Advertisements

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

Archive for the ‘Bulbul songs’ 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.

Blog Day : 3727 Post No. : 14666

Today, October 1st is the birth anniversary of two iconic personalities of Hindi film music. Both started their career in Hindi film industry in Bombay (Mumbai) in 1946 – one as a music director and the other as a lyricist. Yes, it is Sachin Dev Burman’s 112th birth anniversary and Majrooh Sultanpuri’s 99th birth anniversary. Both have been my favourites amongst the music directors and lyricists of the golden era of Hindi film music. Both seem to have been made for each other. SD Burman was one of the earliest pioneers in introducing the concept of ‘tune first lyrics later’ in Hindi film music while Majrooh Sultanpuri was master in writing lyrics to the tune.

I found both of them to be non-conformists in their respective fields.  SD Burman’s compositions did not leave trails to identify them as SD Burman type of music. In my younger days, it was not easy for me to identify the songs composed by SD Burman. Had I not known in advance, I would have difficulties in knowing that songs of ‘Baazi’ (1951), ’Pyaasa’ (1957) and  ‘Nau Do Gyarah’ (1957) were composed by the same music director. Majrooh Sultanpuri on the other hand wrote lyrics of varied moods and of all genres with ease. Another common factor between these two stalwarts was that both were called as ‘old man with young heart’. If SD Burman could composed Roop Tera Mastaana at the age of 64, Majrooh Sultanpuri wrote lyrics for Raat Shabnami Bheegi Chaandni at the age of 77.

Despite both SD Burman and Majrooh Sultanpuri starting their filmy career in 1946, it took about 11 years for both of them to work together in Navketan’s  ‘Nau Do Gyaarah’ (1957), though the other collaboration, ‘Paying Guest’ (1957) was released first. The main reason was that SD Burman was already working with Sahir Ludhianvi since 1951. It was only when SD Burman stopped engaging Sahir after ‘Pyaasa’ (1957) that he found Majrooh Sultanpuri as a suitable lyricist partner. From 1957 till SD Burman’s death in October 1975, both of them worked together in 20 films composing 137 songs.

I have already written about Majrooh Sultanpuri last year while covering the song Nanha Mora Doley Mori Anganiaa. So in this article, I propose to discuss only the musical career of SD Burman.

Sachin Da (1/10/1906 – 31/10/1975) was born in Comilla, a part of Tripura at that time (now in Bangladesh). He belonged to Tripura’s royal family in which his father, Nabadwip Chandra Dev Burman, was the next in line to Tripura Royalty. However, due to some palace machinations, Nabadwip Burman was denied his right as the next king of Tripura because of which he along with his family shifted to Comilla. SD Burman’s childhood years in Comilla became his training ground for music as he became enthralled by the folk music of what was then known as East Bengal.

After graduation from a Comilla college, SD Burman enrolled for Master’s degree in English in the University of Calcutta in 1924. However, he soon gave up his studies to become the disciple of Krishna Chandra Dey (KC Dey). Later, he continued his musical training under Ustad Badal Khan and Pandit Bhishamdev Chatopadhyay.  The royal family of Tripura were the connoisseurs of Hindustani classical music. They resented SD Burman’s indulgence in singing and recording folk songs for earning as it was below dignity for a royal member of family to earn from the music. They also felt that folk songs were not meant for royalty as they were sung by the lower strata of the society. Because of this, SD Burman did not get the traditional royal welcome when he visited Agrtala after his marriage with Meera in 1938.

In 1932, SD Burman left Tripura for Calcutta (Kolkata) for pursuing his interest in music. In the same year, he approached HMV for his first recording of a non-filmy Bengali song. However, he failed in the audition test. Luckily for him, Hindustan Musical Products (Hindustan Records) offered to record his first gramophone song. The song became a major success for Hindustan Records. During 1932-1946, SD Burman recorded over 100 non-films, mostly Bengali and some filmy Bengali songs most of which became commercially successful.

Despite success as a singer in non-film songs, SD Burman had to face disappointment in 1933 when a song sung by him in the film ‘Yahudi Ki Ladki’ (1933) was deleted and was recorded afresh in the voice of Pahadi Sanyal due to the internal politics of New Theatre. In 1935, SD Burman got an opportunity to do a minor role of a beggar in Madhu Bose’s film ‘Selima’ (1935) in which he was to sing a song. At first, SD Burman refused telling that he would be ostracised from the Tripura royal family if they came to know that he was working in a film. However, Madhu Bose assured him that no one would recognise him in his make-up of a beggar with beard and moustache. So this became SD Burman’s first film song as an actor-singer.

