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

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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.

Blog Day :

4156 Post No. : 15325 Movie Count :

4222

‘Saheb Bibi Golam’ (1956, Bangla film) was based on a story by the same title, written by Bangla novelist, Bimal Mitra. The film was directed by Kartik Chattopadhyay. The main star cast of the film was Uttam Kumar, Sumitra Devi, Anubha Gupta, Chhabi Biswas, Chhaya Devi, Nitin Mukherjee and Padma Devi. The story of the film relates to the time when the aristocracy of feudal lords was on the decline under the British rule by the end of 19th Century. The story revolves around the platonic relationship between the feudal lord’s neglected wife (Sumitra Devi) and a clerk (Uttam Kumar). The film was not only critically acclaimed, it was also a box office success.

The Hindi version of the film titled ‘Saheb Bibi Aur Ghulam’ (1962) was produced by Guru Dutt and directed by Guru Dutt’s right hand man, Abrar Alvi. Although the Hindi version of the film was released 6 years after the release of the Bangla version of the film, the idea to produce the Hindi version of the film was put forward to Guru Dutt by SD Burman as early as 1956 when he saw the shooting of the Bangla version  on his visit to Calcutta (now Kolkata) where Guru Dutt was already doing location hunting for his film ‘Pyaasa’ (1957). Guru Dutt had a meeting with novelist Bimal Mitra in SD Burman’s house in Calcutta, after which he decided to produce and direct the film with SD Burman as the Music Director.

When Guru Dutt  heard the story, he had decided that it had to be Meena Kumari who would be performing the role of Chhoti Bahu, the central character in the film. However, Kamal Amrohi, Meena Kumari’s husband declined the offer saying that she did not have dates. So, after failing to find any alternative actress for the role, the film was put in the back burner. It was only after the box office success of ‘Chaudhvin Ka Chaand’ (1960), Guru Dutt decided to revive ‘Saheb Bibi Aur Ghulam’ (1962). This time, after a lot of hard bargaining, Kamal Amrohi agreed with a raise in her fees and also giving bulk dates of 45 days at a stretch from January 1, 1962. He also put a condition that she would not travel to Calcutta to shoot in the haveli. So, the sets of Chhoti Bahu’s rooms in the haveli had to be created in a Mumbai studio.

Biswajit was identified for the role of Bhootnath, the clerk. But he did not agree for a condition of the exclusive contract with Guru Dutt Films. Shashi Kapoor was approached for the role which fell through as he came considerably late to discuss the role by which time Guru Dutt had decided to act in the film for the role of Bhootnath.

The film’s shooting started on January 1, 1961, exactly one year before Meena Kumari’s shooting schedule was to start. Probably, ‘Saheb Bibi Aur Ghulam’ (1962) was the first film from the stable of Guru Dutt Films which was ready in the cans in the record time except Meena Kumari’s part and the picturization of the songs which had to be postponed as the music director, SD Burman was ill during the first half of 1961. When he had recovered from his illness, he was selected by the Government of India to be part of the cultural delegation to the then USSR and other European countries. Guru Dutt lost his patience with SD Burman and entrusted the music direction to Hemant Kumar.

When SD Burman returned from his foreign trip, he was dismayed to find that he was no longer the music director of ‘Saheb Bibi Aur Ghulam’ (1962). Instead Hemant Kumar was roped in his place. SD Burman was very much upset as he felt that it was Hemant Kumar who had maneuvered to take over the music direction during his absence. He was so much involved with the film that he had already composed tunes for some songs with dummy lyrics without waiting for a formal contract. After this incidence, the relations between SD Burman and Hemant Kumar got affected. This explains as to why Na Tum Hamen Jaano Na Hum Tumhen Jaane from ‘Baat Ek Raat Ki’ (1962) was the last song Hemant Kumar sang for SD Burman.

[Note: Information in this article about what went behind the making of ‘Saheb Bibi Aur Ghulam’ (1962) is mainly based on (1) ‘Ten Years with Guru Dutt – Abrar Alvi’s Journey’ (2008) by Sathya Saran, (2) ‘Meena Kumari – The Classical Biography’ (2013) by Vinod Mehta and (3) ‘S D Burman – The Prince Musician’ (2018) by Anirudha Bhattacharjee & Balaji Vittal.]

The Hindi version of the film was not a frame by frame remake of its Bangla version film. Instead, the screen-play/dialogue writer and director Abrar Alvi and Bimal Mitra had a month-long sittings to finalise the screen-play and dialogues in tune with the taste of Hindi film audience without diluting the basic theme of the story. As a result, the visualization of scenes in Hindi version is quite different from the Bangla version. Let me give an example of the scene in which Bhootnath meets Chhoti Bahu for the first time.

In Bangla version, Bhootnath visits Chhoti Bahu’s (Sumitra Devi) room when she was about to complete her daily puja with her back to the camera. And then she looks back and tells  Bhootnath to sit down on the chair. Bhootnath introduces himself to Chhoti Bahu. There is not much movements in camera angles. In Hindi version, Chhoti Bahu calls him to sit as soon as he enters her room. The camera is focused on her feet the first time Bhootnath sees her. Even when she walks to her chair, the camera is still focused on her feet. But Bhootnath instead of sitting on the chair, he sits on the floor with his his dropping eyes. When he introduces himself as Bhootnath, the camera suddenly focuses on Chhoti Bahu’s  face and she tells him that it is a lovely name. It is at this point, Bhootnath who was speaking to her with eyes down looks up to see her face and is surprised that she was not amused by his name as it has been his experience with others. On the contrary, she says it is one of many names of the God. Also, there is a  empty bed shown while both of them are conversing symbolising the state of her marital life.

The Bangla version of the film kept the end as per the original story, that is Bhootnath (Uttam Kumar) does not get to marry Jaba (Anubha Gupta). But in Hindi version, there is an indirect hint by way of a dialogue and the last scene in which Bhootnath (Guru Dutt) travels with Jaba (Waheeda Rehman) in a horse cart. Since story has been told in the film in the flash back mode, it was possible in Hindi version of the film to change some sequences in the narration of the story.

The Bangla version of the film had 5 songs of which 2 songs were semi-classical songs in Hindi. Hindi version of the film had 7 songs. The background song in the Bangla version was in Hindi  using a part of a traditional dadra, ‘Ab Ke Saawan Ghar Aaja’ whereas in Hindi version, it was a haunting song, Koi Door Se Aawaaz De Chale Aao.

I am presenting another Hindi song from a Bangla film – ‘Saheb Bibi Golam’ (1956), ‘Kankar Mohe Laage Paniya Bharan Kaise Jaaun’ which has been rendered by Sandhya Mukherjee in dadra style. Lyrics are traditional which have been set to music by Robin Chatterjee. In the film, it has been picturised as mujra song. The equivalent song picturised in Hindi version of the film is Saaqiyaa Aaj Mujhe Neend Nahin Aayegi.

Song – Paniya Bharan Kaise Jaaun, Kankar Mohey Laage  (Saheb Bibi Golam) (1956) Singer – Sandhya Mukherjee, Lyrics – Traditional, MD – Robin Chatterjee

Lyrics

aa aaa aaaaaa aaa aaaa
paniya bharan kaise jaaun
aa aa aa aa
paniya bharan kaise jaaun
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage  
paniya bharan kaise jaaun
paniya bharan kaise jaaun  
kankar mohe laage
kankar mohe laage
kankar mohe laage
 
natkhat roke
meri dagariya aa

natkhat roke
meri dagariya aa

laakh bachaa ke chalun najariya
laakh bachaa ke
laakh bachaa ke chalun nazariya
gher let hai bairi saanwariyaa aa
gher let hai bairi saanwariyaa
kaise paanv badhaaun
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage
 
paniya bharan kaise jaaun
haaye ram
paniya bharan kaise jaaun
haaye ram
paniya bharan kaise jaaun
haaye ram
paniya bharan kaise jaaun
paniya bharan kaise jaaun
haaye ram
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage

kankar mohe laage
kankar mohe laage
kankar mohe laaaaa…..ge ae
kankar mohe laaaa……ge ae
kankar mohe laaaa……ge ae
kankar mohe laaaa……ge ae 
kankar mohe laaaa……ge ae 
kankar mohe laaaa……ge ae 
kankar mohe laaaa……ge ae 

————————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————————

आ आss आsssss आss आsss
पनिया भरन कैसे जाऊँ
आ आ आ आ
पनिया भरन कैसे जाऊँ
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
पनिया भरन कैसे जाऊँ
पनिया भरन कैसे जाऊँ
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे

नटखट रोके
मेरी डगरीया॰॰आ
नटखट रोके
मेरी डगरीया॰॰आ
लाख बचा के चलूँ नजरिया
लाख बचा के
लाख बचा के चलूँ नजरिया
घेर लेत है बैरी साँवरिया॰॰आ
घेर लेत है बैरी साँवरिया
कैसे पाँव बढ़ाऊँ
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे

पनिया भरन कैसे जाऊँ
हाय राम
पनिया भरन कैसे जाऊँ
हाय राम
पनिया भरन कैसे जाऊँ
हाय राम
पनिया भरन कैसे जाऊँ
पनिया भरन कैसे जाऊँ
हाय राम
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे

कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰


This article is written by Nahm, 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 :

4154 Post No. : 15321

As I have said in one of my recent posts, whenever I read something inspiring, be it a poem or an article, it inspires me to write something of my own thoughts. Nowadays there is less and less readable material forthcoming from the print media. The blog and its posts are sometimes savior’s for the intellect. One such article was the post by Sudhir Sir – “Gandhi Tere Desh Mein Ye Kaisa Atyachaar“, on the birth anniversary of Mahatma Gandhi.  It appeared quite late in the night, but as I read it completely, it was a thoroughly readable and thought provoking post. At least I found it thought provoking and for the next few days the matters and the quotes from the Mahatma’s books, and my own thought relating to them were reverberating in my mind. I wrote a lengthy comment on the post which I am reproducing here.

Sir,

Congratulations on writing such an extensive, studied article on Mahatma Gandhi and his philosophies. Reading it, I realised I haven’t read any of his books.  Being a Kitaabi keeda from childhood hasn’t helped me reach out to any of Mahatma’s books. Where ever I have found a bookshelf and a rack of books I tend to go through the titles and authors. In my defence, I can only say that non-fiction is not my strong case. Nevertheless, it is sad and tragic that the works of such great thinking minds are nowhere to be found in present day libraries.

The para’s you quote from his writings, about non-violence and cowardice; I dare say are the sort of philosophy which is popular as well as non-popular, depending on disparities in viewpoints.

I will quote an incident to explain what I mean. This happened in friends household. The son was playing football with his friends. A few other boys from the neighborhood, came up to one of the boy and started beating him over some fight or rivalry. All the friends including my friend’s son ran away from there. The boy came home and told the parents about this. This was just a school going kid. The father said, how can you do this, being a punjab da puttar, how could you not help your friend. The son said, if tried to help him than they will start hitting me too. Logic here, self-preservation not cowardice, the mother opined.

In the light of the above incident, the Mahatma’s point is first one will try to stop the violence by non-violence. But avoiding the situation altogether is not non- violence, but cowardice.  As opposed to valour.  The will to defend the one in difficult situation. Not just defend, but save. This is valour, opposite of cowardice.

