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

Archive for the ‘Biography of lyricist’ Category


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 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.

This post is 501st post by Sadanand Ji. Due to a tagging error, we all missed the event of 500th post by him (his previous post).

In the early part of the golden era of Hindi film music, there were many films which were box office disasters. These films got released but vanished from the theatres quickly. These films also got ‘erased’ from the memories of the film audience of that time except those who had interest in Hindi film history. Some of such obscure films had the treasures of melodious songs.

If I confine myself to the first half of 1950, I get quite a good numbers such obscure films having melodious songs. Some of such films were ‘Adaa’ (1951, Madan Mohan), ‘Malati Madhav’ (1951, Sudhir Phadke), ‘Ghunghroo’ (1952, C Ramchandra), ‘Nirmohi’ (1952, Madan Mohan), ‘Raag Rang’ (1952, Roshan), ‘Baaghi’ (1953, Madan Mohan), ‘Fareb’ (1953, Anil Biswas), ‘Jhaanjhar’ (1953, C Ramchandra), ‘Chor Baazar’ (1954, Sardar Malik), ‘Naaz’ (1954, Anil Biswas), ‘Rishta’ (1954, K Datta), ‘Garam Coat’ (1955, Amarnath Chawla), ‘Madhur Milan’ (1955, Bulo C Rani) etc. The list is not exhaustive.

These obscure films of early 1950s had the adverse impact on the careers of some of the music directors for no faults of theirs. The then upcoming music directors like Madan Mohan and Roshan had to struggle hard to establish themselves in the film industry. Like-wise, the already established music directors like Anil Biswas and Bulo C Rani had difficulties in retaining their positions in the film industry.

‘Maan’ (1954) was one such film which had very melodious songs from the baton of Anil Biswas. The film was directed by Dr Safdar Aah Sitapuri, a well-known lyricist, and screen play/dialogue writers of 1930s and 40s. This was his second and the last directorial venture, the first being ‘Bhook’ (1947). The star cast included Ajit, Chitra, Gajanan Jagirdar, Durga Khote, M Kumar, Achala Sachdev, Kamlesh Kumari, Yashodara Katju, Chandabai etc. The film belongs to the costume drama genre.

Dr.Safdar Aah Sitapuri was a Urdu laureate. He started his career in the Hindi film industry sometime in 1930s, probably with Mohan Pictures. He worked with Anil Biswas for the first time in ‘Comrades’ (1939) made under the banner of Sagar Movietone followed by ‘Alibaba’ (1940) and ‘Aurat’ (1940).

When Sagar Movietone was merged with General Films and renamed as National Studios in 1940, Dr Safdar Aah Sitapuri and Anil Biswas shifted to this banner. Under National Studio Banner, Dr Safdar Aah Sitapuri worked with Anil Biswas in films like ‘Aasra’ (1941), ‘Bahen’ (1941), ‘Nai Roshni’ (1941), ‘Roti’ (1942) etc. After Anil Biswas joined Bombay Talkies in 1942, he had to work with lyricists which were already in the pay roll with the banner. So he had no chance of working with Dr Safdar Sitapuri in Bombay Talkies but worked with lyricists Pt. Narendra Sharma and Kavi Pradeep among others.

After a gap of about 3 years, Dr. Safdar Aah Sitapuri got the opportunity to work with Anil Biswas for the film ‘Pehli Nazar’ (1945) in which he wrote, among other songs, “Dil Jaltaa Hai To Jalne De” and Mukesh sang from his heart to make the song an iconic one. Thereafter Dr.Safdar Aah Sitapuri had worked with Anil Biswas in films like ‘Laadli’ (1949), ‘Laajawaab’ (1950), ‘Badi Bahu’ (1951), ‘Naaz’ (1954) and ‘Maan’ (1954) which was his last film as the director and I guess, it was also his last film as a lyricist.

