the Main singer in Rafiq Ghazanavi’s Laila Majnu, and a shy aspirant Mohd Rafi was a part of Chorus and later in K Asif’s Laila Majnu, Mohd.Rafi was the Main singer and the poor Khan Mastana was in the chorus !
It was luck that the immensely popular master Nissar made the Governor of Bombay to stop and give way to the sea of Nissar’s admirers and fans and it was the same luck that a tattered, poor master Nissar died in Penury and anonymity in the bylanes of Kamathipura when his last rites were done through charities. The unprecedented record breaking popularity of ‘Jai Santoshi Maa’ was nothing short of a miracle and good luck to the hapless producer who was totally broke. Was it not Luck that made Pt. Hanuman Prasad listen to Geeta Dutt, without her knowledge and then brings her to the Films ?
The Hindi film industry is full of stories of luck. Thousands of people work in the industry, in different departments, but only a few get mentioned like say Cinematographer. What about his assistants who contribute equally, if not more to film shooting ?
Music Directors’ names are famous. At times their assistants too get a mention in the credits, but what about the soul of every song-the Arranger ? Many people do not even know that there is someone called an Arranger. An Arranger not only exists, but without him the song orchestration is not possible.
What does an Arranger do ?
A tune and music is decided by the Composer, but the harmonization of the orchestra is done by the Arranger. He decides which instrument should be used more, like one decides about a flower in a bouquet of flowers. Arranger is like an ‘ interior decorator‘ of music. Composer decides what effect he needs and what should be the interlude music. Arranger decides which instrument should be played. Melody is the main ingredient in a song. Orchestra has to supplement and complement the Melody. In this case orchestration is like Jewellery. A beautiful woman must use jewellery to enhance her beauty, but no overuse or underuse will do. Similarly Arranger does optimization of instruments.
Arranger must know the Notations, so that it can be written and given to the players.
How many Arrangers are known to the public in India ? A composer is Zero without an Arranger. So they try to employ the best of them in their service. Some of the Arrangers become successful Composers themselves, like Sonik-Omi or Laxmikant Pyarelal. Most arrangers fail as composers because they don’t know the commercial aspect of composition, like getting films, knowing and mixing with film personalities in Parties, having friends and God fathers in the right place etc etc.
The other day I was reading a book “Voh Bhooli Dastaan” by Subhash Chandra Jadhav,on Indian Film Music. In this book he has described information about one such successful but totally unknown Arranger SHYAMRAO KAMBLE.
Kamble was born in Karad, near Kolhapur in Maharashtra, on 23-10-1925. His elder brother taught him Tabla and Pakhawaj. Kamble joined a musical drama company where he learnt writing notations. When he came to Bombay he accompanied great singers like Saraswati Rane, Suresh Haldankar, Manik Verma etc. He used to make rounds of film studios and learnt to play Piano, Saxophone, trumpet, mandolin etc.
His career started as an assistant to music director H N Sharma.
Then he worked for Roshan in Bawre nain, wherein he played harmonium in all songs and Roshan was pleased. In Bheegi Raat-65 he played Guitar in the song ‘Dil jo na kah saka’
While doing Anokhi Raat he made use of Flute artistically in ‘oh re taal mile’. During this film Roshan died and he helped his wife to complete the recording of ‘Sapnon ka raja’ by Lata.
Chitralekha’s background music was liked by Hemant kumar very much.
After Roshan, Kamble worked for his son Rajesh Roshan also.
Kamble says,“Though my work was appreciated, my name never appeared in film credits till Jaidev and Sudhir Phadke insisted for it.”
From ‘Mujhe jeene do’-63 Kamble became Jaidev’s assistant. He says,’ Jaidev ji was a composer totally sold to indian classical music.’ For Reshma and Shera Kamble used Sarod effectively.
The producer director of Gharonda,Bheem Sen insisted its music to be like R D Burman. Kamble used the interludes in every song just like RDB and songs of Gharonda became very famous. Jaidev was so happy that he gave a 5 speaker gramophone to him as a Gift.
In the film ‘Tumhaare Liye’ Kamble wanted Hariprasad Chaurasiya to play Flute. He discussed it with Hari ji, but Hari ji did not come for any rehearsals, so Kamble called Sumant Raj and did the rehearsals. As luck would have it,on the day of recording Hariprasad came to play Flute. Kamble did not hesitate in making his decision. He used both the flutists for different pieces in the song.
