Archive for the ‘“baadal” song’ Category
Tum shyaam badariya main hoon mor
Posted on: May 8, 2021
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.
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Blog Day : |
4677 | Post No. : | 16354 | Movie Count : |
4441 |
During 1966-72, I used to watch one Hindi film almost every week-end. I had only two main criteria for selecting a film. First, I should be able to procure a ticket without a long queue either in advance or current booking. Second, the film should be from a good banner which meant that ‘B’ and ‘C’ grade films were out of my reckoning.
‘Aradhana’ (1969) was one such films which fitted my criteria. I watchedit in a theatre during the first week of its release. There was no problem in booking the ticket as Rajesh Khanna had not become a ‘phenomenon’ at that time, a term which one of the film magazines had used for him after the success of this film. While I was acquainted with the names of most of the main actors, the actor who had done the role of Sharmila Tagore’s father was a new face for me. His performance as a distressed father whose daughter has become a widow, carrying her fiancé’s child before formally getting married, had remained embedded in my mind with the song, safal hogi teri araadhana playing in the background. It was after a few months that I came to know that the actor in that role was Pahadi Sanyal, a name that I heard for the first time. Now this sounds surprising for me.
It was a sort of paradox that while I was not aware of Pahadi Sanyal as an actor in 1969, I was acquainted with his daughter, Luku Sanyal who was a lecturer in English literature in my college (K C College, Churchgate) during my college days in 1966-69. It was only when she started reading news in English on Doordarshan, Mumbai in 1972 that I came to know that she was the daughter of Pahadi Sanyal.
It took me another four decades to know that Pahadi Sanyal was also a good singer. That was after I joined the Blog sometime in 2011.
Pahadi Sanyal (22/02/1906 – 10/02/1974) and K L Saigal were contemporaries in New Theatres, both of them starting their filmy career almost the same year (1932). Apart from Bengali, Pahadi Sanyal was fluent in Hindi, Urdu and English. This qualified him to work as a singer-actor in most of the bilingual films (Bangla and Hindi) produced by New Theatres during 1933-40. The bilingual films included ‘Rajrani Meera’ (1933), ‘Chandidas’ (1934), Dhoop Chhaaon’ (1935), ‘Devdas’ (1935), ‘Karorepati’ (1936), ‘Vidyapati’ (1937), ‘Adhikar’ (1938), ‘Sapera’ (1939), ‘Haar-Jeet’ (1940). He also acted and rendered songs in ‘Yahudi Ki Ladki’ (1933) and ‘Kaarwaan-E-Hayat’ (1935). In some of these films, Pahari Sanyal worked with K L Saigal and also rendered songs with him.
Despite being a trained musician and singer in Hindustani classical music from the prestigious Morris College of Music, Lucknow, Pahadi Sanyal had to work under the shadow of K L Saigal whose songs were very popular and thus sure shots for the box office success of the films. I have seen many films of Pahadi Sanyal and K L Saigal working together and there is no doubt that K L Saigal was a better singer than Pahadi Sanyal. But when it comes to acting I felt that latter’s acting calibre was higher than that of K L Saigal.
After completing ‘Saugandh’ (1942), Pahadi Sanyal shifted his base to Mumbai in 1942. During his Mumbai stint, he acted in ‘Saheli’ (1942), ‘Sharaafat’ (1943), ‘Inkaar’ (1943), Mohabbat’ (1943), ‘Anban’ (1944), ‘Paristan’ (1944), ‘Kadambari’ (1944), ‘Preet’ (1945), ‘Malan’ (1946), ‘Milan’ (1946) among others. He was a lead actor in many of the films in the 1940s in Mumbai and he sang for himself in all these films.
Some time in the late 1940s, Pahadi Sanyal went back to Kolkata and worked in Bangla films but often visited Mumbai to work in Hindi films in the 1950s and 60s. By early 1950s, Pahadi Sanyal had started doing character roles.
While writing articles under the series ‘Hindi Songs in Bangla Films’ for the Blog, I had occasion to watch many Bangla films and Pahadi Sanyal had acted in some of these films. His role as a Psychiatrist in ‘Deep Jeley Jai’ (1959) was noteworthy for his long monologues with few dialogues delivered in chaste English. I have also seen its Hindi remake, ‘Khamoshi’ (1969) in which Nazir Hussain played the role of Psychiatrist but in my view, he was a shade lower in performance than the one by Pahari Sanyal.
In ‘Uttar Falguni’ (1963) and its Hindi remake, ‘Mamta’ (1966), Pahari Sanyal had a small role of a prosecution lawyer. Here he was pitted against the defence lawyer, Bikash Roy/Ashok Kumar. It was an interesting dual of natural actors in the court room to watch. In ‘Alor Pipasa’ (1959), Pahari Sanyal played the role of a senior doctor who tells the story of a mujra singer to his junior doctor (Asit Baran) who turns out be the mujra singer’s son. The narration of the story in a flash back mode by the senior doctor in tight to medium close-up shots shows the confidence the director of the film on the ability of Pahadi Sanyal to give effective facial expressions along with smooth dialogue delivery. In Bangla cinema, some of the character actors like Pahadi Sanyal and Chhabi Biswas, thanks to their acting prowess, commanded status almost equal to that of the lead actors. There are some more such Bangla films where Pahadi Sanyal has given memorable performance even in small roles.
During the 4 decades of his filmy career, Pahadi Sanyal worked in 56 Hindi films and almost an equal number of Bangla films. In addition, he also worked in an English film, ‘The Householder’ (1963).
As a singer in Hindi films, Pahadi Sanyal was active from 1933 to 1946 during which time, he rendered about 50 songs as an actor-singer. His last Hindi film song appears to be wo kahen aap ki do chaah ka inaam mujhe from ‘Milan’ (1946).
About a week back, I uploaded a rare song from the film ‘Mohabbat’ (1943) ‘tum shyaam badariya main hoon mor’ rendered by Pahadi Sanyal which I am presenting here. The film was directed by Phani Majumdar. Shanta Apte and Pahadi Sanyal were in the lead roles in the film with the supporting cast of Jagdish Sethi, Sunalini Devi, K C Dey, Yashodhara Katjoo, S Nazir etc.
There were 10 songs in the film which were set to music by Hari Prasanna Das. Except for Meera Bai bhajan, the lyricist/s for remaining 9 songs are unattributed.
With this song, ‘Mohabbat’ (1943) makes its debut on the Blog.
Audio Clip:
Song-Tum shyam badariya main hoon mor (Mohabbat)(1943) Singer-Pahadi Sanyal, Lyrics-Unknon, MD-Hari Prasanna Das
Lyrics
tum shyaam badariyaa
badariyaa
main hoon mo…r
tum shyaam badariyaa
badariyaa
main hoon mo…r
tum shyaam badariyaa
tum chaand kiran ho
tum chaand kiran ho
main hoon chakor
tum shyaam badariyaa
badariyaa
main hoon mor
tum shyaam badariyaa
ek praan hai do hain kaaya
ek praan hai do hain kaaya
bandhi preet ki dor
bandhi preet ki do…..r
tum shyaam badariyaa
badariyaa
main hoon mo….r
tum shyaam badariyaa
aa haa
tum jal ki chanchal dhaara
main uska ek kinaara
tum jal ki chanchal dhaara
main uska ek kinaara
jeewan pathh mein sang sang dolen
jeewan pathh mein sang sang dolen
chale ek hi ore
chale ek hi ore
tum shyaam badariyaa
badariyaa
main hoon mo….r
tum shyaam badariyaa
hum tum donon do panchhi hain aen
hum tum donon do panchhi hain
uden aen gagan ki ore
dekhen kitni door hai
apni iss duniya ka chhor
dekhen kitni door hai
apni iss duniya ka chho..r
tum shyaam badariyaa
badariyaa
main hoon mo…r
tum shyaam badariyaa
badariyaaaaa
Kaali jo ghataa chhaayi hai
Posted on: March 24, 2021
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.