But this is an era of “tamashbeen”.  A vast majority of public now prefers to just be a bystander and watch, rather than doing anything to stop the violence. Which neither here, nor there. This is a side kick of mass media. We are used to watching violence and it doesn’t make us flinch. A humans natural tendency to reject violence is gone. We watch it like it is a natural movie watching experience.

I believe, big cities are little better, with regards to violence of any kind. For the disruption is bigger and inconvenient. Crowd will be of various dispositions in any urban setting, someone will be a local and saner than others. Hopefully.

One more point, I would make here is about the “decay” of creation. The decay in creation is caused by impurities. The very nature of creation in mortal. What has started will end, whatever has lived will die. A natural death. Like some civilisation of the past died, due to natural calamities and became a step for newer civilisation to develop.

It is the truth which is pure. The lies added to it make it impure, and cause decadence. The civilisations that decay and then die of decadence,  rot. No new civilisation can emerge from such decayed rot.

So, we as humans, the superior among all creation, have a duty to preserve this purity in ourselves.

Regards.

I realize that the comment is just one dimensional, and could not carry the total sum of my impressions on the article.   I have said that non-fiction is not my strong case, and here I am, daily trying my hand at writing non-fiction  :).

Now I simply must quote this from the article :

It goes to establish that Gandhi was no ordinary soul, and such souls appear on this planet quite rarely. Albert Einstein has so beautifully summed it up in his tribute – “Generations to come will scarce believe that such a one as this ever in flesh and blood walked upon this earth”.

Of course I have read this quote before and this is not fiction. Another important thing he highlighted was about the discourse around ‘the relevance of the Mahatma today’.  And films like “Lage Raho Munna Bhai” were just a final stone dropped in the (already dry) pond, through the popular film media, to explain to the second generation Indians born after the end of the Gandhian era, that over dose of Gandhian philosophy like any other philosophy is also capable of creating a ‘chemical locha’ in the mental equilibrium.

May be the decay of this great civilization of homo-sapiens has started. The very nature of creation is temporary; all that exists will be destroyed one day.  The Universe may be infinite, but the only definite thing here is death. So be it, whether it is the death of a philosophy, a society or a world. The very wisdom of this species is in danger of being homogenized with its earlier extinct versions.

If one really gives deep thought about the situation the human race is facing, it feels as if the ‘Qayamat’ is truly underway.  The life we are living is like a tight rope walk of ‘pul-e-siraat‘.  One wrong step and below is hellfire. It’s that difficult to keep to the truth, obey the truth and keep faith in the truth.

But then there is a superior power, the creator, the sustainer and the nourisher of all that exists. As Allama Iqbal said :

mudda’ee laakh buraa chaahe to kya hota hai
wohi hota hai jo manzoor-e-khuda hotaa hai

So I have here a very positive kind of feel good song written by Javed Akhtar from ‘Dil Chahta Hai’ (2001).  The singer is Srinivas and composers are Shankar-Ehsan-Loy.   Yeah, the name of composers has a message in it.  I can try and translate the middle one i.e. ‘Ehsan’.

We all are familiar with word  ‘ehsaan‘ in songs like “Ehsaan Mere Dil Pe Tumhaara Hai Dosto” and “Ehsaan Tera Hoga Mujh Par“. The word ‘ehsan’ is a related word, with a change in meaning.  It means the ‘beauty of good conduct’. Or rather the beauty of best behavior.

The song I am presenting has a dream like quality with Dimple in white, Akshaye Kumar in white, and a white canvas.  The portrait of Dimple gradually develops on the canvas, while the Akshaye is dreaming on of pure water streams, dipping his hand into the stream,  full moon, in a dreamy halo of light and roshni.   In this moon light, all the colours are amalgamated to make a portrait, in which the fragrances are visibly mingling. Moon, stream, clouds, song, rain and butterflies are all in favour – in favour of the flavor of love, that is created of such different matter.  Some physical and some metaphorical matter, to make the billions and trillions of DNA that comprise this universe.

Video

Audio

Song – Kaisi Hai Ye Rut Ke Jis Mein Phool Ban Ke Dil Khile (Dil Chaahta Hai) (2001) Singer – Srinivas, Lyrics – Javed Akhtar, MD – Shankar-Ehsan-Loy

Lyrics

kaisi hai ye rut ke jis mein
phool ban ke dil khile. . .

kaisi hai ye rut ke jis mein
phool ban ke dil khile
ghul rahe hain rang saare
ghul rahi hain khushbooen
chaandni jharne ghataayen
geet baarish titliyaan
hum pe ho gaye hain
sab meherbaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile

dekho
nadi ke kinaare
panchhi pukaare..ea
kisi panchhi ko
dekho
ye jo nadi hai
milne chali hai..ea
saagar hi ko
ye pyaar ka hi
saara hai kaarwaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile

ho ooo
kaise
kisi ko bataayen
kaise ye samjhaayen..en
kya pyaar hai
iss mein
bandhan nahin hai
aur na koi bhi
deewar hai
suno pyaar ki niraali
hai daastaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile
ghul rahe hain rang saare
ghul rahi hain khushbooen
chaandni jharne ghataayen
geet baarish titliyaan
hum pe ho gaye hain
sab meherbaan

kaisi hai ye rut ke jis mein
phool ban ke dil khile
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn

———————————————————-
Hindi script lyrics (Provided by Nahm)
———————————————————-

कैसी है ये रुत के जिस में
फूल बन के दिल खिले॰ ॰ ॰

कैसी है ये रुत के जिस में
फूल बन के दिल खिले
घुल रहे हैं रंग सारे
घुल रही हैं खुशबूएं
चाँदनी झरने घटाएँ
गीत बारिश तितलियाँ
हम पे हो गए हैं
सब मेहेरबाँ
कैसी है ये रुत के जिस में
फूल बन के दिल खिले

देखो
नदी के किनारे
पंछी पुकारे॰॰ऐ
किसी पंछी को
देखो
ये जो नदी है
मिलने चली है॰॰ऐ
सागर ही को
ये प्यार का ही सारा
है कारवां
कैसी है ये रुत के जिस में
फूल बन के दिल खिले

हो॰ ॰ ॰
कैसे
किसी को बताएं
कैसे ये समझाएँ॰॰ऐं
क्या प्यार है
इसमें
बंधन नहीं है
और न कोई भी॰॰ई
दीवार है
सुनो प्यार की निराली
है दास्ताँ
कैसी है ये रुत के जिस में
फूल बन के दिल खिले
घुल रहे हैं रंग सारे
घुल रही हैं खुशबूएं
चाँदनी झरने घटाएँ
गीत बारिश तितलियाँ
हम पे हो गए हैं
सब मेहेरबाँ

कैसी है ये रुत के जिस में
फूल बन के दिल खिले
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न


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.

Blog Day :

4143 Post No. : 15309 Movie Count :

4216

Hullo Atuldom

Na Chaahoon Sona Chaandi” was the first time I took note of this roly-poly cute- faced actor. He played Braganza, a head-fisherman and father to ‘Bobby’ in 1973. Subsequently I saw him as mama to the character played by Hema Malini in ‘Aap Beeti’ in 1976, a pathan who helps Manoj Kumar in ‘Shor’ (1972), a sardar who was a good Samaritan in ‘Roti Kapda aur Makaan’ (1974).

Then one day on chitrahaar or it could have been chaayageet on Doordarshan I saw a black and white song “Patli Kamar Hai” where this particular actor was super good-looking which was enough to sweep the lady he was wooing, off her feet. He came across as a dancer with a reasonable sense of rhythm. That is when I was informed by my dad that Premnath was a lead actor in many movies and rattled of names like ‘Aab-e-Hayaat’ (1955), ‘Baadal’ (1951), ‘Aag’ (1948) etc. and also sang a few of his songs from movies where he was the hero. Recently, not so long ago, I too saw a black-n-white movie, where Premnath played a ‘supposed’ poor boy who falls in love with a princess and helps the king regain his kingdom, the movie was an Arabian nights kind of story. Think it was ‘Saaqi’ (1952).

So I have loved movies where Premnath was Sir Juda (‘Karz’), Yamraaj (‘Lok Parlok’), IG Khanna (‘Kalicharan’), Bajrang Bahadur (‘Aap Beeti’), Shankar Dada (‘Dharam Karam’), father of a bevy of beauties (‘Ishk Ishk Ishk’, and the most memorable of them all – Rai Saab Bhupendra Singh in ‘Johnny Mera Naam’.  Thinking of him today on his birth anniversary he would have been 93.

There is another celeb of yesteryears who has her birthday today. And I wrote a post for her last month itself where I wrote this “I remembered that November 21st was the birthday of our dear Helen. She turned 81 yesterday (21 October 2019).’’ God only knows what I was thinking as I wrote that post and sent it hurriedly to Atul ji for posting. And the good man that he is, he posted it within an hour of my sending it. But the error was pointed out in the comments section by Partha Chanda ji and Prakashchandra ji. The next day Nahm ji, after reading the comments, messaged me to inquire if I was planning one more post for the actual birthdate and also to see if the song choices were clashing. I assured her that the choices don’t clash as we have a vast library to choose from.  I must say that we had an extra song and extra good wishes for our much-loved Helen.

As my practice has been over the years, I have managed to find a song which features both the birthday celebs. It is from the 1979 release ‘Magroor’’ which starred Shatrughan Sinha, Vidya Sinha, Premnath, Helen, Deven Verma, Nadira, Narendranath, Paintal, Dr. Shreeram Lagoo, Jagdish Raj etc. The film had music by Laxmikant Pyarelal and Anand Bakshi wrote the lyrics. Playback singers were Asha Bhonsle, Suman Kalyanpur, Anuradha Paudwal, Mohd. Rafi, Kishore Kumar, Manna Dey and Mahendra Kapoor. All the 5 songs were duets.

Todays’ song is a club song where we see Helen (Rukhsaana) being wooed by a bunch of suitors (extras) and Premnath joining in on the fun. He is bodily lifted out of the dance floor by the cops at the end of the song. Playback for this song is by Asha and Mannada.