Sometime in 1942, SD Burman got an offer from Chandulal Shah to join Ranjit Movietone as music director. The offer was declined as he did not relish the idea of leaving Kolkata. In the next two years, he found that he was not able  to get enough opportunity to compose music for Bangla films as all important banners had their own music directors in their pay rolls. These music directors would offer him to sing as a playback singer which he would not agree as his wish was to become a music director. At this juncture, he took a decision that he would not sing for any other music directors and he would sing his own compositions for films not as a playback singer but as background singer. He maintained that stand consistently after he became a part of the Bombay (Mumbai) film industry in 1946.

In early 1940s, Bengal was reeling under the worst famine. The film industry was adversely affected. There was an exodus from Kolkata to Mumbai film industry for a different reason. SD Burman knew that despite his liking for Kolkata, he had to move to Mumbai to be able to achieve his dream of becoming a music director. In October 1944, SD Burman along with his family landed in Mumbai on the invitation from Rai Bahadur Chunnilal and Sashadhar Mukherjee who had formed Filmistan with Ashok Kumar, Gyan Mukherjee and other technicians, a breakaway group from Bombay Talkies.  Burman joined Filmistan as music director.

In Mumbai, SD Burman’s greatest handicap was his inability to fully understand Hindi, leave aside Urdu.  This handicap willy-nilly made him the pioneering in ‘tune first lyrics later’ concept in Hindi film song compositions. It is said that in his first two films with Filmistan, C Ramchandra helped SD Burman in music arrangements. I guess, as a newcomer, it was difficult for him to arrange musicians and communicate with them.

His first film as a music director was ‘Shikaari’ (1946) followed by ‘Aath Din’ (1946), both produced under the banner of Filmistan.  The music of ‘Shikari’ (1946) did not create much interest in the common public though studio hands appreciated newness in his music compositions. However, songs of ‘Aath Din’ (1946) especially two songs sung by SD Burman and Pehle Na Samjhaa Pyaar Tha by Ameerbai Karnataki became popular and made him a different class of music director well-versed with the then East Bengal folk music.

SD Burman was not satisfied with his music in these two films as he did not find anyone in the streets singing his songs. On the contrary, he found his servant always humming the songs from ‘Rattan’ (1944). He felt that unless his songs became popular on the streets, his presence as a music director would never be felt in Bombay film industry.

In the meanwhile, Sashadhar Mukherjee allowed him to take up the music direction in the films outside Filmistan. In 1947, he did two films outside Filmistan – ‘Chitor Vijay’ (1947) and ‘Dil Ki Rani’ (1947) both having Raj Kapoor and Madhubala as lead pairs. Neither the films fared well on the box office front nor did the songs become popular. The only point of interest in ‘Dil Ki Rani’ (1947) was that SD Burman made Raj Kapoor to sing in his own voice a song, O Duniya Ke Rehne Waalo Bolo Kahaan Gaya Chitchor.

Filmistan entrusted SD Burman with the music direction of ‘Do Bhai’ (1947). Sashadhar Mukherjee was a hard task master who rarely got satisfied with the tunes SD Burman composed for this film. Fed up with the constant rejections of tunes by Sashadhar Mukherjee, one day, SD Burman decided to have a show down with his boss. Probably after that he would think of leaving Filmistan and go back to Kolkata. To his surprise, Sashadhar Mukherjee at once approved the first tune he played on the harmonium and asked him record the song at the earliest. The song was Mera Sundar Sapna Beet Gaya sung by Geeta Roy (later Dutt). This song made Geeta Roy a star playback singer overnight. The film was a box office success. For the first time, SD Burman heard his servant humming this song which made him very happy. In 1948, he composed songs from ‘Vidya’ (1948). It was his first film with Dev Anand and Suraiya. The film did not fare well on the box office but one song  Laayi Khushi Ki Duniya, picturised on Dev Anand and Suraiya, became very popular.

Filmistan’s ‘Shabnam’ (1949) can be regarded as SD Burman’s first real successful film as a music director as all the songs of the films became very popular. For SD Burman, it was one of his most satisfying period of his musical career as he found the songs of ‘Shabnam’ being heard on the street quite often. He even heard the labourers at Bandra Railway Station, singing one of the songs from this film in tandem with their track maintenance work.

In 1950s, SD Burman did not have much success as a music director. ‘Afsar’ (1950) was his first film for Navketan – a film production company started by Chetan Anand and Dev Anand. The film did not fare well at the box office although two songs – Naina Deewaane Ek Nahin Maane and Man Mor Huaa Matwaala became popular. ‘Pyaar’ (1950) also did not have a great run. SD Burman was now depressed that even after 5 years of his stint as a music director in Bombay film industry, he has not established himself as a successful music director. With this thought in mind, he decided to leave Mumbai and return to Kolkata.