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Blog Day : |
4632 | Post No. : | 16286 |
With the advent of sound films in India in 1931, many actors faced difficulties in on-screen performances with their voices. Only few actors of silent films who could, fluently or otherwise, speak Urdu and Hindi made a transition from silent to talkies. Master Vitthal, Master Nissar, Mazhar Khan, Prithviraj Kapoor, Baburao Pendharkar, Raja Sandow, Hiralal, Patience Cooper, Zubeida, Sulochana (Ruby Mayers), Gohar Mamajiwala, Madhuri (Beryl Claessen), Sabita Devi (Irin Gasper), Gulab, Jillo Bai, Lalita Pawar, Durga Khote etc were some of the actors who switched over from silent to talkies without much of difficulties. A few of them even learnt speaking Hindi and Urdu during the transition.
The makers of talkies faced another difficulty. They realised that most of the actors did not have a good voice for singing on-screen. While some actors could get away with their less than average singing ability due to their popularity with the film audience, the film-makers felt the need for new actors who could sing better and/or the trained singers who could also act. So, in early 1930s, a new category of actors who could also sing with good voices emerged in Hindi film industry. In this category, K L Saigal, Kanan Devi, Asit Baran, Ratan Bai, Uma Shashi, Pahadi Sanyal, Rajkumari Dubey, Shanta Apte, Surendra, Bibbo, Sitara Devi, Shahu Modak, Sardar Akhtar, Vatsala Kumthekar among many others emerged. Barring few exceptions, most of actor-singer (and singer-actor) lasted in the Hindi film industry as singers until system of playback singing was firmly established by early 1940s. Some of them continued to act in the films, their on-screen songs being lip synced by the playback singers.
In the early 1930s, there was one more category of singers in which film-makers were interested in taking them as singer-actor because of their popularity as Hindustani classical singers on All India Radio and in private concerts. Apart from filling up the void in singers for Hindi films, these trained singers were regarded ‘icing in the cake’ in the films for their box office success.
While most of the ‘hard-core’ Hindustani classical vocalists kept distance from the Hindi films, some of the popular singers of the semi-classical genres such as thumri, dadra and ghazal got attracted to work in Hindi films as singer-actor. Thus, the popular Hindustani semi-classical singers like Mukhtar Begum, Jahanara Kajjan, Akhtari Faizabadi (Begum Akhtar), Jaddan Bai, Indubala, Kamala Jharia among others entered the Hindi film industry during the early 1930s. Some of their large repertoire of semi-classical singing was replicated on the screen albeit in shorter forms. One can judge the importance of these songstresses for attracting the film audience when posters of a few Hindi films of early 1930s had their names in the bold letters of the same size as that of the films’ titles.
It is worthwhile to note that mostly female Hindustani semi-classical singers got associated with Hindi films as singer-actor in the early phase of sound films. Most of them were having their background as tawaifs or private concert singers. They mostly sang thumri, dadra, ghazals and other semi-classical genres. The male Hindustani classical singers felt it below their dignity to sing or record songs in these genres especially up to the beginning of early 20th century. It was only when Hindustani classical singing maestros like Ustad Abdul Karim Khan, Ustad Faiyyaz Khan, Ustad Bade Ghulam Ali Khan etc started singing thumri and dadra in their concerts in early 1930s with their respective gharana style, these sub-genres of Hindustani semi-classical music attained respectability.
In this context, I recall that even in post independent period, Ustad Amir Khan who was an exponent of Khayal singing, never sang thumri, dadra and ghazals in the concerts nor did he record songs in these genres. The only exceptions he made was that he sang a Ghalib ghazal, rahiye ab aisi jagah chalkar jahaan koi na ho, composed by Pandit Amarnath Chawla, his senior-most disciple, for a documentary film ‘Mirza Ghalib’ (1969). And he rendered this ghazal in Khayal style. (Ref: ‘Indore Ke Maseeha’, 2008 by Bindu Chawla). The second exception was for a Bengali film ‘Kshudito Pashan’ (1960) in which he sang a dadra under the music direction of Ustad Ali Akbar Khan.
Among the Hindustani semi-classical singers, Wahidan Bai of Agra was one of the late entrants in Hindi films. Although she was trained as Hindustani classical vocalist and was an occasional singr on All-India Radio, she did not like to pursue the career as a professional singer due to stigma attached to this profession. So, she got married to a businessman and settled as a housewife in Agra. However, the business went in doldrum and they shifted to Calcutta (Kolkata) in early 1930s to start a fresh business. Even the new business incurred losses and the couple were in dire financial condition. At this point of time, she approached A R Kardar who was her neighbour in Kolkata, for a role in the film. She got a song to sing in a small role and everyone was impressed with her voice.
Chandulal Shah, the owner of Ranjit Movietone offered Wahidan Bai to join his company as actor-singer. In Ranjit Movietone, she worked in ‘Toofaani Toli’ (1937), ‘Ban Ki Chidiya’ (1938), ‘Prithvi Putra’ (1938), ‘Professor Waman, M Sc’ (1938), ‘Rickshawala’ (1938), ‘The Secretary’ (1938) and ‘Thokar’ (1939). In all these films, she sang semi-classical genres of songs most of which became popular.
Wahidan Bai switched over to Sagar Movietone and played a lead role opposite Surendra in ‘Alibaba’ (1940), made in Hindi and Punjabi. In this film, she rendered for the first time a waltz music-based song, ham aur tum aur ye khushi with Surendra which became very popular. With the merger of Sagar Movietone with National Studios in 1940, Wahidan Bai worked in ‘Sanskaar’ (1940) as actor-singer which was her last film. Thereafter, she was mostly bed-ridden as she suffered from tuberculosis from which she did not recovered and died sometime in 1942. During her short filmy career, Wahidan Bai was associated with 11 films and rendered 26 songs.
[Note: Information on Wahidan Bai is mainly based on a chapter, ‘Jewels of Sagar’ in the Book ‘Sagar Movietone’ by Biren Kothari (2014), translated in English by Parth Pandya].
‘Thokar/The Kick’ (1939) was Wahidan Bai’s last film with Ranjit Movietone. The film was directed by A R Kardar. The star cast included M Kumar, Madhuri, Yakub, Noor Mohammed Charlie, Ishwarlal, Wahidan Bai, Wasti, Ram Marathe, Suresh, K N Singh, Dixit etc.
A short synopsis of the film’s story as given in http://www.indiancine.ma is reproduced below:
This is story about wealth not bringing happiness. The blind Mohan (Kumar) lives in a village with his ward Radha (Madhuri). He wins a fortune with a sweepstake ticket sold to him by the tramp Ramesh (Charlie), who claims his due and begins to take over Mohan’s life, making him move to the city and getting him married to Chinta (Wahidan Bai), a prostitute. When Mohan’s eyesight is restored, he finds that his wife is having an affair with Ramesh. Mohan takes revenge and eventually lands up in his old village, a poor man, but with Radha still unchanged, waiting for him.