Kamble also worked with Sudhir Phadke. when a producer wanted to make a remake of marathi film ‘Vahininchya Bangdya”, he took Sudhir Phadke for Bhabhi ki choodiyan as a composer, but put a condition that his Arranger will work with him. That person was a Goanese and Phadke did not like his arrangement with western instruments for this emotional film. He called Kamble and asked him to write notations for all the songs on the tunes decided already. Kamble did all this and left. Phadke gave the notations to the Goanese arranger and asked him to arrange orchestration accordingly. That is why all the songs of this film including ‘Jyoti kalash chamke” became popular.
Shyamrao Kamble did not attempt to become a film composer himself, as he knew his limitations. However,for “Bibal-My Brother”-1975, he shared the music with Prabhakar Jog.
Shamrao himself was a brilliant composer as well. He used to compose Bhajans and once on listening to the Bhajans he composed, music director Pyarelal asked him “Shamraoji if you can compose the tunes so nicely, why don’t you think to be a full-fledged music director for films ?” He just said “I am more interested in the Music Arrangements..” Pyarelal asked him jokingly, “so shall I use your compositions ?” smiling, within a second he said, “Pyareji, my all work is for you… you may use it whenever you wish..!” I am very much sure that if Shamraoji had taken music-direction as a career, he would have definitely achieved the position in the list of most talented and successful composers in the Indian music field,” said Pyarelal Ramprasad Sharma, the ace music director.
“His knowledge and devotion towards music was so deep, that he even used to guide or suggest the top artists like Rais Khan (sitar), Hariprasad Chaurasia (flute), Shivkumar Sharma (santoor) about the playing during the recordings. He also used to express that a particular music piece would be more effective if improvised in a different manner etc. And the greatness of those artists also, who used to sportingly accept Shamraoji’s suggestions and appreciate the same.. This was only because they were fully aware of Shamraoji’s knowledge and capacity. And also this was the reason that we had given total freedom to him in our work also,” said Pyarelal.
In his early career, Shamrao had worked as a notation-writer. He was the one who wrote down the notation for Dinanath Mangeshkar’s natya sangeet (Chandrika hi janu, Vilopale madhu meelanat ya, Yuwati mana etc).
Though he retired and settled in Poona, Laxmikant Pyarelal always called him for work. He has toured several countries with Laxmikant Pyarelal’s orchestra as an Arranger. Shamrao kamble died on 17-10-2008, at Dombivali, due to Brain Haemorrhage, at the age of 83 years.
The tribe of Arrangers always worked behind the curtain, without any limelight on them and without appearing in film credits.
Truly, they are the brains behind good music in films !
(Thanks to Subhashandra Jadhav of ‘Voh bhooli Dastaan’ and Imprints and images, with thanks.)
Today’s song is a duet sung by Asha Bhosle and G.M.Durrani ( one of the only two such duets). Enjoy this 70 year old duet now….
Song- Ab mera Raam Rakhwaala (Jawaab)(1955) Singers-G M Durrani, Asha Bhonsle, Lyrics-Khumar Barabankvi, MD-Naashaad
Both
Lyrics
rap papatarareeraa
haay
ab mera Raam rakhwaalaa
ab mera Raam rakhwaalaa
pada hai tum se paalaa
ab mera Raam rakhwaalaa
pada hai tum se paalaa
ae mat kariyo gadbad ghutaala
hoy
mat kariyo gadbad ghutaala
haan haan jee
main hoon bholaa bhaalaa
ab mera Raam rakhwaalaa
pada hai tum se paalaa
chaahaa bahut dil ye tum par na aaye
aaye tum par na aaye
ho
chaahaa bahut dil ye tum par na aaye
tum par na aaye
ho qismat ka jhagdaa rokaa na jaaye
rokaa naa jaaye
ho o jee
ulfat ne haay maar daalaa
haay haay
ulfat ne haay maar daalaa
pada hai tum se paalaa
ho mat kariyo gadbad ghutaala
samjhee
mat kariyo gadbad ghutaala
haan haan jee main hoon bholaa bhaalaa
ab mera Raam rakhwaalaa
pada hai tum se paalaa
taa taa tadaa taa
aa haa a ha
dil ka khara hoon main
jee jee jee
vaade ka sachchaa
jhhoothha
vaade ka sachchaa
jhhoothha
vaade ka sachchaa
Majnoo bhee mere aage hai bachchaa
Majnoo hai bachchaa
ho o jee
jhoothhe ka munh ho kaalaa
samjhe
jhoothhe ka munh ho kaalaa
pada hai tum se paalaa
ae mat kariyo gadbad ghutaala
hoy
mat kariyo gadbad ghutaala
haan haan jee main hoon bholaa bhaalaa
ab mera Raam rakhwaalaa
pada hai tumse paalaa
tadadadada
lalalalalala
aahahahaho jee
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