The information on the internet indicates that Dr Safdar Aah Sitapuri returned to his teaching profession sometime in the later 50s though it appears that he was involved with writing screen-play and dialogues for ‘Son Of India’ (1962). Post-retirement from the film industry, Dr, Safdar Aah Sitapuri wrote books like ‘Amir Khusro Bhaisiyat Hindi Shaayar’, ‘Rubiyaat-e-Zamzama’, ‘Tulsidas Aur Ramcharitmanas’. I came to know through internet a few years back that he was also a guide for students doing Ph.d in Urdu literature.

Coming back to Anil Biswas, I personally feel that after Lata Mangeshkar started singing for him from ‘Anokha Pyaar’ (1948) onwards, his song compositions attained a higher level of melody than what was earlier. For example, I find his song compositions in the film ‘Anokha Pyaar’ (1948) in which Lata Mangeshkar sang for him for the first time, superior to those in ‘Veena’ (1948) in which Lata Mangeshkar had no songs. Incidentally, stories of both these films revolved around love triangles.

I recall reading few years back that when Sardul Kwatra, the music director was asked as to how his compositions are so beautiful. His reply was that he got inspiration from the singers themselves to compose the beautiful songs. I think, Anil Biswas could compose some of the best soulful songs for Lata Mangeshkar because of her voice and the faster pick up of nuances of song compositions. This quality of her could inspire anyone to compose the songs for her better than their best.

Today, I am presenting one of the soulful songs ‘Guzraa Hua Ulfat Ka Zamaana Yaad Karke Royenge’ from the film ‘Maan’ (1954). The song is rendered by Lata Mangeshkar on the words of Dr. Safdar Aah Sitapuri.


Song – Guzra Hua Ulfat Ka Zamaana (Maan) (1954) Singer – Lata Mangeshkar, Lyrics – Safdar ‘Aah’ Sitapuri, MD – Anil Biswas

Lyrics

guzraa hua ulfat kaa zamaana
yaad karke royenge
yaad karke royenge
apni kahaani apna fasaana
yaad karke royenge
yaad karke royenge
guzraa huwa ulfat kaa zamaana
yaad karke royenge
yaad karke royenge

jab saawan ki mast ghataayen
dhoom machaati aayengi ee
jab saawan ki mast ghataayen
dhoom machaati aayengi  ee
jab koyal ki meethi taanen
kaanon mein bas jaayengi
ham ik bhoola hua taraana
yaad karke royenge
yaad karke royenge

kabhi kabhi jab tumko apne
dil kaa dard sunaate thhe
kabhi kabhi
kabhi kabhi jab tumko apne
dil kaa dard sunaate thhe
pyaar se dhaadas dekar saajan
hamko gale lagaate thhe
wahi pyaar se gale lagaana
yaad karke royenge
yaad karke royenge
guzraa hua ulfat kaa zamaana
yaad karke royenge
yaad karke royenge
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

गुज़रा हुआ उल्फ़त का ज़माना
याद करके रोएँगे
याद करके रोएँगे
अपनी कहानी अपना फसाना
याद करके रोएँगे
याद करके रोएँगे
गुज़रा हुआ उल्फ़त का ज़माना
याद करके रोएँगे
याद करके रोएँगे

जब सावन की मस्त घटाएँ
धूम मचाती आएंगी
जब सावन की मस्त घटाएँ
धूम मचाती आएंगी
जब कोयल की मीठी तानें
कानों में बस जाएंगी
हम इक भुला हुआ तराना
याद करके रोएँगे
याद करके रोएँगे

कभी कभी जब तुमको
अपने दिल का दर्द सुनाते थे
कभी कभी
कभी कभी जब तुमको
अपने दिल का दर्द सुनाते थे
प्यार से ढाढ़स दे कर साजन
हमको गले लगाते थे
वही प्यार से गले लगाना
याद करके रोएँगे
याद करके रोएँगे
गुज़रा हुआ उल्फ़त का ज़माना
याद करके रोएँगे
याद करके रोएँगे

 

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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 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.