There were 10 songs in the film – all written by P L Santoshi which were set to music by Gyan Dutt. One song from the film has been covered in the Blog. I present the second song from the film ‘kaali jo ghata chhaayi hai’ rendered by Wahidan Bai in the semi-classical singing style.
Audio Clip:
Song-Kaali jo ghata chhaayi hai (Thokar)(1939) Singer-Wahidan Bai, Lyrics-P L Santoshi, MD-Gyan Dutt
Lyrics
aa aa aaa
aankhon aankhon mein
pila di mere saaqi ne mujhe
ab na sheeshe ki zuroorat hai na paimaane ki
kaali..eee
kaali….eeee ee ee
kaali jo ghata chhaayi hai
haan haan jee ghata chhaayi
zulfen saaqi..ee.ee.ee ee
saaqi mujhe yaad aayi hai
haan haan mujhe yaad aayi
gudguda…aa deti hai
ae ae
deti hai dil ko zaalim
deti hai dil ko
shokh a a kitneeeee…ee ee ee
kitni teri angadaayi hai ae ae
haan teri angadaayi hai….ai
haan teri angadaayi
hum hain beemaa…..r e
beemaar-e-mohabbat
jab se…ae ae ae
na maseeha ho aa aaa aaa
maseeha na maseehaaayi hai…..ai
maseeha na maseeha aaye hain
haan na maseeha aaye
kaali ghata chhaaye hai…ai
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4474 | Post No. : | 15976 |
“Aakhir Kyon”(1985) was produced and directed by J Omprakash. Now I realise why this movie title starts with the letter “A”. 🙂
The movie had Rajesh Khanna, Smita Patil, Rakesh Roshan, Tina Munim, Asrani, Sujit Kumar, Shubha Khote, Beena Bannerjee etc in it.
THe movie was a archtypical South Indian “social” movie. Peevesie’s mom, while discussing one earlier song from the movie had provided this summary of the story of the movie
That movie had a very topical theme of a wife (Smita Patil) being abandoned by her whimsical husband (Rakesh Roshan) for another girl (Tina Munim). The story goes on to show Smita becoming a TV anchor (she was one prior to coming into movies) and then graduating to a Novelist. Then it turns out that when her husband’s business falls in bad times he approaches her; requests her to write for him; so that he can get their daughter (whom had forcibly kept with himself at the time of separation) married decently. That is the gist of the movie. We also had a partly bald Rajesh Khanna playing a TV (DoorDarshan) cameraman who admires Smita for her rebounding power and is a support to her throughout.
This movie came at a time when DD was the only channel available and people used to have one TV in their drawing rooms. And whole families used to sit and watch whatever was dished out to them. Otherwise I cannot imagine an entire family sitting and watching this kind of a musical show on TV these days. Also those were the days when people used to quote Rani Jhansi in all their speeches. Also Indira Gandhi and Margaret Thatcher were sources of inspiration.
The movie had five songs in it. Four songs have been covered so far, with the movie making its debut in the blog in 2008, the first year for the blog !
Here are the details of the song covered in the blog :-
| Blog post number | Song | Date posted |
|---|---|---|
| 422 | Dushman na kare dost ne wo kaam kiya hai | 21 December 2008 |
| 5603 | Saat rang mein khel rahi hai | 8 March 2012 |
| 9544 | Komal hai kamzor nahin tu | 8 March 2014 |
| 15696 | Ek andhera laakh sitaare | 2 July 2020 |
We can see from the table that second and third song from the movie were discussed on 8th march (2012 and 2014) on the occasion of Women’s day. It shows that the movie had some sort of “Women’s empowerment” message in the movie.
Today (17 october 2020) happens to be the birthday anniversary of Smita Patil (17 October 1955- 13 December 1986). On this occasion, here is the fifth and final song from “Aakhir Kyon”(1985) to appear in the blog.
This song is sung by Lata. Indeewar is the lyricist. Music is composed by Rajesh Roshan.
The song is picturised as a get together song where Smita Patil lip syncs this semi classocal song while others, including Tina Munim, Rakesh Roshan and others look on. Tina Munim also uses this opportunity to fantasise about Rakesh Roshan.
Lyrics of this song were sent to me by Avinash Scrapwala.
With this song, all the five songs of “Aakhir Kyon”(1985) are covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog. This movie took nearly 12 years (3753 days to be precise) to get YIPPEED.
This song is the 3600th song of Lata Mangeshkar as a playback singer in the blog.
Video
Audio
Song-Shaam huyi chadhh aayi re badariya (Aakhir Kyon)(1985) Singer-Lata, Lyrics-Indeewar, MD-Rajesh Roshan
Lyrics (Provided by Avinash Scrapwala)
Aa aa aa aa aa
aa aa aa
Hoon hoon hoon
Hoon hoon
Shaam Huyee
Chadh Aayee Re Badariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Abahoon Naa Aaye
More Shyaama Sanwaariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Abahoon Naa Aaye
More Shyaama Sanwaariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
O o o
Aa aa aa
Anchhuye Honth Mere
Khoye Khoye Nain Mere
Goonjatey Hai Praanon Mein
Madhur Madhur Bol Tere
Mere Saath Bain Kare ae Ho o
Mere Saath Bain Kare
Moree Atariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Solah Baras Beete
Gin Gein Ratiyaan
Pee Se Milan Chalee
Sang Kee Sakhiyaan
Ab to Le Lo Piyaa aa Ho o
Ab to Le Lo Piyaa
Aake khabariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Paa ni saa re
Ni saa re
Ni saa re
Ni dha paa
Aa aa aa
Aa aa aa
Shaam Huyee
Chadh Aayee Re Badariyaa
Abahoon Naa Aaye
More Shyaama Sanwaariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
Shaam Huyee
Chadh Aayee Re Badariyaa
- In: "baadal" song | Blog ten year challenge (2010-2020) | Devnagri script lyrics by Avinash Scrapwala | expression of love | Feelings of heart | Lata solo | Lata song | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Songs of 1950s (1951 to 1960) | Songs of 1952 | Yearwise breakup of songs
- 3 Comments
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day: |
4452 | Post No. : | 15914 |
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Blog 10-Year Challenge (2010-2020) – Song No. 86
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This day ten years ago (viz on date 25 september 2020), six songs from six movies were covered in the blog. The first article was published at 6:50 AM whereas it was 8:59 when the sixth post of the day appeared in the blog.
Here are the details of these songs :-
| Song | Movie title-Year | Remarks |
|---|---|---|
| Banaane waale kyaa toone yahi duniyaa banaayi hai | Jalpari-1952 | 06 songs posted |
| Aa jaa ab to aa jaa | Anarkali-1953 | All Songs covered |
| Ye rang bhare baadal | Tu Nahin Aur Sahi-1960 | All Songs covered |
| Jaani tum dole dagaa dai ke | Dr Vidya-1962 | All Songs covered |
| Chal mere dil lehraa ke chal | Ishaaraa-1964 | All Songs covered |
| Angrezi mein kahte hain ki I love you | Khuddar-1982 | 03 songs posted |
Four movies whose songs were discussed on 2 September 2020 have been YIPPEED by now. That leaves us with only two movies whose songs are eligible for todays blog Ten yaer challaenge.