 

Song – Rukhsaana Rukhsaana Main Tera Deewaana  (Magroor) (1979) Singer -Asha Bhosle, Manna Dey, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Chorus

Lyrics 

aaaa aaaa aaahaa
aaahaa haaa aaahaa haaa
rukhsaana rukhsaana
main tera deewaana
tu kis ki deewaani
bol o meri jaan
he he
rukhsaana rukhasaana
main tera deewaana
tu kis ki deewaani
bol o meri jaan

rukhsaana dil degi kisi daulat waale ko
rukhsaana dil degi kisi daulat waale ko
pyaar karegi apne jaise kisi matwaale ko

rukhsaana rukhsaana
main tera deewaana
tu kis ki deewaani
bol o meri jaan
he he
rukhsaana rukhsaana
main tera deewaana
tu kis ki deewaani
bol o meri jaan

jis ko mujh se pyaar ho
o ho ho ho
jis ko mujh se pyaar ho
aaye imtihaan de
jis ko ye dil lena ho
pehle apni jaan de
ha ha ha
ha ha
ha ha ha
ha ha
ha ha ha
ha ha ho ho ooo
jal ke jo dikhaaye
dikhaaye
wo mera parwaana
hai
rukhsaana rukhsaana
main tera deewaana
tu kis ki deewaaani
bol o meri jaan
he he
rukhsaana rukhsaana
main tera deewaana
tu kis ki deewaani
bol o meri jaan

rukhsaana jaane jaana..aa
rukhsaana jaane jaana..aa
ishq mein tere
chhoda maine
saara zamaana
rukhsaana jaane jaana..aa
rukhsaana o meri jaane jaana
meri bulbul-e-baghdad
kahaan hai tu

chik bam bam
chik bam bam
bam chik bam bam
chik bam bam
chik bam bam
bam chik bam bam

tere deewaanon mein kaun hai mere jaisa
mere jaisa
arre haat
tere deewaanon mein kaun hai mere jaisa
mere jaisa
pyaar nahin milta
mil jaata hai paisa
mil jaata hai paisa
mera dil naa todo o
mera daaman chhodo
main aashiq tera
naam na lena mera
main de sakta hoon jaan bhi
marna hai aasaan bhi
phir mushkil kya kaam hai
paisa us ka naam hai
khaali dil kis kaam ka
sheeshe ka paimaana
he rukhsaana rukhsaana
main tera deewaana
tu kisi ki raani
poochho meri jaan
rukhsana dil degi kisi daulat waale ko
rukhsana dil degi kisi daulat waale ko
pyaar karegi apne jaise kisi matwaale ko

he rukhsana rukhsaana
main tera deewaana
tu kis ki deewaaani
bol o meri jaan
he he
rukhsaana rukhsaana (rukhsaana)
main tera deewaana (rukhsaana)
tu kis ki deewaaani (o meri bulbul)
bol o meri jaan (kahaan hai tu)
rukhsaana rukhsaana
main tera deewaana (rukhsaana)
tu kis ki deewaaani (rukhsaana)
bol o meri jaan
rukhsaana rukhsaana
main tera deewaana (rukhsaana)
tu kis ki deewaaani
bol o meri jaan


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.

Blog Day :

4128 Post No. : 15285 Movie Count :

4208

What is the common between the Hindi film song, “Jaa Tose Naahin Boloon Kanhaiyya from ‘Parivaar’ (1956) and a devotional song in Sanskrit,  “Vatapi Ganapatim Bhaje”?  The answer is that they are based on Carnatic Raag Hamsadhwani (also written as Hansadhwani).

Raag Hamsadhwani is said to have been invented by Carnatic composer Ramaswami Dikshitar (1735-1817). His son, poet-composer, Muthuswami Dikshitar wrote and composed one of the most popular Sanskrit devotional song mentioned above in Raag Hamsadhwani. The credit for bringing this raag to Hindustani classical music goes to Ustad Aman Ali Khan (1888-1953) of Bhendi Bazar Gharana who had also learnt Carnatic music under a court musician of the Mysore State. He created and composed a bandish, “Laagi Lagan Pati Sakhi Sang” in Raag Hamsadhwani.

Ustad Amir Khan, on a visit to Mumbai, met Ustad Aman Ali Khan and heard this bandish. He was so mesmerised by the bandish in Hamsadhwani that he started singing in his concerts both in Khayal and Taraana style which made it popular among the Hindustani classical vocalists and instrumentalists. Subsequently, many stalwarts among Hindustani classical vocalists such as Ustad Rashid Khan of Rampur-Sahaswan Gharana, Vidushi Kishori Amonkar of Jaipur-Atruali Gharana, Pandit AT Kanan from Kirana Gharana, Pandit Ajoy Chakraborty, his daughter and son-in-law, Kaushiki Chakraborty-Desikan and Parthasarathi Desikan – all from Patiala Gharana, Begum Parveen Sultana of Patiala Gharana etc. have rendered Raag Hamsadhwani in their concerts.

Despite the popularity of Raag Hamsadhwani among the Hindustani classical vocalists and instrumentalists, Hindi film music directors have rarely used this raag in composing the songs. Probably, Salil Chowdhury may be the first Hindi film music director to compose a full-fledged song in this raag for the film ’Parivaar’ (1956) as mentioned above. C Ramchandra did use some shades of Raag Hamsadhwani in the song, “O Chaand Jahaan Wo Jaayen in ‘Sharada’ (1957). I feel that Shankar-Ehsan-Loy has also used some shades of this raag in his fusion song, “Tere Naina Hans Diye in ‘Chaandni Chowk to China’ (2009).

A few days back, Partha Chanda ji, in one of his comments in our Blog, has pointed out that there is a great classical piece in Ritwik Ghatak’s Bangla film ‘Meghe Dhaka Tara’ (Cloud Capped Star), 1960.  I found out that there is not one but two classical Hindi songs in this film sung by Pandit AT Kanan and both are set in Raag Hamsadhwani. I have picked up one of the songs which is the bandish originally created by Ustad Aman Ali Khan.

I was not familiar with the name of Pandit AT Kanan. Since he was one of the ’Gurus’ at ITC Sangeet Research Academy, Kolkata since its inception in 1977, a brief profile of him was available on ITCSRA website. The following information about Pandit AT Kanan is mainly based on this source.

Pandit AT Kanan (18/06/1922 – 02/09/2004) was born in Chennai as Arkut Kannabhiran. As a teenager, singing became his hobby whereas cricket was his passion. At the age of 18, he joined Railways and played cricket for them. In early 1940s, Kanan visited Mumbai for a scheduled cricket match. After the match, he visited All India Radio, Mumbai to check the suitability of his voice for singing over the radio. When the AIR official heard his voice, they immediately offered him a program to be broadcast. This was the beginning of his tryst with Hindustani classical music.

On his transfer to Hyderabad, AT Kanan took the guidance for vocal training from Pandit Lahanu Babu Rao. He was once again transferred to Kolkata where he resumed training under Pandit Girija Shankar Chakraborty. In 1943, he gave his debut performance at All Bengal Music Conference. After about two years of his stay in Kolkata, Pandit Kanan was under orders of transfer. By this time, he had already established himself in Kolkata as a Hindustani classical vocalist of repute. His admirers persuaded him to leave the railway job and stay in Kolkata. Thus, he became a full time Hindustani classical vocalist.

Sometime in the 1950s, Pandit Kanan along with other musicians, established Kolkata Music Circle. Those days, Kolkata was one of the main centres of Hindustani classical music. Some of the Hindustani classical vocalists and instrumentalists used to regularly give their performance in the city. Pandit Kanan got opportunity to inter-act with Ustad Amir Khan, Pandit Ravi Shankar, Ustad Akbar Ali Khan, Vidushi Hirabai Barodekar etc.

Pandit Kanan’s renditions of the Raag ‘Hamsadhwani’, ‘Rageshri’, and ‘Jog’, among others, made him an extremely popular Khayal singer not only in Kolkata but also throughout the country. A top grade AIR artist, Pandit Kanan performed in all the important music conferences in the country, including National Programmes and Radio Sangeet Sammelans. He was also a playback singer in the Bengali films such as ‘Jadu Bhatta’ (1954), ‘Basanta Bahar’ (1957), ‘Megh Malhar’ (1958), ‘Meghe Dhaka Tara’ (1960), etc. He was bestowed with Sangeet Natak Academy Award in 1995.

In 1958, he married Malbika Roy (later known as Malbika Kanan) who was also a Hindustani classical vocalist.

Although, Pandit Kanan developed his own style of Khayal singing, some Hindustani classical vocalists believe that later on, he was influenced by the Khayal singing style of Ustad Amir Khan with whom he used to regularly exchange notes. I guess, this may be the reason that on the ITCSRA website, Pandit Kanan has been shown under Kirana Gharana. Of course, Ustad Amir Khan had also improvised the style of Kirana Gharana which his disciples named as the Indore Gharana style.

‘Meghe Dhaka Tara’ (1960), is the first of the trilogy of Ritwik Ghatak’s films on the aftermath of the partition of Bengal. Anil Chatterjee is a part of a family who has migrated from East Pakistan after the partition and are staying in the outskirt of Kolkata. He is the eldest son who is dreaming of becoming a Hindustani classical vocalist. He does not earn money for the family. Instead he is a wanderer. His sister (Supriya Devi) takes care of the family by earning but her efforts are not appreciated by any one in the family. In this process, she sacrifices her personal life (her fiancé is more interested in her sister than her) and her health for the betterment of the family. At the end, her serious illness becomes the burden on the family. And she still wants to live.

As mentioned earlier, Pandit Kanan’s Khayal rendition in Raag Hamsadhwani was regarded as the one of his most popular renditions those days. So, it was natural that he lips syncs for Anil Chatterjee for the bandish “Laagi Lagan Pati Sakhi Sang” in Raag Hamsadhwani in the film ‘Meghe Dhaka Tara’ (1960).

The bandish has been rendered as a ‘chhota khayal’. Although the music director for the film was Anil Chandra Sengupta, credit should go to Ustad Aman Ali Khan who had originally composed the bandish.

I did not find the record version of the bandish used in the film on the websites. Probably, it may not have been issued in the record version. Hence, I have provided the link of an audio clip of the longer version of the same bandish rendered by Pandit AT Kanan.

Video

Audio (Longer Version)

Song – Laagi Lagan Pati Sakhi-san  (Meghe Dhaka Tara) (1960) Singer – Pt AT Kanan, Lyrics – Ustad Aman Ali Khan, MD – Ustad Aman Ali Khan

Lyrics (Based on Video Clip)

laaa..aagi lagan pati sakhi-san
laaa..aagi lagan pati sakhi-san
parama sukh aa
ati anandana aa
parama sukh aa
ati anandana aa
laa..aagi lagan pati sakhi-san
laagi lagan pati sakhi-san
laagi lagan pati sakhi-san
laa..aagi lagan pa

laa aa aaaaaaaaaaa aa
laaaaaa..gi
laaaaaaaaaa. . .
laaaaaaaaa..gi
laaaaaaaaaaaaa aa
laaaaaaaaaaaaa aa aa…gi
laagi lagan pati sakhi-san
laaa..aagi lagan pati sakhi-san
laaa..aagi lagan pati sakhi-san
 
[Dialogues]
 
ang sugandhan chandan maathe ti..lak dhare
ang sugandhan chandan maathe ti..lak dhare
drigan-nayanan anjana fabnatey
amar ho nit pati kaaje sadan
laaa..aagi lagan pati sakhi-san
laaa..aagi lagan
laaa..aagi lagan
laagi lagan pati sakhi-san
laagi lagan pati sakhi-san
la..gi lagan
la..gi lagan
laagi lagan aaa


This article is written by Avinash Scrapwala, 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 :

4127 Post No. : 15284 Movie Count :

4207

Today 5th November is the eighth remembrance anniversary of Bhupen Hazarika (8 September 1926 – 5 November 2011). I am not adding any adjectives before his name because they will not do justice to describe the ‘personality’ he was, the monumental work he has done, the legacy he has left behind, and finally the ‘human for humanity’ he was.