At that time, Ashok Kumar was reviving Bombay Talkies by producing ‘Mashaal’ (1950) for which SD Burman was entrusted with the music direction. His leaving at a crucial juncture would have affected the film. After much persuasion by Ashok Kumar, SD Burman stayed back to complete the music direction of the film with a condition that after the completion of his work, he would return to Kolkata.

It so happened that ‘Mashaal’ (1950) became a box office hit film. Almost all the songs of the film became very popular. But it was Manna Dey’s song,  Upar Gagan Vishaal which drew attention of the common folk. With this song, Manna Dey seemed have announced that he had, at last, arrived in the world of Hindi film music. Manna Dey had worked as an Assistant Music Director for SD Burman but he got his first chance to sing under his baton only in ‘Mashaal’ (1950).

With the success of ‘Mashaal’ (1950), producers lined up for signing SD Burman for their films which included ‘Bahaar’ (1951), ‘Buzdil’ (1951), ‘Ek Nazar’ (1951), ‘Naujawaan’ (1951) and ‘Sazaa’ (1951). All these films had very popular songs some of which are still remembered today like Sainya Dil Mein Aana Re, Jhan Jhan Jhan Jhan Paayal Baaje, Thandi Hawaayen Lehra Ke Aayen and Tum Na Jaane Kis Jahaan Mein Kho Gaye.

But one film SD Burman  did in 1951 gave a tremendous boost to his career as a music director – it was Navketan’s ‘Baazi’ (1951). It was Guru Dutt’s first directorial venture. SD Burman’s musical treatment in this film was quite a contrast to what he had so far churned out. There were no Bengali traces in the songs. Instead, he predominantly used western and Punjabi beats. In fact, he turned Sahir Ludhinavi’s philosophical ghazal, Tadbeer Se Bigdi Huyi Taqdeer Banaa Le  into a seductive club song. All the songs of ‘Baazi’ (1951) became super hits. The success of ‘Baazi’ (1951) made SD Burman almost a permanent fixture with Navketan Banner until ‘Chhupa Rustom’ (1973). By now, he had dropped the idea of shifting to Kolkata.

The musical success of ‘Baazi’ (1951) created a successful pair of Sahir Ludhianvi and SD Burman. During 1951-57, both of them created 138 songs in 18 films. Unfortunately, due to clash of egos, they did not work together after ‘Pyaasa’ (1957).

I will not go into further details of his successful films as they are in large numbers. But there are a few films which I consider as classic insofar as SD Burman’s music is concerned. They are ‘Taxi Driver’ (1954), ‘Pyaasa’ (1957), ‘Nau Do Gyaarah’ (1957), ‘Paying Guest’ (1957), ‘Kaala Paani’ (1958), ‘Sujata’ (1959), ‘Kaala Baazar’ (1960), ‘Bandini’ (1963) ‘Tere Ghar Ke Saamne’ (1963), ‘Guide’ (1965), ‘Aradhana’ (1969), ‘Prem Pujari’ (1970), ‘Sharmilee’ (1971), ‘Tere Mere Sapne’ (1971), and ‘Abhimaan’ (1973). But within these films, there were high points in SD Burman’s musical career – ‘Baazi’ (1951), ‘Pyaasa’ (1957), ‘Guide’ (1965), ‘Aradhana’ (1969) and ‘Abhimaan’ (1973).

During 1946 until his death in October 31, 1975 SD Burman composed music for 90 films (including one unreleased film) comprising 673 songs (666 songs if I exclude 7 songs from the unreleased film). This gives an annual average of 3 films. According to those who had closely worked with SD Burman, he would consider him to be ‘busy’ if he had two films on hand. He considered himself ‘very busy’ if he had 3 films on hand. He would not take any more musical assignments until he completed one of the three films on hand. So the annual average of 3 films are within the parameter he set for himself.

It was during the recording the song, Badi Sooni Sooni Hai Zindagi Ye Zindagi  from ‘Mili’ (1975) that SD Burman got paralytic attack and was shifted to Bombay Hospital. Later, RD Burman completed the recording of the song. What an irony! When Kishore Kumar was singing this song for recording, his mentor was in the hospital in deep coma. SD Burman remained in coma for the next 5 months until his end came on October 31, 1975.

Since the article has already become very lengthy, I propose to write a second part of the article covering some other aspects of SD Burman’s Hindi film music on his Remembrance Day on October 31, 2018. There are hundreds of anecdotes in the life of SD Burman – some known and some unknown to me – which makes his musical journey very interesting. While Gulzar called him ‘Prince of Music’, Pandit Hari Prasad Charasia referred him as ‘Sangeet Sant’ (Saint of Music). Kersi Lord, who worked with SD Burman as a drummer and later as an accordionist for a very long time, called him ‘an old man with a young heart’ insofar as his music was concerned. Pandit Shiv Kumar Sharma, the santoor player called SD Burman as a wonderful person with child-like innocence.