In the 1930s and 40s, Hindi film industry attracted many well known poets and writers of Hindi/Urdu. Munshi Premchand joined Ajanta Cinetone and wrote story and screen-play for the film ‘Mazdoor’ (1934) in which he also played a cameo role. Dr Safdar ‘Aah’ Sitapuri, the Urdu poet and writer joined National Studios in 1939 and later Bombay Talkies as screen-play/dialogue writer and lyricist. Later, he also directed two Hindi films. Upendranath ‘Ashq’ joined Filmistan in 1944 as screen-play and dialogue writer. Josh Malihabadi, the Urdu poet joined Shalimar Studio in 1942 as dialogue writer and lyricist. Amritlal Nagar joined the film industry in 1941 as a screen-play/dialogue writer and lyricist. The list is not exhaustive.
Read more on this topic…


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.

Songs to Tickle Your Memory – 23
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‘Aankhen’ was released in 1950.  Most people remember it for being the debut film of music director Madan Mohan.  Amongst all the wonderful songs that caught the attention of the listeners, there is this lovely melody in the voice of Meena Kapoor, that really steals away your heart – “Mori Atariya Pe Kaaga Bole, Mora Jiya Doley, Koi Aa Rahaa Hai”.  For me, it is this one song that makes this film and its music memorable.  This is one of the two songs that Bharat Vyas wrote for this film.

Remembering Bharat Vyas on the anniversary of his passing away (5th July).
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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.

Shyamlal Babu Rai, who wrote endearing gems in the golden era of melody, such as “Bade Armaanon Se Rakha Hai Balam Teri Kasam”, and also popular hits for the new generation in the 1970s, such as “Aap Jaisa Koi Meri Zindagi Mein Aaye, To Baat Ban Jaaye”, had started his career back in the 1946 with two completely obscure and now unknown films – ‘Double Face’ and ‘Jungle Ki Pukaar’.  Information about these films is not easily traceable, and neither have the songs of these films have surfaced so far.

Remembering Indeewar, song writer par excellence, on the anniversary of his passing away today (27th Feb).
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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 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. This is the 300th article in the blog for Mr Sadanand Kamath.

A man with a spiritual bend of mind would believe that his destiny was pre-planned even before he was born. There are others who believe that they can mold their own destiny. Shailendra was one of those who seemed to have believed that he could be master of his own destiny. That he was a member of Indian People’s Theatre Association (IPTA) indicates what destiny he had chosen for himself. He had taken up the task of awakening the Indian masses on their rights and duties in the background of post-independent India. It was therefore no surprise when he spurned Raj Kapoor of his offer of taking his inspirational song for the film Aag (1948) telling him that his poems were not for sale. However, Raj Kapoor left his address with him in case he had a change of mind.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

“Wo Jab Yaad Aaye, Bahut Yaad Aaye”(‘Parasmani’, 1963).
Read more on this topic…


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The best way to write about a poet is to write about his works, his poetry. But when we come to a poet of the stature of Rajinder Krishan, it becomes a very difficult task to write about his poetry. One simply does not know where to start. The body of work is enormous, and the number of pleasing heart stealers is so numerous, that just a sample list of favorites will go beyond a reasonable length for a write up. And no matter how representative one makes this sampler list, readers and friends will come up with wonderful gems of A grade quality that must be included.
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Today (3 august) is the birth anniversary of Shakeel Badayuni (3 august 1916- 20 april 1970). The combination of Shakeel Badayuni as a lyricist as Naushad as a music director was one of the most common and most successful lyricist-music director combinations of the golden era of Hindi movies. They worked together in as many as thirty movies.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

During my earlier stage of baptism to Hindi film songs of the golden era, whenever I came across some new songs I liked, I would want to know the name of the film, singers and themusic directors ( in that order) of the concerned songs. I never enquired about who wrote these likeable songs. One song that made me to know the name of the lyricist was “main zindagi ka saath nibhaata chala gaya” from HUM DONO(1961). This song virtually introduced me to a great Urdu poet and lyricist Sahir Ludhianvi. I feel shy to reveal here that though I liked those iconic songs of PYAASA (1957) but that did not trigger my brain to enquire as to who wrote those melancholic and the soul searching songs. As I came to know later, those songs were written by Sahir Ludhianvi.
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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 more than eight years. This blog has over 13300 song posts by now.

This blog is active and online for over 3200 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1012
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