“Jalpari”(19552) is one of the eligible movie for BTYC today. Six songs from this movie have been covered in the blog so far. Here are the details of these songs :
| Song | Posted On |
|---|---|
| Suno suno gagan ke taaron | 22.07.2009 |
| Banaane waale kyaa toone yahi duniyaa banaayi hai | 25.09.2010 |
| Barbaad huyi dil ki duniyaa | 29.10.2010 |
| Himmat se koi kaam le | 21.12.2015 |
| Tum nahin aaye mora jiya ghabraaye | 23.12.2015 |
| Khushi ke phool liye aa gaye bahaar ke din | 21.01.2018 |
Here is the seventh song from the movie. This so9ng is sung by Lata and it is picturised on Nalini Jaiwant. Lyricist is not known. Music is composed by Pt Govindram.
Lyrics of this song were sent to me by Avinash Scrapwala.
Video
Audio
Song-Kaari kaari andhiyaari raat mein (Jalpari)(1952) Singer-Lata, MD-Pt Govindram
Lyrics (Provided by avinash Scrapwala)
kaari kaari andhiyaari ee raat mein
kaare kaare baadarwaa chhaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye ae
kaari kaari andhiyaari raat mein
kaare kaare baadarwaa chhaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye ae
mere man mein chhaayi udaasi re
main piyaa milan ki pyaasi re ae
mere man mein chhaayi udaasi re
main piyaa milan ki pyaasi re
main kab se khadi hoon raah mein
nainon ke deep jalaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye
kaari kaari andhiyaari raat mein
kaare kaare baadarwaa chhaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye ae
bhar aayi ankhiyaan mori re
chandaa se door chakori re ae ae ae
bhar aayi ankhiyaan mori re
chandaa se door chakori re
main birhan baat takoon palchhin
hriday mein aas lagaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye
kaari kaari andhiyaari raat mein
kaare kaare baadarwaa chhaaye
aise mein kahin meraa chaand nikal aaye
to mazaa aaye
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Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————–
कारी कारी अंधियारी ई रात में
कारे कारे बादरवा छाए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए ए
कारी कारी अंधियारी ई रात में
कारे कारे बादरवा छाए ए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए ए
मेरे मन में छायी उदासी रे
मैं पिया मिलन की प्यासी रे ए
मेरे मन में छायी उदासी रे
मैं पिया मिलन की प्यासी रे
मैं कब से कड़ी हूँ राह में
नैनों के दीप जलाए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए ए
कारी कारी अंधियारी ई रात में
कारे कारे बादरवा छाए ए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए ए
भर आई अँखियाँ मोरी रे
चन्दा से दूर चकोरी रे ए ए ए
भर आई अँखियाँ मोरी रे
चन्दा से दूर चकोरी रे
मैं बिरहन बाँट टाकून पलछिन
ह्रदय में आस लगाए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए ए
कारी कारी अंधियारी ई रात में
कारे कारे बादरवा छाए
ऐसे में कहीं मेरा चाँद निकल आये तो
मज़ा आए
Megh tu hi nahin jal barsaaye
Posted on: August 16, 2020
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.
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Blog Day : |
4412 | Post No. : | 15811 | Movie Count : |
4358 |
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#the Special Voices of the Decade (1971-1980) – 7 # Hemlata #
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The movie ‘Ankhiyon Ke Jharokhon Se’ was released in 1978 but I got to watch it much later, in the early eighties, and that too on Doordarshan when I had gone to Nagpur to my Uncle’s place.
Later on, I watched it when I had ‘colour TV’ at home.
I had never forgotten its title song sung by a ‘female singer’. That was despite the fact that kids of my age (around ten years old) normally did not give much thought to the singer while listening to songs.
When I think about it now, it was in 1976 that the song ‘sun ke teri pukaar’ from ‘Fakira-1976’ had caught my imagination, ( I have shared this in the blog earlier).
It is my guess that the aalaap of this voice in the song ‘kaun dishaa mein leke chalaa re batohiyaa’ must have left a magical effect on many music lovers, not all of them of an impressionable age unlike me. Another song from the same singer from another movie , namely ‘le to aaye hon hamen sapnon ke gaaon mein’ leaves the same effect on listeners. There are several other songs like this, some of them being:-
Tu jo mere sur mein sur milaa le , Suman samaan tum apna , Khushiyaan hi khushiyaan ho daaman mein jiske, Sona kare jhilmil jhilmil , Wafaa jo na ki to , Bachpan mohe picche bulaaye or duniya se door nayi ek duniya from the same movie…
And then the following songs from the movie ‘Ankhiyon Ke Jharokhe Se’;
ankhiyon ke jharokhon se or bade badaai na karen …
or this one from ‘Sunaynaa’
kaisi hoon main goongaa darpan kuchh bhi naa boley.
there are many, and many of them are still to come on this blog too.
And all of them had that special voice and they bring back many memories of that era of Hindi movies …
Also who can forget this duet song ‘teesta nadi si tu chanchalaa’ on TV in those years and yet again if we listen the beginning ‘alaap’ by the same female singer it is captivating…
This is voice of – Hemlata.
She was born on 16th August 1954.
Today on this blog we wish her a very happy birthday and a healthy and peaceful life ahead and today we celebrate this special voice under the series ‘special voices of the seventies.
There may not be many of her songs that she sung in those years of seventies or considering an extension up to 1983, the year when I completed my matriculation. But I have fond memories of many of her songs which, as I grow, I came to know are sung by her.
This is the first ‘female voice’, appearing in this series.
Hemlata Jaychand Bhatt or more popularly known to us as Hemlata was born on 16th August, 1954 in a Rajasthani Brahmin family who were settled in Kolkata (Calcutta then).
Her Father was a great classical vocalist and sole representative of the ‘Kirana Gharana’ (in India, after partition) and so music was already there in their family, and she was attracted towards film music from an early age.
However, daughters/girls in the family were not expected to become a singer and take on singing. And, so from the early childhood itself Hemlata’s struggle to become a Singer started having obstacles within family itself.
Her father, who was the only son among eight siblings, and coming from an orthodox Rajasthani Brahmin family where nobody was concerned with music had to struggle and he learn from Ustad Wahid Khan of Lahore – ‘Kirana Gharana’, and with his ‘dedication’ and ‘hard work’ he learned from him and dedicated his life to keep the legacy of the gharana.
But he was against the singing of Hemlata as it was against the traditions of the family.
Hemlata used to sing in School functions, ‘Durga Pooja’ festival – cultural programmes’, however this was without the knowledge of her father. Though her mother and guru bhai were supporting her singing looking into her passion for singing. So, Gopal Mullick, her guru bhai, motivated her to perform on stage.
It was when she was only seven-eight years old that she got an opportunity to sing on stage in public during the ‘Durga Pooja festival’ in Kolkata (program arranged in Ranjeet Stadium) where Gopal Mullick one of her father’s disciple was among the organising member of the programme. And the crowd that witnessed her first stage performance was a huge crowd because of big names like Hemant Kumar, Mohd Rafi, Lata Mangeshkar, and Kishore Kumar were attending to perform in this programme.
Gopal Mullick had also specially invited Hemlata’s father Shri Jaychand Bhatt to attend this programme which little Hemlata was not aware of.
And this was not disclosed to her so that she didn’t fear and shiver on stage.
Her father was also not aware that his own daughter is going to perform on stage that day. He was told that one ‘child prodigy’ would be introduced on stage and he has to observe him/her.