I will end this article with a statement that SD Burman was a music director who remained at the zenith of his musical career in Hindi film industry since the success of ‘Baazi’ (1951) until his death on October 31, 1975. Even 5 year hiatus with Lata Mangeshkar (1957-62) did not affect his musical career. Some of the films for which SD Burman composed music may have failed at the box office but his music did not fail.

On the occasion of 112th birth anniversary of SD Burman and 99th birth anniversary of Majrooh Sultanpuri, I present one of their creations from ‘Sitaaron Se Aage’ (1958). The film was produced by VL Narasu, a coffee plantation magnate from the South India. The film starred Ashok Kumar, Vyjayantimala, Jagdish Sethi, Johny Walker, Shammi, Iftekhar, Raja Sulochana, Leela Mishra, Manmohan Krishna etc.

The film seems to have jinxed from the very beginning. Gyan Mukherjee was originally assigned to direct the film. He had even completed musical sitting with SD Burman. The film went into shooting floor in 1956. However, Gyan Mukherjee fell ill and was diagnosed with brain tumour. He was also afflicted by Parkinson’s disease. He passed away in November 1956. Ashok Kumar had to rope in Satyen Bose to direct the film (As revealed by late Sachin Bhowmick and quoted in ‘SD Burman – The Prince Musician’ – Anirudh Bhattacharjee & Balaji Vittal (2018).

During the making of the film, SD Burman got into tiff with Lata Mangeshkar on the issue of re-recording of the song, Sainya Kaise Dhaaroon Dheer as he wished to record the song afresh with some changes in the tune. Since Lata was leaving for a foreign trip, she could not give him the date, nor she could commit to give a priority date on her return from the trip. This enraged SD Burman to such an extent that he stopped engaging Lata Mangeshkar as a playback singer for the next 5 years. He got the above-mentioned song recorded in the voice of Asha Bhonsle. But she could not render the song the way S D Burman wanted. So he retained the originally recorded Lata version for the film. The remaining songs which were to be sung by Lata in the films were rendered by Asha Bhonsle (3) and Geeta Dutt (1).

After about 8 years from this incidence, SD Burman got his original wish fulfilled. Lata Mangeshkar recorded a song based on the tune of the song referred to above. The result was the culmination of a new song for the film ‘Guide’ (1965). The song was Mo Se Chhal Kiye Jaaye Dekho Sainya Beimaan. Incidentally, as I checked from the credit titles, Hiralal was one of the choreographers for both ‘Sitaaron Se Aage’ (1958) and ‘Guide’ (1965).

‘Sitaaron se Aage’ (1958) got delayed and finally released sometime in early 1958. The film was a musical extravaganza with Vyjayantimala performing a number of semi-classical dances in the film. A feature of the songs in this film was that  SD Burman used Western scores in a couple of songs like Chanda Ki Chaandni Ka Jaadoo and Mehfil Mein Aaaye Wo Aaj Dheere Se that sounded like waltz music.

So far 7 songs (out of 9 including one multiple version song) from this film have been covered in the Blog. I present the 8th song – ‘Aa Khilte Hain Gul, O Mere Bulbul’ sung by Lata Mangeshkar. The song was written by Majrooh Sultanpuri and picturised on Vyjayantimala as a dance song. The song is not only melodious but rhythmic as well.

[Author’s Note: Some of the information on SD Burman’s early life and early musical career has been sourced from ‘SD Burman – The World of His Music’ by Khagesh Dev Burman (translated from Bengali by SK Ray Chaudhuri), 2013.]

(Video)

(Audio)

Song – Aa Khilte Hain Gul, O Mere Bulbul (Sitaaron Se Aage) (1958) Singer – Lata Mangeshkar, Lyrics – Majrooh Sultanopuri, MD – SD Burman
Chorus