I have always wanted to write an article on him since I came in to the contact with the blog. And that was only about how I get introduced to the ‘World of Bhupen Hazarika’ through his album ‘Main Aur Mera Saaya’ (2/1993) and his songs like from the movies that I know ‘Rudaali’ (1993) and others, and the famous non-film song “O Ganga Behti Ho Kyon. . .”.

I still remember the day 14th May 1993 (I was staying at Kota-Rajasthan then) when I bought ‘Main Aur Mera Saaya’ on HMV Cassette and me and one of my colleagues from Bengal listened to it. First time I just listened and was curious to know from my friend about the information on Bhupen Hazarika that he was aware of. Thereafter that evening I keep listening to the cassette changing sides till I went to sleep. That was the magic of the voice of Bhupen Hazarika and also the lyrics of the songs describing the various ‘common individuals in the society – the poor, the downtrodden, the suppressed ones’ and specially depicting the culture of Assam.

Around the same time, I think (June-July of 1993) the songs of ‘Rudaali’ were released and had became popular so the cassette of ‘Rudaali’ too became a part of my collection. Before that the Dadasaheb Phalke award for 1992 was announced; it was conferred on Shri. Bhupen Hazarika for his outstanding contribution to Indian cinema and music. After that I think his album with the song “O Ganga Behti Ho Kyon. . .”, couple of songs from ‘Darmiyaan’ (1997) and other non-film songs was released which I bought during my stay at Bareilly.

I was also always remembering the title song from the TV serial ‘Lohit Kinaare’, I think it had the voice of Bhupen Da (if I am not wrong) , but in spite of my continuous search for it I have not been able to find it till date. In between over the years I was only aware of his Assamese and Bengali version of his song “Aawaara Hoon. . .”, which is “Moi Eti Jajabor” in Assamese and “Ami Ek Jajabor” in Bengali. And of course of the Assamese and Bengali versions of the song “O Ganga Behti Ho Kyon. . .” i.e. “Bistirno Parore Ahankh Janore” and “Bistirno Duparer Ashankha Manusher’ respectively.

All these years all of his collection that I was having was always motivating me whenever I listened to the songs and I always cherished this valuable collection with me. After that almost a year back during my regular browsing I got to read about his personal life, his journey from his early years that made Dangor Moina, a child from Sadia, into a towering personality – Bhupen Hazarika. And I realized that one has to read more and more, or if possible, one has to literally live the life of Bhupen Hazarika to understand Bhupen Hazarika in its true ‘human’ spirit. And that surely requires a very detailed post separately.

On his birth anniversary this year (8th September, 2019) when Atul ji presented a post with his song “Ek Kali Do Pattiyaan” and mentioned about the original Assamese version of that song, I immediately checked for it and listen. And I was very excited and happy to enjoy it in Assamese language.

Just a couple of weeks later, there was a discussion on the song on ‘Brahmaputra’ in the ‘Atulites-whatsapp’ group where Atul ji mentioned about the folk singer Kalpana Patowary, so just one day I searched for her songs and came across a link of her performance in the TV musical program ‘Junoon’ where after her performance one of the judges Ila Arun asks her to sing the song of Bhupen Hazarika i.e. “Manuhe Manuhar Babe. . .”. So I looked for this song. When I listened to it first time I was lost in that song and from that day there is not a single day when I have not listened to this and other songs of Bhupen Hazarika in Assamese and Bengali whether I understand it or not.

But, as Bhupen Da himself mentioned in one of his interviews , what MF Hussain had said about him that “. . . when he sings – he paints.”. Here, I would like to add that not only we get to see the picture in front of us, but when he sings, we get involved in those feelings and emotions of those characters that Bhupen Da is singing about, and we unknowingly step into the soul of those characters.

Well, Atul ji’s post and the discussion on the group prompted me to look for the original Assamese and Bengali versions for his songs from the album ‘Main Aur Mera Saaya’. I keep finding them and also found some of them which are given in the table below for those who are interested to listen them. Rather I would request all to please listen to them to understand the ‘nuances’ (as Gulzar saab has said in his commentary in the album ‘Main Aur Mera Saaya’) of the characters.

Song Title (Hindi) Assamese song Bangla Song
Dola Ho Dola Dola He Dola Dola He Dola
Yeh Kiski Sadaa Hai Pratidhwani Suno Pratidhwani Shuni
Us Din Ki Baat Hai Porokhi Puwaate Tulunga
Kitne Hi Saagar Saagar Sangamat Saagar Sangame
Haan Aawaaraa Hoon Moi Eti Jajabor Aami Ek Jajabor
Main Aur Mera Saaya Moi aru mor saa
Ek Kali Do Pattiyaan Ekti kuri duti paata
Aalsi Saawan Badri Udaaye Ek khana megh bheshe elo aakashe

I would request our knowledgeable readers to correct me wherever I had made a mistake and also please provide either the Bangla or Assamese version for the Hindi songs that I have been unable to find in the above list. Also, I would apologize if I have made any mistake in the text while mentioning the songs title in either Assamese or Bengali elsewhere in this post.

Now, coming back to “Manuhe Manuhar Babe”, I found one video link wherein Bhupen Da himself is performing on this song and the details mentioned that this song was composed by him in 1964. And there, just this thought crossed my mind to check if there is a Hindi version of this song since it was the oldest song of Bhupen Da so I thought this should have been naturally translated in Hindi long back and this song both in Assamese and Bengali “Manush Manusher Jonno” (that Atul ji mentioned in his post ), are very popular one. But I could not gather the exact translated words for this song in Hindi if at all the song was made. But finally, I got it when I was listening to the various links available for the song “Insaanon Ne Paise Ke Liye” for Sahir Saab’s Remembrance Day.

So, when I was browsing for the song “Insaanon Ne Paise Ke Liye”, I noticed a link in the suggestions having Bhupen Da’s song “Insaan Insaan Ke Liye” and as I listened to it I had got the song I was looking for. And not just that it was already in the movie which was a Hindi version of ‘Chameli Memsaab’, I also got to listen another one “O Bideshi Bandhu”. What a song that is too. . . as we keep listening they keep growing more and more. . . and more. . .

And nowadays, there is not a single day when I do not listen to Bhupen Da’s song in Assamese or Bengali (even though I do not understand the words fully. But I must say they are very sweet, melodious and healing too). For example, I have listened innumerable times to “Akhom Dekhor Bagisare Sowali” in the voice of Usha Mangeshkar. And then its Bangla version “Asom Desher Meye Aami”. However, it seems that this song was not translated and included in the Hindi version of this movie.

Then there are few songs like “Shahid Pronaamo Tomak” which I like very much. And one song that Bhupen Da has mentioned in the interview (that I referred to above)  “Agnijugor. . .  Nuton Akhom Gadhi, Nutan Bharat Gadhi” which I need to listen, but so far have not found the link for it.

Now I also wish to learn Assamese and Bangla. And as many peoples say very rightly that we should always try and learn the Indian languages other than our mother tongue too. And that is the magic of our rich cultural heritage and of our ‘Unity in Diversity’. Even Bhupen Da an ambassador of ‘humanity’ also plays his role in the process of ‘national integration’ when he talks about that in the above interview.

And that bring us to the song of today, which has been taken from the Hindi moive ‘Chameli Memsaab’ (1979). Bhupen Da won the national award for the ‘Best Music Director’ for the Assamese movie ‘Chameli Memsaab’ at the 23rd National Awards – 1975.

‘Chameli Memsaab’ (Hindi) was directed by Ajit Lahiri for Elem Films, Calcutta. It has Abha Dhuliya, Tom Alter, Freddy Stroud, John McKenzie, Mrs. Freddy Stroud, Carol Alter, Pallavi Mehta, Master Raju, Sushant Sanyal, Mithoon Chakravarty and others. HFGK does not mention about the date of passing of this movie by the Censor Board.

This movie has four songs including one multiple version song. Lyrics for the songs are written by Gajanan Sharma (three songs) and Deep Narayan Mitholiya (one song). Music is composed by Bhupen Hazarika. Bhupen Hazarika, Kamal Ganguly, Arundhati Holme Choudhary and Ila Basu gave their voices to the songs in this movie.

Today’s song is sung by Bhupen Hazarika and Kamal Ganguly and the lyrics are by Deep Narayan Mitholiya (I think singer Kamal Ganguly and lyricist Deep Narayan Mitholiya will be making a debut on this blog).

Let us now enjoy today’s song and welcome ‘Chameli Memsaab’ (1979) on the blog. Let us also remember the great human being Shri Bhupen Hazarika. And remember that we still have a long way to go to explore the writer, composer and singer Bhupen Hazarika.

Thanking Bhupen Da for the vast musical treasure trove of the ‘soul and fragrance of India’

 

Song – Insaan Insaan Ke Liye, Jeevan Jeevan Ke Liye  (Chameli Memsaab) (1979) Singer – Bhupen Hazarika, Kamal Ganguly, Lyrics – Deep Narayan Mitholiya, MD – Bhupen Hazarika
Bhupen Hazarika + Kamal Ganguly
Chorus

Lyrics

insaan insaan ke liye
hmm hmm hmm
jeewan jeewan ke liye
hmm hmm hmm
zaraa si hamdardi ka wo
hmm
kyon haqdaar nahin
o bandhu
insaan insaan ke liye
hmm
jeewan jeewan ke liye
hmm hmm
zaraa si hamdardi ka wo
hmm hmm
kyon haqdaar nahin
o bandhu
insaan insaan ke liye

aa aa aa aa aa
aa aa aa aa aa

insaan insaan ka saudaa kare ae
wo ise rozgaar kare ae
insaan insaan ka saudaa kare
wo ise rozgaar kare
itihaas puraana agar palte
kya sharmaaoge nahin
o bandhu
insaan insaan ke liye ae

kya nuksaan tujhe ae
jeewan ki gehri bhanwar
paar ho tere sahaare ae
kamzor log agar
hmm hmm hmm hmm
kya nuksaan tujhe ae
hmm hmm
jeewan ki gehri bhanwar
paar ho tere sahaare ae
kamzor log agar
hmm hmm
insaan agar na ho insaan
shaitaan kabhi naa hota insaan
insaan agar na ho insaan
shaitaan kabhi naa hota insaan
shaitaan agar ho jaaye insaan
shaitaan agar ho jaaye insaan
kya sharmaaoge nahin
o bandhu

insaan insaan ke liye
hmm hmm hmm
jeewan jeewan ke liye
hmm hmm hmm
zaraa si hamdardi ka wo
hmm
kyon haqdaar nahin
o bandhu
insaan insaan ke liye
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa

————————————————————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————————————-

इंसां इंसां के लिए
जीवन जीवन के लिए
ज़रा सी हमदर्दी का वो
क्यों हक़दार नहीं
ओ बंधू
इंसां इंसां के लिए
जीवन जीवन के लिए
ज़रा सी हमदर्दी का वो
क्यों हक़दार नहीं
ओ बंधू
इंसां इंसां के लिए

इंसां इंसां का सौदा करे ए
वो इसे रोज़गार करे ए
इंसां इंसां का सौदा करे ए
वो इसे रोज़गार करे ए
इतिहास पुराना अगर पलटे
क्या शरमाओगे नहीं
ओ बंधू
इंसां इंसां के लिए

क्या नुक्सान तुझे ए
जीवन कि गहरी भंवर
पार हो तेरे सहारे ए
कमज़ोर लोग अगर
इंसां अगर न हो इंसां
शैतान कभी ना होता इंसां
इंसां अगर न हो इंसां
शैतान कभी ना होता इंसां
शैतान अगर हो जाए इंसां
क्या शरमाओगे नहीं
ओ बंधू

इंसां इंसां के लिए
जीवन जीवन के लिए
ज़रा सी हमदर्दी का वो
क्यों हक़दार नहीं
ओ बंधू
इंसां इंसां के लिए


This article is written by Sudhir, 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 : 4121 Post No. : 15274

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 49
——————————————————————————————

OK, so a norm need not always be effected. In my previous post of this series, I had mentioned in the beginning that – “The blog was in its childhood –”. On 29th October of 2009, the departure was that only one song was posted. Ah yes, sometimes it used to happen even then. One song has become kind of a norm these days. 🙂

The solo song that day was from the film ‘Pehli Jhalak’ of 1954. The film had made its debut that day with philosophical song “Zameen Chal Rahi Aasmaan Chal Raha Hai” in the voice of Hemant Kumar. Music is by C Ramchandra and the lyrics are from the pen of Rajinder Krishan.