As the three main singers performed and Lata Mangeshkar was to arrive late, Gopal Mullick had this opportunity to introduce little Hema on stage and as she sings her first song the response from the audience was so tremendous, they keep demanding ‘once more’ for this song.
The song was ‘jaago mohan pyaare’ from ‘Jaagte Raho’ and audience didn’t stop until she had already sung it four times and other twelve Bengali songs.
She was awarded a gold medal by Dr Bidhan Chandra Rai the then chief minister of Bengal for her performance that day.
However, her father was not in favour of her singing and instead he advised her that she should focus and complete her studies, then take on to help at home and get married as normally happens in our culture and tradition. Though he agreed for her to take training in classical singing from Gyan Prakash Ghosh a renowned name then in Calcutta and also allowed ‘riyaaz’ at home.
Around the same time, it so happened that the whole family had to visit to meet their relatives in Bombay (around 1966) for her brother’s ‘tablaa’ training and also to meet the relatives who were already staying there in Bombay. They meet Ustad Bade Ghulam Ali Khan, Amir Khan and sister of her father Kamla Pandit.
During their visit to Bombay they meet Ustad Rais Khan, Ustad Allah Rakha where Hemlata was asked to sing few compositions.
Then she was taken to Aziz Nazaan and also a meeting with Naushad Saab was arranged where the great K. Asif was also present. This was all without her knowledge. She was asked to sing few compositions and all of them were so impressed that great Composer Naushad Saab straightway offer her a contract of five years, however during these five years she was supposed to get trained so that this time period would have given a better maturity in her age and in turn in voice also.
However, as the news of Naushad Saab’s offer to a ‘new upcoming singer’ spread, big music directors viz. Roshan, C. Ramchandra, Salil Chaudhary, Usha Khanna, Chitragupta, Laxmikant-Pyarelal, Kalyanji-Anandji visited them in Bombay and demanding that Hemlata sang for them.
As told to RSTV by Hemlata ‘they were too small to say them ‘NO’…
Laxmikant of music duo Laxmikant-Pyarelal told her father that ‘now she is being offered her career on a platter’, after five years nobody knows how things would be in this ever-changing industry’’
Obviously, the contract of five years by Naushad Saab got nowhere.
She sang her first song for Usha Khanna in the movie ‘Roop Rupaiyya-1968’ (this song is yet to appear on the blog 🙂 ). (However, her first released song, also a Usha Khanna composition, from ‘Ek Phool Ek Bhool-1968’ was the first released song).
On the same day of the recording of her first song for a movie she recorded her second song- for none other than Kalyanji-Anandji for the movie ‘Vishwas-1969’ – ‘le chal le chal mere jeewan saathi’. Both songs she recorded on her first day were songs for the ‘heroine’ of the respective movies.
This was the ‘right’ beginning though for an upcoming new singer in those years when no one could have imagined that at such a younger age a singer will get an opportunity to sing in movies and that too when all the great names were already there ruling the field.
In the beginning of her career she used to get to sing for junior artists or few lines and though the very second song she sung was for lead artist/heroine of the movie i.e. Aparna Sen for ‘Vishwas-1969’ she had to wait till 1976 to shot to fame and the song was ‘Sun ke teri pukaar’ from ‘Fakira-1976’.
Before that her voice appears in the so many songs which she sang for child artists then;
‘dus paise mein Raam le lo’ (Ek Phool Ek Bhool-1968) (first song released)
‘chandaa ko dhoondhne sabhi tare nikal pade’ (Jeene Ki Raah-1969)
‘aisa banoonga actor main yaaron’ (Ghar Ghar Ki Kahaani-1970)
‘Fakira-1976’ was followed by ‘Chitchor-1976’ where the song with Yesudas ‘tu jo mere sur mein’ fetch her, her first ‘filmfare’ award for singing.
Thereafter she got to sing many songs and particularly for ‘Rajshri films’ and under music director Ravindra Jain.
Her association with Ravindra Jain has given Hindi Cinema some of the most beautiful compositions and unforgettable songs for people like me who grow in that ear of seventies.
Who can ever forget the title song from the movie ‘ankhiyon ke jharokhon se’, or the songs from ‘Nadiyaa Ke Paar-1982’, there are many such songs and the list will be much longer to present here.
Here I would also like to add her songs, from a lesser known movie ‘Jhoom Utthaa Aakash-1973’, which I got to listen during 2014-2015 and which I like very much. This movie had some nice songs which didn’t get attention may be because of the movie itself was an obscure movie.
Moreover there are many of her songs from lesser known movies (or which I have yet to listen) and need to bring here on the blog. (We are going to listen to one such lesser known number today).
Unfortunately for Hemlata or for us, as she kept getting offers for singing and she was continuing with them. Forces beyond her control were at work as well.Gradually she was getting side-lined and not getting much offers of singing… many bitter things were to happen in due course of time.
Hemlata left Bollywood in 1999 and settled in Mexico where she is running a ‘music academy’ for teaching music and singing. She has sung nearly five thousand songs in ‘forty’ languages around the world . This information that I came up wiuth while preparing this post left me ‘awe-struck’. She also keeps singing in Non-Film albums later and many accomplishments came to her later …
Today, as we wish her a very ‘happy birthday’ here on the blog. We thank her for the beautiful songs she has given to us and many memories associated with those melodies from the ‘decade of seventies – 1971 to 1980’
Here I will stop mentioning the lines of a song sung by her ‘tu is tarah se meri zindagi mein shaamil hai …’
***
For this post I am presenting a song from the 1979 movie ‘Zakhmon Ke Nishaan’. I came across this song more than two years ago when I was looking for a Ravindra Jain-Hemlata song.
I guess this movie ‘Zakhmon Ke Nishaan’ must be an ‘obscure movie’ of its time and it may have been flopped miserably. Neither the movie nor the video of its songs (except couple of songs and few video clips) are available on YT.
“Zakhmon Ke Nishaan-1979” was directed by Diljeet Bagge for ‘V. United, Bombay’. It was produced by M.T. Boxwala. M.K. Baria was his associate. It had Vinod Mehra, Tamanna, Vijay Arora, Ranjeet, Aruna Irani, Padma Khanna, Manmohan Krishna, Purnima, Dhumal, Rajendra Nath, Madan Joshi and Krishan Dhawan, supported by Makhan Singh, Jagdish Raj, Amrit Pal, Rana, Chandu, Pritam Beli, G.S. Assie, Narbadashankar, Dharam Veer Singh, Gopal Bhatnagar, Pratap Desai, Anand, Srivastava, Chowdhary, Aditya Sharma, Raj Anand, Ashok Nimbalkar, Master Dharmendra, Master Sanjay, Master Santosh, Master Jitoo.
Story and Screenplay of this movie was written by Shashi Bhushan, whereas the dialogues were written by Madan Joshi. Nand Kumar was the editor for this movie and Sunder Shetty was the associate editor.
This movie had six songs written by Ravindra Jain (four songs) and Hasrat Jaipuri (two songs). Music was composed by Ravindra Jain.
Asha Bhonsle, Manna Dey, Hemlata, Jaspal Singh, Dilraj Kaur, Suresh Wadkar and Chandrani Mukherjee had given their voices to the songs in this movie.
This movie was passed by censor board on 28.11.1979.
I would request knowledgeable readers to throw more light on this movie and its songs …
The movie makes its debut on the blog today.
Let us now enjoy today’s song thanking Hemlata ji for the wonderful songs and the nostalgia forever …
(Sources – RSTV- ‘Guftagoo with Hemlata’ by Anchor Irfan Part-1 &2, Wikipedia and other articles available on Internet).
Song-Megh tu hi nahin jal barsaaye (Zakhmon Ke Nishaan)(1979) Singer-Hemlata, Lyrics-Ravindra Jain, MD-Ravindra Jain
Lyrics
megh tu hi nahin
jal barsaaye ae
mere bhi man par baadal chhaaye
garaj garaj tu boley ae
main gumsum rahoon
megh tu hi nahin
jal barsaaye ae
mere bhi man par baadal chhaaye
garaj garaj tu boley ae
main gumsum rahoon
tujhko milaa saagar se neer
mujhko mili saajan se peer
tujhko milaa saagar se neer
mujhko mili saajan se peer
tu duniyaa se kehtaa phirey
hans kar sah loon main har teer r r
tu duniyaa se ae kehtaa aa phirey
hans kar sah loon main har teer
bhed tu apne kholey
main gehri bahoon
megh tu hi nahin
jal barsaaye ae
mere bhi man par baadal chhaaye
garaj garaj tu boley ae
main gumsum rahoon
meraa ronaa kaam naa aaye
teraa ronaa saawan laaye ae
meraa ronaa kaam naa aaye
teraa ronaa saawan laaye
isiliye aansoo peeti hoon main
jag roton ki hansi udaaye
isiliye aansoo peeti hoon main
jag roton ki hansi udaaye
mere bhi man mein hai sholey
main kaase kahoon
megh tu hi nahin
jal barsaaye
mere bhi man par baadal chhaaye
garaj garaj tu oo boley ae
main gumsum rahoon
main gumsum rahoon
ho o o
main gumsum rahoon
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Devnagri Script lyrics (Provided by Avinash Scrapwala)
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मेघ तू ही नहीं
जल बरसाए ए
मेरे भी मन पर बादल छाए
गरज गरज तू बोले ए
मैं गुमसुम रहूँ
मेघ तू ही नहीं
जल बरसाए ए
मेरे भी मन पर बादल छाए
गरज गरज तू बोले ए
मैं गुमसुम रहूँ
तुझको मिला सागर से नीर
मुझको मिली साजन से पीर
तुझको मिला सागर से नीर
मुझको मिली साजन से पीर
तू दुनिया से कहता फिरे
हंसकर सह लूं मैं हर तीर ‘र ‘र
तू दुनिया से ए कहता आ फिरे
हंसकर सह लूं मैं हर तीर
भेद तू अपने खोले
मैं गहरी बहूँ
मेघ तू ही नहीं
जल बरसाए ए
मेरे भी मन पर बादल छाए
गरज गरज तू बोले ए
मैं गुमसुम रहूँ
मेरा रोना काम ना आये
तेरा रोना सावन लाये ए
मेरा रोना काम ना आये
तेरा रोना सावन लाये ए
इसलिए आँसू पीती हूँ मैं
जग रोतों की हंसी उड़ायें
मेरे भी मन में है शोले
मैं का से कहूं
मेघ तू ही नहीं
जल बरसाए
मेरे भी मन पर बादल छाए
गरज गरज तू ऊ बोले ए
मैं गुमसुम रहूँ
मैं गुमसुम रहूँ
हो ओ ओ
मैं गुमसुम रहूँ
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4382 | Post No. : | 15731 | Movie Count : |
4337 |
Zarina Wahab, born this day in 1959, turns 61 today.
My first introduction to this actress of pronounced and natural underplay, was ‘Chit Chor’ of 1976. Yes, for a brief time, the phrase used for her was ‘Chit Chor Girl’. The debut was impressive and the performance in ‘Chit Chor’ was followed up in 1977 with another superb performance in the film ‘Gharonda’.
In both films, she plays the role of the typical girl next door, who wins your heart with an understatement of her performance as the young coming of age heroine, and her first encounter with love. These two assays, the Geeta of ‘Chit Chor’ and Chhaaya of ‘Gharonda’, quite adequately define for me, the accomplished actress she is.
This song is from the 1995 film ‘Mera Damaad’, almost two decades into her career. The film had a good successful run at the box office, as a comedy of mixed up intents and identities of young hearts seeking their first love.
The film is directed by Partho Ghosh. The lead pair in the film is Zarina Wahab and Farooque Sheikh and the rest of the cast includes Utpal Dutt, Ashok Kumar, Rakesh Bedi, Rakesh Bedi, Prema Narayan, Jankidas, Bhagwan Dada, Tarique, Priyadarshini, Parvin Paul, Abha Mukherjee, Khokha Mukherjee, Brahmachari, Kukku Saigal, Jagannath Prabhu, Balraj, Master Romel Kaul, and Baby Nivedita.
The music director for the film is Salil Chaudhry, and this song is penned by Yogesh.
Wishing Zarina a very happy birthday, with greetings for good healty, peace and many more such celebrations in the coming years.
The lyrics of this song have been sent in by our dear Prakash ji.
Song – Jhir Jhir Barse Aaj Gagan Se Ye Kaise Baadal (Mera Damaad) (1995) Singer – Amit Kumar, Anuradha Paudhwal, Shailendra Singh, Sabita Chowdhury, Lyrics – Yogesh, MD – Salil Chaudhry
Lyrics (Provided by Prakashchandra)
jhir jhir barse
aaj gagan se
yeh kaisse baadal
jhir jhir barse
aaj gagan se
yeh kaisse baadal
aaye matwaale
matwaale
pyaar ke yeh pal
likh di kyaa tumne
iss dil mein pyaar ki gazal
aaye matwaale
matwaale
pyaar ke yeh pal
likh di kyaa tumne
iss dil mein pyaar ki gazal
jhir jhir barse
aaj gagan se
yeh kaisse baadal
dekho
madhosh mausam gaa rahaa hai ae
chhalkaa huaa rang hai
naye
albele raaston par
tera meraa sang hai
dekho
madhosh mausam gaa rahaa hai ae
chhalkaa huaa rang hai
naye
albele raaston par
tera meraa sang hai
thaamey
rehnaa meraa aanchal
jhir jhir barse
aaj gagan se
yeh kaisse baadal
bheegey
bheegey badan mein bhi aaj kaissi
jalne lagi hai aggan
jaane abke baras kaissi
chalne lagi hai pawan
bheegey
bheegey badan mein bhi aaj kaissi
jalne lagi hai aggan
jaane abke baras kaissi
chalne lagi hai pawan
mere armaan huye paagal
jhir jhir barse
aaj gagan se
yeh kaisse baadal
aaye matwaale
matwaale
pyaar ke yeh pal
likh di kyaa tumne
iss dil mein pyaar ki gazal
aaye matwaale
matwaale
pyaar ke yeh pal
likh di kyaa tumne
iss dil mein pyaar ki gazal
jhir jhir barse
aaj gagan se
yeh kaisse baadal
yeh kaisse baadal
yeh kaisse baadal
yeh kaisse baadal
Ae ghanan ghanan ghan garje
Posted on: June 21, 2020
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.
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Blog Day: |
4356 | Post No. : | 15677 |
“Sapna” (1952) was directed by Kidar Sharma for Hindustan production company. The movie had Kishore Sahu, Bina Rai, Cuckoo, Shakuntala, Moni C, Hiralal, Rani Chanda, Narbada Shanker, Paul Sharma etc in it.
The movie had seven songs in it. Three songs from the movie have been covered in the blog.
Here is the fourth song from “Sapna”(1952) to appear in the blog. This song is sung by Rafi, Shamshad Begam along with male and female chorus. Bharat Vyas is the lyricist. Music is composed by Shyambabu Pathak.
Only the audio of the song is available. It sounds like a community dance song. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Ae ghanan ghanan ghan garje (Sapna) (1952) Singers-Rafi, Shamshad Begam, Lyrics-Bharat Vyas, MD-Shyambabu Pathak
Male Chorus
Female Chorus
Lyrics
babadik babadik
babadik baabdik
babadik babadik baabdik
hoy hoy
hoy hoy
hoy hoy
hoy hoy
ho rara ho
aa aa aa
aa aa aa
raa raa ho
ho ho ho
raa raa ho
ho ho ho
raa raa ho
ho ho ho
raa raa ho
ho ho ho
raa raa ho
ho ho ho
raa raa ho
ho ho ho
Ae ghanan ghanan ghan ghanananan ghanan garje
ba ba ba baadarwa
baadal ke dil mein khinch gayi
khinch gayi bilji ki rekha
?? bijli ki rekha
arre gori ki aankhen
mit gayi mit gayi
ye kisne dekha
kahoji bhai ye kisne dekha
baat ye sau baaton ki baat
raat ye sau raaton ki raat
baat ye sau baaton ki baat
raat ye sau raaton ki raat
Hoy
laar lilla
laar lilla
naar naweli aayi re
laar lilla
laar lilla
naar naweli aayi re
chamak chamak kar chale chaal ye
bijli si lugaai re
chamak chamak kar chale chaal ye
bijli si lugaai re
laar lilla
laar lilla
naar naweli aayi re
jyun jungle ki ee ee ee laakdi
gaanthh gathheelee hoye
baalaapan ki ee ee preetdi
bahot hathheelee ho o o o o ye
phulwa chunte kaanto lago ree
phulwa chunte kaanto lago ree
teekho teekho kaanto
meethho meethho kaanto
bagiya mein hamko nindiya jo aayee
nindiya
jo aayee
main to kaliyon ki godi mein so gayee re
ho main to
ho main to
ho main to kaliyon ki godi mein so gayee re
chupke se ungli ko kaante ne kaat liya
kaante ne kaat liya
daiyya re ghaayal main ho gayee re
haay daiyya re ghaayal main
ho gayee re
ho gayee
phulwa chunte kaanto lago ree
phulwa chunte kaanto lago ree
teekho teekho kaanto
meethho meethho kaanto
bhanwron ke bhole bhaale jigar par
nainon ka teer mera
chal gaya re chal gaya
phoolon ke sang muskaate yoon dekhoon main
phoolon ke sang muskaate yoon dekhoon main
kaanta nigoda kyun jal gaya re
haaye kaanta nigoda kyun jal gaya re jal gaya
phulwa chunte kaanto lago ree
phulwa chunte kaanto lago ree
teekho teekho kaanto
meethho meethho kaanto
phulwa phulwa phulwa phulwa
aa aa aa aa
phulwa phulwa phulwa phulwa
aa aa aa aa
kisne chheda kaanon mein mere
zaalim jawaani ka raag re
raag re
raag re
raag re
tadpan lagi more man ki machhariyaa
tadpan lagi more man ki machhariyaa
paani mein laagi hai aag re
aag re
aag re
aag re
aa aa aa aa aa
aa aa aa aa aa
phulwa phulwa phulwa phulwaa
aa aa aa aa aa aa
phulwa phulwa phulwa phulwaa
aa aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa
phulwa phulwa phulwa phulwaa
aa aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
Baa..dal Ghumadh Badh Aaye
Posted on: June 5, 2020
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This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Sai Paranjpye has so far directed 8 feature films in Hindi. She has written story and script for all these films. Each of these films has some interesting background as to what prompted her to make those films. In this article, I am covering her film ‘Saaz’ (1997) which was produced by Amit Khanna under the banner ‘Pulse Films’ of the Plus Channel of which he was the managing director during 1989-2000.
Sometime in 1995-96, Plus Channel decided to produce some ‘middle-of-the-road’ films. Directors like Shyam Bengal, Basu Chatterjee, Sudhir Mishra, Aruna Raje, Gautam Ghosh and Sai Paranjpye were enlisted to direct such genre of films which resulted in the release of films, ‘Sardari Begum’ (1996), ‘Gudgudee’ (1997), ‘Is Raat Ki Subah Nahi’ (1996), ‘Bhairavi’ (1996), ‘Gudia’ (1997) and ‘Saaz’ (1997), respectively.
Shabana Azmi had worked with Sai Paranjpye in ‘Sparsh’ (1980) and ‘Disha’ (1990). As per Sai Paranjpye’s Marathi book, ‘Sai – Maaza Kalapravaas’ (2016), one day Shabana came to her with a proposal on behalf of Plus Channel to direct a film with a woman-oriented story in which she would like to work. Sai Paranjpye accepted the proposal. The subject of sibling rivalry in the professional fields had attracted Sai Paranjpye but she had not thought of making a film on the subject. With this proposal, she thought as to why not make a film on sibling rivalry.
We are aware that there have been many instances of sibling rivalries – be in epics, history, business, media, industrial houses etc in India where there was thin line of difference between the professional and personal rivalries. According to Sai Paranjapye, sibling rivalry of Lata Mangeshkar and Asha Bhosle is unique in the sense that their personal relationship by and large has remained intact over the years in the midst of their professional rivalry. And Sai Paranjpye wanted to bring this uniqueness in the film.
When Sai Paranjpye worked on the script of the film, she realised that the film was leaning towards making of a biopic on Asha Bhosle. She felt uncomfortable to make a film on such a script involving the personal lives of the siblings. Furthermore, she has no acquaintance with both the sisters. The idea of making a film depicting Asha Bhosle was, therefore, dropped. However, in the revised script, the main theme of two playback singing sisters were kept in mind with some twists in the stories just to segregate her story from the real life story of Lata and Asha Bhosle. However, a couple of events which actually happened during the lives of Asha Bhosle and Lata Mangeshkar were incorporated as they were in the public domain, written by those who had witness those events.
The star cast of ‘Saaz’ (1997) included Shabana Azmi, Aruna Irani, Parikshit Sahani, Raghuveer Yadav, Ayesha Dharker, Zakir Hussain, Amar Talwar, Brijbhushan Sahani, Bhupen Hazarika etc. The story, script and dialogues were written by Sai Paranjpye who also directed the film. The film was mostly shot around Mumbai. Some last part of the film were shot in Seychelles.
The film was certified by the Censor Board on 31-12-1996. But film failed to get release in theaters. The reason is stated to be the ban put by the Theater Owners Association on the exhibition of films produced by Plus Films due to the non-payment of arrears of rent from Plus Channel to some theater owners. I am not aware whether the film was released in the theater after this ban. Probably, the film got released later on TV. It was only after reading some parts of the script of the film published verbatim in Sai Paranjpye’s Marathi book referred to above that made me to watch the film. I am pleasantly surprised to note that she has handled the theme of sibling rivalry of playback singing sisters very delicately and objectively. There are some poignant moments between the two sisters which are very heart-touching.