Lyrics

aa khilten hain gul
o mere bulbul
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hai gul
o mere bulbul
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hai gul
ho oo mere bulbul
mil jaa gale
kahin ye milan ki 
rut na dhale
mil jaa gale
kahin ye milan ki 
rut na dhale
 
o o o o
o o o o o 
wohi teri raahen
wohi meri aahen
wohi main hoon
wohi dil mera
o
wohi teri raahen
wohi meri aahen
wohi main hoon
wohi dil mera
wohi teri baaten
wohi meri raaten
wohi rang e mehfil mera
rah ke juda
dil na dukha
aa bhi jaa aa aa aaa
aa khilten hain gul
o mere bulbul
jiyara jaley
piya kabhi apne
din thhe bhale
o jiyara jaley
piya kabhi apne
din thhe bhale
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hain gul
o mere bulbul
 
aa aa aa aa
aa aa aa aaa
aa aa aa aa
aa aa aa aaa
aa aa aa aa

o o o o
o o o
raah teri takta
gham se sulagta
chaand bechaara kahaan gaya
o raah teri takta
gham se sulagta
chaand bechaara kahaan gaya
tu hi nahi aaya
dhal gaya saaya
yahaan ka taara wahaan gaya
raat dhali
jhoom chali
phir hawaa aa aa aaa
aa khilten hain gul
o mere bulbul
tum na miley
khadi khadi jaloon piya
chanda taley
ho tum na miley
khadi khadi jaloon piya
chanda taley
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hain gul
o o mere bulbul. . .

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

आ खिलते हैं गुल
ओ मेरे बुलबुल
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
हो ओ मेरे बुलबुल
मिल जा गले
कहीं ये मिलन की
रुत ना ढले
मिल जा गले
कहीं ये मिलन की
रुत ना ढले

ओ ओ ओ ओ
ओ ओ ओ ओ ओ
वही तेरी राहें
वही मेरी आहें
वही मैं हूँ
वही दिल मेरा

वही तेरी राहें
वही मेरी आहें
वही मैं हूँ
वही दिल मेरा
वही तेरी बातें
वही तेरी रातें
वही रंग ए महफिल मेरा
रह के जुदा
दिल ना दुखा
आ भी जा आ॰॰आ॰॰आ
आ खिलते हैं गुल
ओ मेरे बुलबुल
जियरा जले
पिया कभी अपने
दिन थे भले
जियरा जले
पिया कभी अपने
दिन थे भले
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल

आ आ आ आ
आ आ आ आss
आ आ आ आ
आ आ आ आss
आ आ आ आ

ओ ओ ओ ओ
ओ ओ ओ
राह तेरी ताकता
ग़म ये सुलगता
चाँद बेचारा कहाँ गया
ओ राह तेरी ताकता
ग़म ये सुलगता
चाँद बेचारा कहाँ गया
तू ही नहीं आया
ढाल गया साया
यहाँ का तारा वहाँ गया
रात ढली
झूम चली
फिर हवा आ॰॰आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल
तुम ना मिले
खड़ी खड़ी जलूँ पिया
चंदा तले
हो तुम ना मिले
खड़ी खड़ी जलूँ पिया
चंदा तले
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ ओ मेरे बुलबुल॰ ॰ ॰

Advertisements

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 : 3624 Post No. : 14442

“Jeene Do”(1948) was directed by Adi F Kika and K A Majid for Jai Hind Chitra, Bombay. The movie had Menaka Devi, Harish, Pannalal, Kaiser, Shanta Kunwar, Ghulam Rasool, Faizbai, Leela Gupte, Chhota Shankar etc in it.

This “stunt” movie had nine songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Jeene Do”(1948) to aappear in the blog. The song is sung by Geeta Dutt. Shewan Rizvi is the lyricist. Music is composed by Naashaad.

Only the audio of the song is available. Seeing that Geeta Dutt was the only female playback singer in the movie, it appears that she sang for the leading lady, who could be Menaka devi, going by the cast. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Sun sun ri bulbul deewaani (Jeene Do)(1948) Singer-Geeta Dutt, Lyrics-Shewan Rizvi, MD-Nashaad

Lyrics

sun sun ri bulbul deewaani ee ee ee
sun sun ri bulbul deewaani
aaj suni hai maine
chhupke do dilon ki ye kahaani
ambuwa ke
hoye ambuwa ke baagh mein
sun sun ri bulbul deewaani
aaj suni hai maine
chhupke do dilon ki ye kahaani
ambuwa ke
hoye ambuwa ke baagh mein

ek bola pyaar karenge ae ae
aur pyaar ke yoon ikraar karenge
ek bola pyaar karenge ae ae
aur pyaar ke yoon ikraar karenge ae
jab tak ye sansaar rahega
tera mera pyaar rahega aa
jab tak ye sansaar rahega
tera mera pyaar rahega aa
door kahin ek duniya hogi ee ee ee
door kahin ek duniya hogi
do dil ek tamanna hogi
do dil ek tamanna hogi
donon ki hogi ek nishaani
aaj suni hai maine
chhupke do dilon ki ye kahaani
ambuwa ke
hoye ambuwa ke baagh mein

doosra bola bhool na jaana aa aa
doosra bola bhool na jaana
aaj ki baaten ab ka zamaana
aaj ki baaten ab ka zamaana
warna phir hum aahen bharenge ae ae ae
warna phir hum aahen bharenge
aur tumhen badnaam karenge
aur tumhen badnaam karenge
nainon mein bhar ke gham ka paani
aaj suni hai maine
chhupke do dilon ki ye kahaani
ambuwa ke
hoye ambuwa ke baagh mein
sun sun ri bulbul deewaani
aaj suni hai maine
chhupke do dilon ki ye kahaani
ambuwa ke
hoye ambuwa ke baag mein