Geet Kosh lists 10 songs for this film, with the above mentioned song appearing in the film as a two part song. All the songs are written by Rajinder Krishan, and the music is by C Ramchandra. Over the subsequent six years, till 1st December 2015, eight of the remaining 9 songs appeared on the blog with a certain irregular regularity. Check out the posting status in the table below.

 

Zameen Chal Rahi Aasmaan Chal Raha Hai Pehli Jhalak 1954 2102 29-Oct-09
Naa Maaro Nazariyaa Ke Baan Pehli Jhalak 1954 2430 24-Apr-10
Charandas Ko Peene Ki Jo Aadat Naa Hoti Pehli Jhalak 1954 2633 17-Jul-10
Chhodi Ji Chhodo Kalaayi Koi Dekh Legaa Pehli Jhalak 1954 2891 2-Sep-10
Oonchi Oonchi Dukaan Phheeka Phheeka Pakwaan Pehli Jhalak 1954 3078 6-Oct-10
Kaise Bhaaye Sakhi Rut Saawan Ki Pehli Jhalak 1954 8642 5-Sep-13
Achchi Soorat Hui Ya Museebat Gali Mein Aana Jaana Band Pehli Jhalak 1954 10950 11-Mar-15
Zamaane Se Niraala Hai Meri Ulfat Ka Afsaana Pehli Jhalak 1954 10963 21-Mar-15
Mohabbat Ne Mujhe Maara Pehli Jhalak 1954 11619 1-Dec-15

The last song of this film was posted almost four years ago. And since that day, 1st Dec, 2015, this film has been patiently waiting to be yippeee’d. The reason being that this last remaining song of this film was not available online all this time. Checking for it again some days back, I am finally able to locate online, the audio of this song, which was posted just recently in August of 2019. And interestingly, just 6 views so far, as I write these lines.

The film ‘Pehli Jhalak’ is produced by Seth Jagat Narayan, under the banner of Jagat Pictures, Bombay. It is directed by MV Raman. The start cast of this film includes Vaijayantimala, Kishore Kumar, Pran, Shammi, Roopa Varman, Anil, Jawahar Kaul, Shivraj, Kamlakant, Om Prakash, Dara Singh, and Baby Asha Parekh.

So finally, we are announcing today, the yippeee status for this film, with the posting of this song. The song is in the voice of Shamshad Begum. The song appears to be a gambling related song, with the words exhorting the gambler to play on – money is a thing that comes and goes. Do not worry about it – “सोच ना बाबू ऐसा ना वैसा; just play the game and place your bet – “दांव लगाने में फिर डर कैसा“. It is a fast paced song sung with her usual verve by Shamshad ji.

Listen and enjoy.

 


Song – Aata Hai Paisa, Jaata Hai Paisa (Pehli Jhalak) (1954) Singer – Shamshad Begum, Lyrics – Rajinder Krishan, MD – C Ramchandra
Chorus

Lyrics

aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
oo oo
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa..aa

khele jo dilwaale dil ki baazi
dil hai raazi to duniya raazi
khele jo dilwaale dil ki baazi
dil hai raazi to duniya raazi
mail hatheli ki hai paisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
oo oo
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa..aa

haar gaya dhan tan bhi laga de
garam hai mehfil rang jamaa de
haar gaya dhan tan bhi laga de
garam hai mehfil rang jamaa de
soch na baabu aisa na waisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
oo oo
aata hai paisa
(la la la la la)
jaata hai paisa
(la la la la la)
daanv lagaane mein phir darr kaisa..aa
(la la laa laa laa laa la la)

——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————

आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
ओ ओ
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा॰॰आ

खेले जो दिलवाले दिल की बाज़ी
दिल है राज़ी तो दुनिया राज़ी
खेले जो दिलवाले दिल की बाज़ी
दिल है राज़ी तो दुनिया राज़ी
मैल हथेली की है पैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
ओ ओ
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा॰॰आ

हार गया धन तन भी लगा दे
गरम है महफिल रंग जमा दे
हार गया धन तन भी लगा दे
गरम है महफिल रंग जमा दे
सोच ना बाबू ऐसा ना वैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
ओ ओ
आता है पैसा
(ला ला ला ला ला)
जाता है पैसा
(ला ला ला ला ला)
दांव लगाने में फिर डर कैसा॰॰आ
(ला ला लाs लाs लाs लाs ला ला)


This article is written by Sudhir, 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4119 Post No. : 15272 Movie Count :

4199

Songs Repeated in Hindi Films – 12
– – – – – – – – – – – – – – – – – –

What we have today is a repeat song of a very familiar and a very wonderful hit of its time, and yes, an all time favorite that seems to carry a timeless appeal for people in love. And as is shown on screen, people in love – of all ages. This reuse has some very interesting circumstances, mostly well evident in the picturization itself.

The original song is from the hit film ‘Khel Khel Mein’ from 1975. The lead pair in that film is Rishi Kapoor and Neetu Singh, who were famously in love off the celluloid also. They were referred to as the ‘Love Birds’ of the Hindi cinema. Their affair culminated in their tying the proverbial matrimonial knot in 1980. ‘Khel Khel Mein’ was possibly their second film together, having worked together earlier for the first time together, in ‘Zehreela Insaan’ in 1974. The original song is performed on screen by this pair, playing roles of college students in love, and in search of fun and adventure through petty pranks. On screen, the scenario is that both are drunk, and have got it into their minds to announce their love for each other to the world through this song. The original song is written by Gulshan Baawra and the music is by RD Burman.

The repeat song is from the 2005 film – ‘Pyaar Mein Twist’. The lead roles in this film are played by Rishi Kapoor and Dimple Kapadia. Seeing this pair on screen brought back memories of many a story, all the way back from three decades ago.

Rewind back to 1973. Rishi and Dimple make their individual debuts as lead players in ‘Bobby’, a teen romance that straddles two diverse strata of the society as well as religious affiliations. The film was the big hit of 1973, that revived the fortunes of RK banner after the box office debacle of ‘Mera Naam Joker’ (1970). The release of this film was preceded, and accompanied by a ton of controversies that had the pulp press working overtime for months on end. An uncanny facial resemblance (at that point in time) between Dimple and Nargis of ‘Barsaat’ (1949), created a havoc laden rumor tornado – that Dimple is actually Raj Kapoor’s daughter from his alleged affair with Nargis when the two were a popular and fantastic pair on screen, and off it, in late 1940s to mid 1950s. Of course the rumor was really preposterous; given the dates and timelines of years. But the smut press was really having a great time. Then another storm of rumor was thrown into this mix – that of an off screen affair between Rishi and Dimple. This was even more flabbergasting – as evidenced by the fact that Rishi – fondly called Chintu Baba, would soon be entangled with Neetu Singh, in a relationship that has lasted a life time. The rumor simply refused to die for weeks on end, despite strong denial statements by all parties concerned.

And then, even before the film ‘Bobby’ was formally released, there came another thunderous event that really complicated the already horrendous mess. Totally out of the blue, the marriage of Rajesh Khanna and Dimple Kapadia was announced. Rajesh Khanna was riding a great popularity wave as the superstar of the decade. The decision raised many an eyebrow, all the way to the sky, given that Rajesh Khanna was already in an almost live-in relationship with the small time actress Anju Mahendru. Couple that with the immediate announcement of Dimple’s retirement from the film industry. Goodness, the amount of dirty gossip raised by all these eventualities, was really getting out of hand. To a right thinking person, all the gossip was incredulous and unbelievable, at that time. It would serve no purpose to regurgitate it. And then, in some months’ time, as the controversies appeared to have lived out their usefulness, the box office success of ‘Bobby’ created another gossip storm – that all the controversies and their public discourse associated with Dimple – all the rumor rot was just a marketing ploy to create a box office success for ‘Bobby’. It took almost a year for the storm to die down.

Fast forward now to 1982. The long brewing trouble in the Rajesh-Dimple marriage came to a head, with Dimple leaving the matrimonial home with her two daughters, never to return again. After a cooling period of a year or so, the news emerged about the much awaited return of Dimple to the films. One of the first films that she signed up for was ‘Saagar’ (1985), opposite to Rishi Kapoor once again. The film was delayed by almost a year – in normal course it would have hit the theatres in 1984. Other films starring Dimple got released earlier.

Over the years, this pair has appeared on screen together with an infrequent regularity – ‘Allah Rakha’ in 1986, then on to ‘Ajooba’ and ‘Ranbhoomi’ in 1991. Then in 2005, after another gap of 14 years, came ‘Pyaar Mein Twist’, the film under discussion today. The two actors have appeared together in two more films since then – ‘Luck By Chance’ in 2009 and then ‘Patiala House’ in 2011.

‘Pyaar Mein Twist’ is a romantic comedy underlining a serious subject of mature age romance between two single parents, Yash (role played by Rishi Kapoor) and Sheetal (role played by Dimple Kapadia), both having a flourishing household each of them is responsible for. And yet, Cupid does not spare them from romantic entanglement, leading to a major social upset in the two families. However, with the support of a benevolent aunt (Toshi Auntie – role played by Farida Jalaal) and a supporting future son-in-law (Sanju – role played by Sameer Dattani), all ends well for all parties concerned. The ending sequence shows Yash performing the kanyadaan ceremony at the wedding of Sheetal’s daughter, topped off with a happy smiling family group photo shoot.

The reused song is actually not the real original. It has been re-recorded in different voices for the purpose of this film. It is a duet – but now it is a male-male duet. The original is sung by Kishore Kumar and Asha Bhosle. The repeat version is sung by Babul Supriyo and Vinod Rathod. On screen, it is performed by Yash and his childhood friend Khanna (role played by Satish Shah). The scene is a marriage anniversary party of Khanna. Yash, after a few pegs down his belt, decides to make a public proclamation of his love for Sheetal – much to her visible surprise and suppressed delight.

One query for the more knowledgeable readers – please help to identify the lady in the red saaree standing next to Dimple in this song. She plays the role of Satish Shah’s wife in this film. I have seen her in a couple of other contemporaneous films, but cannot recall her name.

The song starts off with the opening lines of another iconic hit of Rishi Kapoor – the song “Meri Umar Ke Naujawaanon. . . – To Gaao Om Shanti Om”, in his own voice, and then it leads into the lines “Khullam Khulla. . .”. Of the original three stanza song, only two stanzas have been used in repeat version.

So check out this modern day avataar of an iconic song from the 1970s, which is performed on screen by the same actor – thirty years apart. This must be a record of sorts, after considering WM Khan’s performance of the primeval “De De Khuda Ke Naam Pe. . .” in the three versions of the film ‘Alam Ara’ – 1931, 1956 and 1973.

Listen and enjoy.

 

Song – Khullam Khulla Pyaar Karenge Hum Dono  (Pyaar Mein Twist) (2005) Singers – Babul Supriyo, Vinod Rathod, Lyrics – Gulshan Bawra, MD – RD Burman
Rishi Kapoor
Unidentified Male Voice
Babul Supriyo + Vinod Rathod
Chorus

Lyrics

hey..ey..ey
tum ne
kabhi kisi se
pyaar kiya

kiya. . .

kabhi kisi ko dil diya

diya. . .

maine bhi diya. . .
hey..ey..ey

jamaa de

hey y’all party people
listen now
. . .  y’all listen now
. . .  . . .  y’all listen now
. . .  . . .  . . .  y’all listen now
the same old love story
back again

yea
come on
now

say it

come on now
you party people

khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono
arrey khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono
pyaar hum karte hai chori nahi
mil gaye dil jora jori nahi
hum wo karenge jo dil kahe
hum ko zamaane se kya

that’s right

arrey khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono

hey..ey..ey
same old love story
like ya sing it
come on now
feel it

hey
dekh wo
ishq chhup chhup ke farma rahe hain
arrey hai
kya mazaa
dil hi dil me to ghabra rahe hain
hey ey
dekh wo 
ishq chhup chhup ke farma rahe hai
arrey hai
kya mazaa
dil hi dil me to ghabra rahe hain
lagta hai dono padosi hain wo
rishta hi aisa hai jaane bhi do
hum wo karenge dil jo kahe
hum ko zamaane se kya

jamaa de

khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono

oye kitta

one one one one
one more time

hey
bolo na
pyaar ka hai ye dushman zamaana
arrey sun
haan bataa
sab ko milta nahin ye khazaana
hey
bolo na
pyaar ka hai ye dushman zamaana
ae hey hey sun
haan bataa
sabko milta nahi ye khazaana
arrey jinko aji ye khazaana miley
dekh dekh unko ye duniya jaley
hum wo karenge dil jo kahe
hum ko zamaane se kya

khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono

watch it watch it now

pyaar hum karte hai chori nahin
mil gaye dil jora jori nahin
hum wo karenge jo dil kahe
hum ko zamaane se kya

jamaa de

khullam khulla pyaar karenge hum dono

watch it watch it now

is duniya se nahin darenge hum dono

oye kitta

khullam khulla pyaar karenge hum dono

that’s right

is duniya se nahin darenge hum dono

jamaa de

khullam khulla pyaar karenge hum dono. . .


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 :

4104 Post No. : 15255 Movie Count :

4192

Today’s song is from film ‘Gokul Ka Raja’ (1954). This is the first song of this film to be discussed here. I am surprised how this film was not featured on the blog so far, because songs of this film have been on You Tube for quite some time. May be, because the entire team of this mythological film was from Marathi film industry and the names of producer, director, MD, or the cast were not familiar to the most people. It is because this was a bilingual film, made first in Marathi as ‘Gokulcha Raja’ (गोकुळचा राजा) way back in 1950 and the Hindi version was released only in 1954.

Made by Yashodhan Chitra, Bombay for producers Nana Bapat and Haribhau Guruji, the film was directed by a well known Marathi Director – Bal Gajbar. He had earlier directed another bilingual Hindi-Marathi film ‘Sandesh’ (1952) and before that yet another bilingual ‘Mere Laal’ (1948) (माझं बाळ in Marathi). Bal Gajbar had directed few Kannada films too, like ‘Vichitra Prapancha’ (1955). Before becoming a director, he was an art director with V Shantaram’s Rajkamal Kala Mandir.

All songs of the film were written by YN Joshi. The Music Director was Shridhar Parsekar – a name very few people will remember. I wrote about him first time in my series “Less Known Composers”, on 17-12-2012, seven years ago. Not much was known about him then. In January 2017, Sadanand Kamath ji wrote on him. In last nearly 3 years, some new information has become available on him, so his bio data is now updated further. As the new sources give new information, the history keeps on updating itself. This is a regular process of nature.

Hindi film music is like an ocean. As many rivers merge into the ocean at various stages, regional music from various parts of India is assimilated in HFM (Hindi Film Music).

Initially it was the Marathi stage/natya sangeet and Parsee Theatre which influenced HFM. In the East, it was Robindra Sangeet and Nazrul Geeti made the basis of film songs. In the Lahore centre it was the Punjabi style after ‘Khazanchi’ (1941).

After Partition and polarisation of film production language wise, it was BOMBAY, which became the centre for HFM and it was a wonderful mixture of music specialties from all over the country. There were many successful Music Directors in India. I remember a famous quotation – “Behind every successful man there is a woman.”

Can you tell me,who is behind every successful Music Director ? I am sure many of us do not have the answer.

The answer is THE ARRANGER.

Now, who is this arranger? Some have a vague idea, some may even think, he is the person who arranges song recordings and the musicians.

An arranger is the SOUL of film music. Once the composer conceives the tune for a song, he tells it to the arranger, who immediately makes its notations (writing music or Swar Lipi), which a properly schooled musician can read and play. Arranger also decides the instruments and their placements in the song. Most of the arrangers in the Film Industry were from Goa, where traditionally Jazz music was very popular.

A typical Goan likes to live life – ‘sushegaat’– which loosely means ‘araam se‘ or a carefree life. Their philosophy is eat, drink and be merry. This merry part includes Music.

Goa has given many musicians to India. Lata/Asha are  from Mangeshi – Goa, though the family had shifted to Kolhapur, MDs Dattaram (Wadkar) and N Datta (Datta Naik), Singers Kishori Amonkar, Kesarbai Kerkar, Shobha Mudgal, Hema Sardesai, Prabhakar Karekar, Remo Fernandez, Lorna are from Goa. (The list is only indicative, not exhaustive).

Most Arrangers were from Goa —-

Anthony Gonsalves from Majorda, Goa. He worked for Naushad,OP Nayyar and LP. The famous song “My Name Is Anthony Gonsalves” is a tribute by LP to him. He had taught Pyaarelal so many things including notations.

Chic Chocolate aka Anthony Vaz from Aldona, Goa. He worked for C Ramchandra mainly.

Chris Perry worked for Khayyam, RD Burman, Kalyanji Anandji, and Laxmikant Pyaarelal.

Frank Fernando – Anil Biswas, Kishore Kumar, Roshan, C Ramchandra.

Sebastian D’Souza from Bicholim, Goa – worked for Shanker Jaikishen from 1952 to 1975, and also OP Nayyar.

Most of the players of western instruments in the orchestras were from Goa.

From this crop of musicians from Goa, there was one outstanding musician – SHRIDHAR PARSEKAR, who was a singer, a famous violin player, composer of many Marathi songs/films/dramas and few Hindi films. He was an expert in playing almost 10 different instruments.

SHRIDHAR PARSEKAR was born in 1920 in Goa. From the childhood he was a lover of music and learnt classical music, first from his uncle Parshuram Buwa Parsekar and he was trained by him in playing various instruments like harmonium, jaltarang, tabla and violin. He was a disciple of Gajanan Buwa Joshi a noted musician. He operated a vand in Bardez, Goa and played violin, clarinet, harmonium and many other instruments. He was a genius and soon became famous for playing violin.

He came to Bombay and continued learning music here under many well known gurus, like Khadeem Hussain Khan, Natthan Khan and Anwar Hussain. Soon he was performing in stage shows doing jugalbandis with stars of the day like Ravi Shanker, Vilayat Khan and Akbar Ali Khan. Kishen Maharaj was very pleased with him. For some time he joined AIR Bombay as a musician and got friendly with Ustad Alla Rakha who also worked in AIR. RG Ramnathkar, who got him the AIR job, also taught him many Raaga/Raaginis. Parsekar worked at AIR for 6 years.

Later he worked as asst. to Music Director Annasaheb Mainkar and then started as MD for Marathi Films and stage dramas. His music in dramas like ‘Bhakta Damaji’, ‘Paisa Bolto Ahe’, ‘Kuber’ and ‘Kanyadaan’ was very popular. He also recorded many bhavgeets and natyageets from reputed singers in Marathi. HMV and Odeon published his records. Singers like Jyotsna Bhole, Saraswati Rane, Hirabai Badodekar, Vatsala Kumthekar and Master Krishnarao Chonkar also sang for him. One of his songs- “Vithal Vithal Gajari, Awaghi Dum Dumali Pandhari” ( “विठ्ठल विठ्ठल गजरी, अवघी दुमदुमली पंढरी” ) from ‘Bhakta Damaji’ is so popular that it is sold even today.

With Marathi films, recording of private songs, stage shows with prominent musicians, Shridhar had every happiness with him. He had a bungalow, cars, bank balance, name, fame and plenty of demand. He wrote a book on music – ‘Swar Ninad‘.

And then it happened !

He became an alcoholic. Normally, a person becomes alcoholic when he is unsuccessful. But this was an opposite case. While on the top of success he became an alcoholic. He used to drink day and night.

Once there was a jugalbandi programme with Ustad Vilayat Khan. Shridhar came fully drunk to the theatre. Vilayat Khan scolded him and left the show. Such things kept on happening, leading to his downfall. He stopped getting work and all his wealth, house, cars etc. was sold for liquor. His condition was such that he would play violin on streets and earn money. Lata Mangeshkar has narrated an incident, which I read in a book ‘From Noorjehan to Lata’ by Isak Mujawar. The book says…

“One day Lata’s car stopped in the traffic. Out of curiosity she peeped out to see what happened. There was a person in tattered clothes playing a violin beautifully and people had gathered to listen to him. Some people gave him alms. She asked the driver if he knew that person. The driver replied that it was Parsekar Buwa. She got down, went to Parsekar and told him to come with her. She will look after him now. On this, Parsekar replied that her father had asked him to look after their family, which he could not do, so why should she look after him. If she wanted to help, just give some money. She gave him 50 rupees and he almost ran away from there – probably to the wine shop !“

Finally Shridhar Parsekar died of liver cirrhosis on 10-9-1964 !  He was only 44 years old !!  Such a brilliant artist wasted by alcohol. So sad ! Pt Ravi Shankar and Vilayat Khan had personally met his family after his death, so much was the respect for his talent !!

In addition to 7 Marathi films, Shridhar Parsekar gave music to five Hindi films – ‘Nagad Narayan’ (1943), ‘Mahakavi Kalidas’ (1944), ‘Meri Amanat’ (1947), ‘Andhon Ka Sahara’ (1948) and ‘Gokul Ka Raja’ (1954). He composed 45 songs in these films. He sang 5 songs in 2 films, ‘Andhon Ka Sahara’ and ‘Gokul Ka Raja. Many famous singers sang for him, like, Minakshi, Khan Mastana, Rajkumari, Master Krishnarao, Mohantara, Vinodini Dikshit etc.

(Information from these sources also used herein- Marathi Chitrapat Sangeetkar Kosh, Marathi Cinema in Retrospect by Sanjit Narwekar, Purvasurinche Soor by Dr. Suresh Chandvankar and the book ‘Kalatmak Gomantak’ – Kala Academy, Panji – 1972) .

The cast of the film consisted of Dwarakanath, Ratnamala, Chandrakant, Gauri, Hanumanta, Angre etc.

I do not know anything about actor Dwarakanath. Never heard of his name before or after this film ever. Actor Chandrakant was Chandrakant Mandhare (real name Gopal) – the elder brother of the more popular brother Suryakant. These two brothers ruled the Marathi cinema from the late 40s to the 60s.

Gauri was originally Tanibai Dawari, who was active in Prabhat from the silent era. She became famous because of her role of Awali – the shrew wife of Sant Tukaram in that film in 1936. I have recently written in details about her, only last month. As far as the heroine Ratnamala is concerned, how many of us really know anything about this actress. It is surprising that a very lovely and beautiful actress, who was heroine of about 20 films in the 40s and has about 300 films to her credit, remains practically unknown. She was the heroine with Saraswati Cinetone, Prabhat Film Company, Sagar, Ranjit, Prakash Pictures etc. – all well known banners. She was in films for 50+ years and was a famous name in Marathi films of Dada Kondke.

Its a great pity that hardly any or no information about her is available in books, encyclopedias, wiki or on internet. When all sources of information come to a dead end, I turn to Harish Raghuwanshi ji of Surat and I am never disappointed. Here, I provide a short bio-data of Ratnamala, based principally on the articles given by Harish ji. Thanks, Harish ji.

She was born as Kamal Bhivandkar on 22-6-1923 in Bombay. Her father was Auditor of Central Bank, Bombay. She was good looking and could sing well. From the age of 14 years, she went on the stage of several Ganesh Melas prevalent in those times. She earned 5-10 rupees per performance. Due to family’s financial problems, she started looking for work. She was proficient in Marathi, Gujarati, English and Urdu languages. In 1938, she was picked up by Dada Torne of Sarswati Cinetone, Poona, who cast her as Heroine in Marathi film ‘Bhagwa Zenda’. Seeing her performance, she was taken by Prabhat Film Company for the Marathi version of their film ‘Das Baje’ (1942). Torne had renamed her as Ratnamala.

Vijay Bhatt of Prakash Pictures offered her a role in film ‘Bharat Milap’ (1942), when Kusum Deshpande selected for the role of Bharat’s wife fell ill. Seeing her performance, she was selected as a heroine for film ‘Station Master’ (1942). Here too the original heroine Jyoti fell ill. Then came ‘Panghat’ (1943), ‘Police’ (1944), ‘Kavita’ (1944) etc. She acted in many mythological films also. Some of her well known films were ‘Dholak’, ‘Maya Bazaar’, ‘Sasural’, ‘Bhabhi Ki Chudiyan’, ‘Faulad’, ‘Woh kaun thi’, ‘Nishaan’, ‘Bahu Beti’, ‘Mera Saayaa’, ‘Raaz’, ‘Saraswati Chandra’, ‘Brahmachari’, ‘Upahaar’, ‘Seeta aur Geeta’, ‘Nastik’ etc.

She acted in 130 Hindi films and many more Marathi films. Later she did side roles. She became famous as mother of Dada Kondke in 11 of his films. She was called ‘Aaye’ (आये )  in the Marathi films of Kondke.

Ratnamala was married to Raja Pandir, producer director of Marathi films, when she was very young. As Ratnamala became successful and Raja became a failure, their marriage came on rocks. She had one son – Jaikumar, who had also acted in one film. Unfortunately, he died suddenly in an accident. Ratnamala lived in her own bungalow in Andheri, Bombay, along with her foster son – Ramesh. Ratnamala died of heart attack on 23rd January 1989.

Today’s song is the first song sung by Shridhar Parsekar that is being presented. One can easily make out from his clear voice, impeccable pronunciations and the classical singing style that the singer is trained in classical music and is a knowledgeable person. With this song the film ‘Gokul Ka Raja’ and singer Shridhar Parsekar are making their debut on this Blog.

Song – Mangal Prabhat Jaage Surya Kiran Sang (Gokul Ka Raja) (1954) Singer – Sridhar Parsekar, Lyrics – YN Joshi, MD – Sridhar Parsekar

Lyrics

jaa..aa..aa..aage ae ae ae
jaage ae ae ae

jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
surya kiran sang
gokul mein rang
surya kiran sang
gokul mein rang
navjeevan anuraage
jaage
navjeevan anuraage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage

go dhan amrit varsha karta..aa..aa
aaaaa aaaa aaaa aaaa
go dhan amrit varsha karta
sukh saurabh gokul mein jharta
sukh saurabh gokul mein jharta
baal gopal
baal gopal charaayen gaayen
madhu murli jiya laage
laage
madhu murli jiya laage
laage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage

surya kiran sang
gokul mein rang
navjeevan anuraage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
jaa..aa..aa..aage

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

जा॰॰आ॰॰आ॰॰आ॰॰आगे ए ए ए
जागे ए ए ए

जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
सूर्य किरण संग
गोकुल में रंग
सूर्य किरण संग
गोकुल में रंग
नवजीवन अनुरागे
जागे
नवजीवन अनुरागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे

गो धन अमृत वर्षा करता॰॰आ॰॰आ
आsss आsss आsss आsss
गो धन अमृत वर्षा करता
सुख सौरभ गोकुल में झरता
सुख सौरभ गोकुल में झरता
बाल गोपाल
बाल गोपाल चराएं गाएँ
मधु मुरली जिया लागे
लागे
मधु मुरली जिया लागे
लागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे

सूर्य किरण संग
गोकुल में रंग
नवजीवन अनुरागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे

जा॰॰आ॰॰आ॰॰आ॰॰आगे


This article is written by Raja, 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4104 Post No. : 15254 Movie Count :

4191

First of all, my apologies for my infrequent appearances here. Even calling it a cameo is unfair to a cameo, because, to be honest, it is not even that. It is more like, a “blink and you miss” situation.

Anyway, here I am today, back with a post. The occasion is the Remembrance Day of someone very special to the Hindi film industry, and also to me. He has millions of fans around the world and is easily one of the legends of the industry.

I am talking about Kishore Kumar, of course.

I’ve written about Kishore Kumar many times in the past. And yet, when Avinash ji requested me to write a post for this occasion, I immediately agreed. Such is my love for Kishore Kumar that even if I repeat myself and bore my readers in the process 🙂 , I could not bring myself to say no.  🙂

The problem then was to get the required writing mood back. What they say about writing is very true. If you don’t write for an extended period of time, you gradually lose the ability to do so. That is why many writers practise their writing everyday, by writing at least a minimum number of words.

When I wrote to Avinash ji saying “Mere thoughts gather nahin ho rahe. I have lost the ability to write”, he replied “Aap Kishore Kumar ke gaane suniye aur din bhar sunte rahiye. Thoughts will come, I am sure.” 🙂

So I did listen to a few songs – predictably songs of ‘my’ era. “Khizaan Ke Phool”, “Jeevan Se Bhari Teri Aankhen”, “Teri Duniya Se”, “Hum Bewafa Hargiz Na The”, “O Mere Dil Ke Chain”, “Ye Shaam Mastaani” and a few others.

I think that might have helped a bit, because here I am.

Anyway, coming to Kishore Kumar.

The years just roll by – it is already 32 years since he left us.

He was just 58 at the time – far too young to go.

But like they say, it is not the years in your life that count, it is the life in your years.

And Kishore Kumar had plenty of life in his years.

No one will dispute that Kishore Kumar was the No.1 all-rounder in the industry. There have been a few others who have had multiple skills. Manoj Kumar was actor, writer, director, producer. Mehmood was also quite an all-rounder.

But Kishore was in a league of his own, because in each of his roles, he left a mark. Of course he is best-known as a singer, but even today many remember his acting, especially in comedy roles like in ‘Dilli Ka Thug’, ‘Chalti Ka Naam Gaadi’, ‘Half Ticket’ and many other films.

But there was so much more to Kishore Kumar than just comedy. And probably to prove this point, he produced and directed films like ‘Door Gagan Ki Chhaon Mein’ (1964) and ‘Door Ka Raahi’ (1971). I was stunned when I saw both these films – they have tremendous depth and philosophy, uncommon for the times.

His versatility was not limited to singing, acting, producing and directing though. Kishore Kumar also composed music, for some of his films.  Like the two films mentioned above, whose songs are quite popular to this day. As are the songs of  ‘Jhumroo’ (1961).

This is why I call Kishore Kumar the Gary Sobers of the Hindi film industry. 🙂 He could take on any role, and make a success of it.

But beyond even his multifarious talents, there was Kishore the person. And even as a person, he is quite an inspiration for me. His attitude towards life is something I can only admire.

Those who worked with Kishore Kumar, especially Lata Mangeshkar and Asha Bhosle, vouch  for his ability to enliven a recording session with his sense of humour, his cracking a joke or pulling someone’s leg. Some people are like this – never a dull moment with them around.

It is not as if Kishore didn’t have low moments, or tough times. Everyone has these – Kishore was no exception. But he never let this affect his professionalism. He was very clear about himself, his philosophy towards life – and he never allowed others to define it for him.

Like he said “Duniya samajhti hai main paagal hoon….main samajhta hoon duniya paagal hai”.

I think, whatever his conflicts with the world might have been, especially later in his life, he was at peace with himself. And that is most important for a human being. Like he told Lata Mangeshkar in an interview in the fag end of his career “I am quite happy”. He expressed a desire to run away from it all, and go to a place which was calling out to him.

Today, on his Remembrance Day, I feel Kishore Kumar found that place and left us in order to go there.

And left us with SUCH a treasure of songs and memories that we are indebted to him for life.

So thank you, thank you, thank you, Kishore Kumar for what you have given us. Speaking purely for myself, as someone who has been part of my life from my very early years, when I listened repeatedly to songs like “Mere Sapnon Ki Raani” and “Ye Shaam Mastaani” on the radio, your impact on my life cannot be described.

Now onto the song for today.

It is a totally new song for me. In fact I have never even heard of the film. Details, including lyrics of the song, have been sent to me by Avinash ji.

This is what he says :

“Zindagi Jeene Ke Liye-1984’ was directed by K.S. Sethumadhavan for ‘Tirupati Chitra Mandir, Bombay’. It was produced by Hastimal.

It had Rakhi Gulzar, Suresh Oberoi, Vijay Arora, Manmohan Krishan, CS Dubey, Krishan Dhawan, Shobhha Khote, Birbal Raj, Raj Kishore, Rakesh Roshan, Tina Munim, Master Rinku, Shah Chaturvedi, Raghvaiyya, Santosh Kumar, Lata Kashmiri, Dolphin and others. Deepa and Ramu make a guest appearance in this movie.

This movie was passed by Censor Board on 06.06.1984. However, the movie was re-certified by Censor on 15.12.1987 with a UA certificate (as mentioned in HFGK).

The movie has total seven songs, including the three-part song being presented today (as per HFGK Vol-VI 1981-1985) composed by Rajesh Roshan. HFGK mentions Rajesh Roshan as the lyricist for this movie and the same is mentioned on the vinyl cover of this movie available on online sources, which I guess is correct. (myswar.co also mentions the same). Asha Bhonsle, Kishore Kumar, Pankaj Udhas and Yesudas had given their voices to the songs in this movie.”

This film, ‘Zindagi Jeene Ke Liye’ (1984), makes its debut entry on this blog today.

The song itself is amazing. I’d never heard it before, but when I heard it for the first time a few days ago, it touched my heart. It also suits this occasion, as it talks of a person who feels he is ready to move on.

Please do listen to this wonderful song. Quite a gem, it is, especially in Kishore Kumar’s voice. Thanks for the song, Avinash ji.

Audio, All Parts

Video, Partial

Song – Udte Udte Pyaase Panchhi (Zindagi Jeene Ke Liye) (1984) Singer – Kishore Kumar, Lyrics – Indeevar, MD – Rajesh Roshan

Lyrics (Provided by Avinash Scrapwala)

Part 1

hmmm mmmm mmmm mmmm mmmm
hmmm mmmm mmmm mmmm mmmm

udte udte pyaase panchhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye
armaan pyaase chhaayi udaasi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

ek nadi thhi pyaar ki
saari duniya byopaar ki
ek nadi thhi pyaar ki
saari duniya byopaar ki ee
raah roke apni khadi thhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

zindagi ke ae baaki thhe kuchh lamhe
shaayad ke ho milna phir hamen
zindagi ke ae baaki thhe kuchh lamhe
shaayad ke ho milna phir hamen
maar daalegi ye bebasi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye
armaan pyaase chhaayi udaasi
pyaase panchhi thhak gaye

Part 2

door jaa rahe hain
ke nainaa ro rahe hain
door jaa rahe hain
ke nainaa ro rahe hain
saanson ki na toote ladi ee
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

Part 3

haathon ne hamesha waar kiya
kabhi naa kisiko pyaar kiya
haathon ne hamesha waar kiya
kabhi naa kisiko pyaar kiya
nas nas basi buzdili thhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye ae

————————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
————————————————————

भाग १

हम्मम मम्मम मम्मम मम्मम मम्मम
हम्मम मम्मम मम्मम मम्मम मम्मम

उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए
अरमां प्यासे छायी उदासी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

एक नदी थी प्यार कि
सारी दुनिया ब्योपार कि
एक नदी थी प्यार कि
सारी दुनिया ब्योपार कि ई
राह रोके अपनी खड़ी थी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

ज़िन्दगी के ए बाकी थे कुछ लम्हे
शायद के हो मिलना फिर हमें
ज़िन्दगी के ए बाकी थे कुछ लम्हे
शायद के हो मिलना फिर हमें
मार डालेगी ये बेबसी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए
अरमां प्यासे छायी उदासी
प्यासे पंछी थक गए

भाग २

दूर जा रहे हैं
के नैना रो रहे हैं
दूर जा रहे हैं
के नैना रो रहे हैं
साँसों की ना टूटे लड़ी ई
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

भाग ३

हाथों ने हमेशा वार किया
कभी ना किसीको प्यार किया
हाथों ने हमेशा वार किया
कभी ना किसीको प्यार किया
नस नस में बसी बुज़दिली थी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए ए


This article is written by Sudhir, 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4098 Post No. : 15244

There are some very special memories related to this song. Memories of certain flights of fancy, associated with the expressions and emotions contained here in.

Greetings to Usha Khanna ji, on her 78th birthday today (7th October). It is sixty years now that she made her debut as a music director, way back in 1959 – ‘Dil Deke Dekho’, a film by Filmalya’s Sashadher Mukherjee. She recounts with a glee now, but then she was very nervous. Of course, just seventeen, recently out of school, and so miraculously given a break for a big name Shammi Kapoor starrer film. The first song recorded was “Megha Re Boley. . .”.  She walked into the recording studio with Sonik, who was the arranger for that film. She recalls that some musicians actually whistled at her as she made her way toward the group. And then Sonik told them that she is the music director. Quite a silence of disbelief followed.

Her nervousness was heightened by the fact that she would be directing Rafi Sb for her first song. The rehearsals and the recordings happened. Then at the end of the recording Rafi Sb asked her whether the song was recorded to her satisfaction. She recounts that she was too dazed and overcome by just his presence, and that she stammered in agreement. Then Rafi Sb told her – you are the music director. No matter who the singer is, but you are the boss. Even if I make a mistake, then you should correct me. Usha Khanna says that she was forever in Rafi Sb’s debt for giving her that encouragement and that advise.

More than 4 decades of active career and about 200 films in her portfolio, there are many a memorable songs and melodies that she has created – one of those music directors who would make you hear again. Ah, this one! Usha Khanna? Wow.

Listening to her music, one feels a lot of similarity with OP Nayyar. Of course that was the era that Nayyar Sb ruled with his rhythmic melodies, and other music directors would try to create music inspired by him. So Usha Khanna was also influenced by that style, but then she is not limited to style alone. There is definitely a lot of her own creativity that has gone into her work, else she would not have survived in this industry for four decades. And that too, being of a gender that generally is not associated with the work of a music director. The earlier names we can think of – Jaddan Bai, Bibbo, Saraswati Devi – all names from 1930s and 40s, when the classical music was the forte, and these ladies were trained and grounded in the classical mould.

Not Usha Khanna. She in fact, has no formal training in music. Her father, Manohar Lal Khanna, a lyricist active in the industry from late 1940s to 1960s, was her segue into music. He would write the lyrics and she would informally compose tunes for his songs at home. It was a creative spark and something special about her melodies that capture attention of her fathers industry friends like OP Nayyar and Indeewar. One thing led to another, and she was placed before Sashadher Mukherjee for an interview. The conversation started uncomfortably with singing, and ended very comfortably with music direction. S Mukherji, impressed with her tenacity and consistency (he had asked her to create two new tunes and present to him every day, for a year – think about doing that!!) gave her the first break with ‘Dil Deke Dekho’, and followed it up with ‘Hum Hindustani’ (1960). After these two films, Usha was quite much on her way. That she was able to sustain her standing in the industry for four decades, speaks volumes about her talent and her approach. Might we also notice that contemporaneous to her, and subsequently, we do not hear of any other lady music director in the industry whose performance has left a mark on the music history of Indian cinema.

Ah yes, about the flights of fancy that I mentioned about, in the first para. Regulars are aware that this song forms a part of a tandem pair. The accompanying song is the hit sung by Mukesh – “Barkha Rani, Zara Jam Ke Barso”. Yes of course, that is the better known and the more popular song in comparison. However, this rendition by Suman Kalynapur is no less pleasant, alluring and engaging. Rather more so. So when this film was released, the teenager in me was still at school. And as with a boy’s fancies at that age, of course, I do not have to put it in words. Suffice to say that right from the time I heard these two songs for the first time, my liking has always been for the Suman Kalyanpur version. The fancy connected with the Mukesh song is that there would be a charming princess for whom the boy in me would sing this song. However, the fancy associated with the Suman Kalyanpur song is that there would be charming beautiful princess who would be singing this song for me. That appealed so much more to me, that my flight of fancy those days was someone singing this song for me. Aaye haaye – the heart still takes a swing at this thought. 🙂

Quick summary – the film is ‘Sabak’ from 1973, produced and directed by Jugal Kishore, songs written by Sawan Kumar and Hasrat Jaipuri, and music by Usha Khanna. The star cast of this film is listed as Shatrughan Sinha, Poonam, Jaishri T, Jugal Kishore, Ranjan, KN Singh, Nazeer Hussain, Master Satyajeet, Chandrashekhar, Brahmchari, Hercules, Mumtaz Begum, Ramesh Dev, Seema, Rajnibala, Maruti, Rajpal, Kishan Kaul, Ved Sharma, Rajan Kapoor, Moolchand, Bholanath, Manohar, Jerry, Omi Chopra, Uma Dutt, Pritam Kumar, Raj Verma, Kishan Billa, and Sundar Singh.

Once again, wishing Usha ji a very happy birthday and praying for many more healthy and comfortable returns of this day.

Ah yes, the lyrics of this song have been sent in by our dear Prakashchandra ji.

 

Song – Barkha Bairan, Zara Tham Ke Barso  (Sabak) (1973) Singers – Suman Kalyanpur, Lyrics – Saawan Kumar Tak, MD – Usha Khanna

Lyrics (Provided by Prakashchandra)

barkha bairan
zara tham ke barso
pee mere aa jaayen to
chaahe jam ke phir barso..oo..oo..oo
barkha bairan
zara tham ke barso
pee mere aa jaayen to
chaahe jam ke phir barso..oo..oo..oo
barkha bairan

pee se hai mera milan
kyon hai ree tujh ko jalan
pee se hai mera milan
kyon hai ree tujh ko jalan
haaye re paapan zaraa ruk jaa
zara tham jaana re
barkha bairan
zara tham ke barso
pee mere aa jaayen to
chaahe jam ke phir barso..oo..oo..oo
barkha bairan

pee ko mere aane de
ang se lag jaane de
pee ko mere aane de
ang se lag jaane de
phir tu dushman
yun barasna
jaane paayen wo na re..e..e
barkha bairan
zaraa tham ke barso
pee mere aa jaayen to
chaahe jam ke phir barso..oo..oo..oo
barkha bairan

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

बरखा बैरन
ज़रा थम के बरसो
पी मेरे आ जाएँ तो
चाहे जम के फिर बरसो॰॰ओ॰॰ओ॰॰ओ
बरखा बैरन
ज़रा थम के बरसो
पी मेरे आ जाएँ तो
चाहे जम के फिर बरसो॰॰ओ॰॰ओ॰॰ओ

पी से है मेरा मिलन
क्यों है री तुझको जलन
पी से है मेरा मिलन
क्यों है री तुझको जलन
हाए रे पापन ज़रा रुक जा
ज़रा थम जा ना रे
बरखा बैरन
ज़रा थम के बरसो
पी मेरे आ जाएँ तो
चाहे जम के फिर बरसो॰॰ओ॰॰ओ॰॰ओ

पी को मेरे आने दे
अंग से लग जाने दे
पी को मेरे आने दे
अंग से लग जाने दे
फिर तू दुश्मन
यूं बरसना
जाने पाएँ वो ना रे॰॰ए॰॰ए
बरखा बैरन
ज़रा थम के बरसो
पी मेरे आ जाएँ तो
चाहे जम के फिर बरसो॰॰ओ॰॰ओ॰॰ओ
बरखा बैरन


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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15300 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15328

Number of movies covered in the blog

Movies with all their songs covered =1180
Total Number of movies covered =4222

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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