The film’s story has been told in a flash-back mode during Bansi’s (Shabana Azmi)’s sessions with a psychiatrist played by Parikshit Sahani. She needed this treatment as she has lost the will to sing after the death of Hemang Desai (Zakir Hussain) with whom she was in love and would have married him. In all her sessions, Bansi reveals events from her childhood to playback singing career as to how she was always played second fiddle to her elder sister. How she broke the relationship with her didi for 10 years due to snatching of her chance to sing on India’s Independence Day at Delhi. But after the sudden death of her elder sister, Bansi feels guilty of depriving her elder sister of spending time with her daughter. Towards the end of the film, Bansi gets a good news that her daughter has won the award as a promising playback singer. This pleasant news makes Bansi to sing live in front of the audience in Seychelles. The tape of her singing is sent to psychiatrist who comes at the airport to receive her and announces that she does not need any more treatment. So his relationship with Bansi as a doctor and a patient is over. Instead, he wants now to be her friend. The films end with both them walking together out of the airport.
In my view, this film is not one of the best among the films Sai Paranjpye has directed. Probably, in trying to make the film different from that of the sibling rivalry of Lata and Asha Bhosle, too many characters were introduced. As a result, about last one hour of film does appear some disconnect from the first part of the film which has some brilliant stamp of Sai Paranjpye. However, I feel that she has succeeded in creating sympathy of the audience for the younger sister without their malice towards the elder one.
In keeping with the subject of the story, ‘Saaz’ (1997) has as many as 11 songs (including a multiple version song). Songs are written by Javed Akhtar which have been set to music by 4 music directors – Ustad Zakir Hussain, Bhupen Hazarika, Raj Kamal and Yashwant Deo. The reason given by Sai Paranjpye for multiple music directors is that since sisters are playback singers working with different music directors, the songs in the film should reflect the different style of music direction. Two of the music directors, Ustad Zakir Hussain and Bhupen Hazarika also acted as music directors in the film.
Out of the 11 songs of the film, 3 songs have been covered in the Blog, all by Peevesie’s Mom. I am presenting the 4th song from the film which is a multiple version song. The song is “Baadal Ghumad Badh Aaye”. The male version of the song is sung by Suresh Wadkar and Kavita Krishnamurthy sings the female version. Both the versions of the song are set to music by Yashwant Deo in Raag Megh-Malhar. In the credit titles of the film, only Javed Akhtar’s name appears as a lyricist. But in reality, both the versions of the song have been written by Sai Paranjpye. There is an anecdote as to why Sai Paranjpye had to write the lyrics of the song as revealed by her in her Marathi book referred to above.
Javed Akhtar has written all the songs except the one under discussion which was last to be written. Despite repeated reminder, Javed Akhtar could not write the song. Yashwant Deo who was to set the song to music had booked the recording room and taken the dates of Suresh Wadkar and Kavita Krishnamurthy. All the musicians were also booked for the date of recording. Now only two days had left for the recording of the song but both the version of song’s lyrics was not yet ready. Just one day before the song recording date, it came to light that Javed Akhtar has gone to Khandala with a film producer. The cancellation of recording of the song would have entailed a huge loss and also the shooting schedules would have been affected entailing further loss.
Yashwant Deo mentioned to Sai Paranjpye that even if he gets the song in the morning of the song recording date, he can manage somehow to complete the rehearsals and record the song at the appointed time at noon. Sai Paranjpye came home at night and completed the lyrics of two versions of the song, foregoing her sleep. In the morning, she handed over the lyrics to Yashwant Deo and recording of the songs took place as schedule.
On return from Khandala on the next day, Javed Akhtar was shocked to learn that the songs have already been recorded. He got annoyed on Sai Paranjpye. After 3-4 days, an executive from Plus Films came to her asking for her lyrics which Javed Akhtar wanted to read. He took lyrics to Javed Akhtar. There was no further development which meant that Javed Akhtar had no issue with the lyrics. On this issue, Shabana Azmi remained neutral.
Javed Akhtar won the National Film Award for the best lyrics in ‘Saaz’ (1997).
It is not an easy task for a novice to write lyrics based on Hindustani classical raags. The choice of words shows that Sai Paranjpye has hold over Sanskritised Hindi. For the first time, I have heard the word kanakalankrit bhor (dawn of golden colour). While the male version of the song is reflective of the onset of the rains, the female version of the song signals the end of the rains and the sun is shining giving a dawn of hope. This is symbolic for the resurgence of playback singing career of Bansi (Shabana Azmi) after she lost her will to sing.
Suresh Wadkar version of the song is pictuirsed on Raghuveer Yadhav who has played the role of a father of singing sisters, Mansi and Bansi. The picturization of the song is based on a true story in the life of Dinanath Mangeshkar who had gone to the house of Vishram Bedekar (Marathi and Hindi film director) in the midnight, drenched under heavy rains to borrow money to quench his thirst for alcohol. Bedekar taunted him by saying that it did not behove well for such a great artist to beg for money. Dinanath Mangeshkar retorted by impromptu singing a bandish in Raag Megh-Malhar and after completing the bandish, he took money from Bedekar as a present for his rendering.
Enjoy both the version of the songs in the backdrop of the approaching monsoon season.
Video (Suresh Wadkar Version)
Audio (Suresh Wadkar Version)
Video (Kavita Krishnamurthy Version)
Audio (Kavita Krishnamurthy Version)
Song – Baa..dal Ghumadh Badh Aaye (Saaz) (1997) Singer – Suresh Wadkar, Kavita Krishnamurthy, Lyrics – Sai Paranjpye, MD – Yashwant Deo
Lyrics
Suresh Wadkar Version
baa…dal ghumad baddh aaye
baa…dal ghumad baddh aaye..e
kaali ghata ghanghor gagan mein
kaali ghata ghanghor
baa…dal ghumad baddh aaye
baa…dal ghumad baddh aaye
kaali ghata ghanghor gagan mein
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
andhiyaara chahun o..or
ghan barsat utpaat pralay kaa
pyaasa kyon manmo..or
pyaasa kyon manmo..o..or
baa…dal ghumad baddh aaye
baa…dal ghumad baddh aaye..e
kaali ghata ghanghor gagan mein
kaali ghata ghanghor
ghanghor
ghanghor
ghanghor
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
ghan barsat utpaat pralay kaa
ghan barsat utpaa..aa..aa..t
aa aaa aa aaa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa
ghan barsat utpaat pralay kaa
pyaasa kyon manmo..or
pyaasa kyon manmo..or
baa…dal ghumad baddh aaye
baa…dal ghumad baddh
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baa..dal ghumad
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baa..dal ghumad
baa..dal ghumad
baa…dal ghumad baddh aa..aa..aa..ye
Kavita Krishnamurthy Version
baa..dal ghumad baddh aaye
baa..dal ghumad baddh aaye
kaali ghata ghanghor gagan mein
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
ghan barsat utpaat pralay ka
pyaasa kyon manmo..or
pyaasa kyon manmo..or
baadal baras ab maun bhaye
baadal baras ab maun bhaye
ravi ujjwal prajawalit gagan mein
prajawalit gagan mein
gagan mein
gagan mein
gagan mein
ravi ujjwal prajawalit gagan mein
kanakaalankrut bho..or
jai mangal jai ghosh gagan kaa
jai ghosh gagan kaa..aa..aa
aaaaaaaaaaaaaa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
jai mangal jai ghosh gagan kaa
shubh utsav chahun o..or
shubh utsav chahun o..or
baa..dal baras ab maun bhaye
baa..dal baras
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baadal baras ab maun bhaye..ae
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
baadal baras
baadal baras
baadal baras ab maun bha..ye..ye
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