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 : 3493 Post No. : 14038

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 4
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

/‘ई’/

‘उ’ – उठो बुलबुलों तोड़ दो तीलियाँ

दिल की आवाज़ भी सुन॰ ॰ ॰

वो अगर चे सुन सकते, हम तो सुनाते ही रहते॰ ॰ ॰

But now, the voice has gone to distant lands unknown, where our call will not reach, and his voice will not come back again. It seems like a thing of yesterday that I saw him perform live on Doordarshan; or that I read about another award in the Filmfare magazine, that he had stood up and walked up to receive. The mind simply does not believe that he has not been with us mortals for the past almost four decades. कहाँ से ले के आएँ, अपने बूते की बात नहीं॰ ॰ ॰ दिल को ही समझाना पड़ता है।

Moving forward with the series of duets – I have to skip ‘ई’ because no duet song starting with this vowel is available. So I come to ‘उ’, as the starting letter for today’s song.

As I was searching for such a song, I came across this song from ‘Khaamosh Sipaahi’ of 1950, and I listened to it in complete amazement. And I listened to it again and again, and again. The composition by Hansraj Behl – it is so unique and so different, that I wonder whether such an arrangement has been attempted in any other songs.

The leading voices in this ‘duet’ song are of Rafi Sb and Geeta Roy/Dutt. But the entire song is arranged as a chorus song. The individual voices of the lead singers are not heard separately even once. There are lines by the chorus of male voices, and there lines by the chorus of female voices, and then there are lines by chorus of male plus female voices. The beauty and the redeeming feature of this singing is how the various voices have been arranged. When the male chorus is heard, then Rafi Sb’s voice is very clearly discernible a little above the chorus of male voices. When the female chorus is heard, then Geeta Roy’s voice is clearly discernible a little above the chorus on female voices.

I am not able to immediately recall another song which has been arranged with such meticulous attention to the sound of the lead voices in a chorus of voices. Really beautifully done.

And the words by DN Madhok Sb, they simply take one along with the emotions of an army preparing for battle. Yes, that is right, this song has been designed as a slow paced marching song of the warriors.

I have no information about this film – ‘Khamosh Sipahi’, and I request our more knowledgeable friends and readers to please add more information about this film and the picturization of this song. But the words indicate that it is a song that is exhorting people for a struggle. Given the time period (1950), it would seem that the song is urging the warriors, either for the freedom struggle or maybe the first invasion of Kashmir by Pakistani marauders (in 1948). Maybe it is the freedom struggle – the refrain of the song is

utho bulbulo
tod do teeliaan

The words are urging the timid and frail nightingale birds, to rise and break the ‘teeliaan’. This word ‘teeliaan’ here refers to the wooden twigs or splinters that are used to make cages for small birds.

The song, slow paced as it is, it still has a very exhilarating effect on the mind and the heart. The slow pace is almost a haunting that takes over the mind. And the mind wants to listen to this sound again and again. Such a wonderful creation – and I would lay all the kudos on Hansraj Behl for the composition, the arrangement  of the minimal music, and such a beautiful play of chorus voices entwined around the lead voices – it is simply amazing. There is some leading violin music, but after that when the singing starts, there simply is no music except for a very low rhythm of drum beats. The entire creation is so enchanting.

Just listen to this, and be amazed.

PS: There is one word in the lyrics of the first antaraa, that I am not sure that I have got it correct. Maybe it is, maybe the meaning fits in, or maybe not. I request other readers to please help confirm or correct this word. 🙂

Song – Utho Bulbulo Tod Do Teeliyaan (Khamosh Sipaahi) (1950) Singer – Geeta Roy/Dutt, Mohammed Rafi, Lyrics – DN Madhok, MD – Hansraj Behl
Mohammed Rafi + Male Chorus
Geeta Roy/Dutt + Female Chorus
Rafi + Geeta + All Chorus

Lyrics

utho bulbulo
tod to teeliaan
kahaan qaid thandi hawaayen kahaan
utho bulbulo
tod to teeliaan
kahaan qaid thandi hawaayen kahaan
utho bulbulo

tumhaare liye abr ghir ghir ke aaye
abr ghir ghir ke aaye
khushi jholion mein wo bhar bhar ke laaye
wo bhar bhar ke laaye
wo bhoola hua phir banega samaan
utho bulbulo
tod to teeliaan
kahaan qaid thandi hawaayen kahaan
utho bulbulo

himaala ne tum ko pukaara hai aao
pukaara hai aao
meri chotiyon par wohi geet gaao
meri chotiyon par wohi geet gaao
ke sun kar dehal jaaye saara jahaan
utho bulbulo
tod to teeliaan
kahaan qaid thandi hawaayen kahaan
utho bulbulo

mujhe khabr hai par kate hain tumhaare
par kate hain tumhaare
utho waqt deta hai tum ko ishaare
ho tum ko ishaare
gaya waqt phir jaa ke aaye kahaan
utho bulbulo
utho bulbulo
utho bulbulo

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

उठो बुलबुलो
तोड़ दो तीलियाँ
कहाँ क़ैद ठंडी हवाएँ कहाँ
उठो बुलबुलो
तोड़ दो तीलियाँ
कहाँ क़ैद ठंडी हवाएँ कहाँ
उठो बुलबुलो

तुम्हारे लिए अब्र घिर घिर के आए
अब्र घिर घिर के आए
खुशी झोलियों में वो भर भर के लाये
वो भर भर के लाये
वो भूला हुआ फिर बनेगा समां
उठो बुलबुलो
तोड़ दो तीलियाँ
कहाँ क़ैद ठंडी हवाएँ कहाँ
उठो बुलबुलो

हिमाला ने तुमको पुकारा है आओ
पुकारा है आओ
मेरी चोटियों पर वही गीत गाओ
मेरी चोटियों पर वही गीत गाओ
के सुन कर दहल जाये सारा जहान्
उठो बुलबुलो
तोड़ दो तीलियाँ
कहाँ क़ैद ठंडी हवाएँ कहाँ
उठो बुलबुलो

मुझे खबर है पर कटे हैं तुम्हारे
पर कटे हैं तुम्हारे
उठो वक़्त देता है तुमको इशारे
हो तुमको इशारे
गया वक़्त फिर जा के आए कहाँ
उठो बुलबुलो
उठो बुलबुलो
उठो बुलबुलो


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.

“Bhimsen”(1950) was directed by Jayant Desai for Mohan Pictures, Bombay. The movie had Trilok Kapoor, Nirupa Roy, Ram Singh, Rewa Shankar, Narbada Shanker, B. M. Vyas, Murad, Durga Khote etc in it.

There were nine songs in the movie according to HFGK. Two songs from the movie has been discussed in the past.

Here is the third song from “Bhimsen”(1950) to appear in the blog. This song is sung by Geeta Dutt. B P Bhargav is the lyricist. Music is composed by Avinash Vyas.

Only the audio of this joie de vivre song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

I have not been able to get a word (or may be more) right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Aaj mori bagiya mein boley bulbul(Bhimsen)(1950) Singer-Geeta Dutt, Lyrics-B P Bhargav, MD-Avinash Vyas

Lyrics

aaj mori bagiya mein boley bulbul
aaj mori bagiya mein boley bulbul
bole bulbul jhoole re phool
bole bulbul jhoole re phool
aaj mori bagiya mein boley bulbul
aaj mori bagiya mein boley bulbul

mogre ke phool mein aaj chhipe pran
sainya humaare maare prem bhare baan
mogre ke phool me aaj chhipe praan
saiya humaare maare prem bhare baan
piya ko dekh gayi sudh budh main bhool
piya ko dekh gayi sudh budh main bhool
aaj mori bagiya mein boley bulbul
aaj mori bagiya mein boley bulbul

mol kare
mol kare meethhi meethhi murli sunaao
maun kare meethhi meethhi murli sunaao
champa sa sundar badan man bhaaye
champa sa sundar badan man bhaaye
piya se nain mila nain mila aa
piya se nain mila nain mila
man ho raha hai phool
aaj mori bagiya mein boley bulbul
aaj mori bagiya mein boley bulbul

surajmukhi ee
surajmukhi mein mere swaami ki shaan
surajmukhi
surajmukhi mein mere swaami ki shaan
baahon mein ?? ki gaaun madhur gaan
main gaaun madhur gaann
preetam ke hriday hindoley rahi main jhool
pritam ke hriday hindoley rahi main jhool
aaj mori bagiya mein boley bulbul
aaj mori bagiya mine boley bulbul
boley bulbul jhoole re phool
boley bulbul jhoole re phool


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.

“Raaj Darbaar”(1955) was directed by Balwant Bhatt for Deepak Pictures . The movie had Nirupa Roy, Ranjan, Ishwahr Lal, Ranjeet Kumari, B M Vyas, Nagpal, Keshari, Shyam Sundar, Master Baccha, Azeem, Asha Mathur, Heena, Neera end in it.

Three songs from this movie has been discussed in the past.

Here is the fourth song from “Raaj Darbaar”(1955) to appear in the blog. This song is sung by Asha Bhonsle. Shyam Hindi is the lyricist. Music is composed by Chitragupta.

Only the audio of this rare song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Bulbul ka chahchahaana phoolon ka muskuraana (Raaj Darbaar)(1955) Singer-Asha Bhonsle, Lyrics-Shyam Hindi, MD-Chitragupta

Lyrics

bulbul ka chahchahaana
phoolon ka muskuraana
bulbul ka chahchahaana
phoolon ka muskuraana
kehte hain pyaar jisko
itna sa hai fasaana
bulbul ka chahchahaana
phoolon ka muskuraana
kehte hain pyaar jisko
itna sa hai fasaana
bulbul ka chahchahaana
phoolon ka muskuraana

o o o o o o
o o o o
hai neend mein sitaare ae ae ae
hai neend mein sitare
aur raat so chuki hai
nazren uthha ke dekho
sapno mein kho chuki hai
nazren uthha ke dekho
sapno mein kho chuki hai
ho ho ho ho
chanda ki chaandni mein
dooba hua zamaana
kehte hain pyaar jisko
itna sa hai fasaana
bulbul ka chahchahaana
phoolon ka muskuraana

o o o o o o
o o o
masti mein hai bahaaren aen aen aen
masti mein hai bahaaren
mausam suroor ka hai
main bhi inhin mein aayi
sab kuchh huzoor ka hai
main bhi inhin mein aayi
sab kuchh huzaar ka hai
ho ho ho ho
gulshan luta raha hai
kaliyon bhara khazaana
kahte hai pyaar jisko
itna sa hai fasaana
bulbul ka chahchahana
phoolon ka muskuraana


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.

Searching for songs from as yet unrepresented movies is an important activity for me. As we keep adding more and more movies to the blog, searching for songs from as yet unrepresented movies becomes increasingly difficult, especially for movies from the earlier decades.
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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 27
– – – – – – – – – – – – – – – – – – – – – – – – – –

‘फ’

“फुर्र से उड़ जाती थी बुलबुल”

Although he lacked the finesse and comeliness of Shammi Kapoor, yet Jeetendra did acquire the epithet of ‘Jumping Jack’ of Hindi cinema. The film was ‘Farz’ from 1967. White shoes till then, were typically a trademark of either Rajkumar, or of the villain bosses like NK Ansari etc. In ‘Farz’, Jeetendra donned these white shoes for the song “Mast Bahaaron Ka Main Aashiq”. The image captured the imagination and clicked with the audiences. And then of course, followed a string of films with songs by Jeetendra presented with the same vigor and similar mannerisms. The ‘Jumping Jack’ epithet quite stuck on now.
Read more on this topic…


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.

“Mr Qartoon MA” (1958) was directed by Ved and Madan for Natraj Productions, Bombay. The movie had Johny Walker, Shyama, Mehmood, Kumkum, Raj Mehra, Baij Sharma, Sheila Vaz, Daljeet, Chandabai, Ranjana, Rajan Haksar, Keshav, Abdul Narula etc with Minu Mumtaz in guest role.
Read more on this topic…


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.

“Naya Paisa”(1958) was produced and directed by Aspi Irani for Super Pictures, Bombay. The movie had Johny Walker, Chaand Usmani, Agha, Krishna Kumari, Shammi, Tuntun, Indira Bansal, Manohar Deepak, Kanchanmala, Arun, Babu Raje, Mumtaz Ali, H Prakash, Uma Dutt, Mohan Sandow, Dalpu, Kamal Mohan, Ashok, Farida, Rukhsana, Abdul Kareem Khan, Bagla, Miss Bilkis with Nadira in guest appearance.
Read more on this topic…


This article is written by Nitin Shah, 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 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.

= = = = = = = = = = = = = = =
Atul Song-A-Day 10K Song Milestone Celebrations – 15
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

I have known Bharatbhai since more than one year through our blog. I met him at his Andheri residence on his last but one birthday. From the telephone conversation with him, I was looking forward to a youngish person but he turned out to be quite a senior person but with a straight back, sprightly gait and a young voice.
Read more on this topic…


Advertisements

Important Announcement

(© 2008 - 2018) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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 TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14707

Number of movies covered in the blog

Movies with all their songs covered =1147
Total Number of movies covered =4018

Total visits so far

  • 10,891,924 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,623 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Advertisements
%d bloggers like this: