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

Archive for the ‘Post by Sadanand Kamath’ Category


This article is written by Sadanand Kamath, 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.

In my family and friend circles, there are some musically inclined persons who are fond of Hindi film songs. Among them, I can find fans of Lata Mangeshkar, Mohammed Rafi, Mukesh, Kishore Kumar, Talat Mehmood etc as playback singers. But I have yet to come across within my same circles anyone who claims to be a fan of Mahendra Kapoor.

Actually, I do not like to use the word ‘fan’ in this context as the word gives me an impression of a fanatic – a term that has a negative connotation. Hence, I generally like to use the word ‘admirer’ instead of ‘fan’.

Even among Atulites, I can notice that there are admirers of Mohammed Rafi, Mukesh, Kishore Kumar, Lata Mangeshkar, Asha Bhonsle, Suman Kalyanpur etc. I can covertly feel that there are admirers of Khursheed Bano, Ameerbai Karnataki, Shamshad Begum, Geeta Dutt and Talat Mehmood etc. But I am not sure whether there is any one who can be called an admirer of Mahendra Kapoor as a playback singer in the same sense as an admirer of say Mohammed Rafi.

Even our Blog seems to have side-lined Mahendra Kapoor vis-s-vis other playback singers. Please look at the table of comparative positions given below:

Male Singers Total Hindi film songs recorded in the career Songs covered in the Blog Percentage of coverage (%)
Mukesh 932 739 79.29
Talat Mehmood 450 348 77.33
Mohammed Rafi 4845 2599 53.64
Kishore Kumar 2709 974 35.95
Manna Dey 1344 423 31.47
Mahendra Kapoor 1263 259 20.51

It would be observed from the above table that Mahendra Kapoor ranks lowest both in terms of number of songs covered as well as in terms of the percentage coverage in the Blog.

Incidentally, I find myself in a piquant situation. I think I may have covered only a couple of songs of Mahendra Kapoor in my 400 and odd articles that were posted in the Blog. There is a reason for it. I cover the songs mostly of the films of 1930s to 1950s in my posts. Now, I have to make amends to rectify this situation.

The question still remains unanswered why Mahendra Kapoor generates less interest among music lovers as a playback singer as compared with other main playback singers of his time among the Hindi film music lovers. I have not come across any critical remarks on his quality of singing. The reasons may have to be something different. I have attempted to find the reasons:

1. Mahendra Kapoor started his playback singing career with the film ‘Madmast’ (1953). But it was only from the late 50s that his playback singing career really started looking up, mainly due to some fortuitous circumstances. For the reasons best known to him, B R Chopra preferred him over Mohammed Rafi as the main playback singer in the films he produced during 1959-1980 with some exceptions. In the 60s and 70s, Mahendra Kapoor was Manoj Kumar’s preferred playback singer.

2. Sometime in mid-60s, when Lata Mangeshkar refused to sing with Mohammed Rafi, Mahendra Kapoor was one of the alternative playback singers considered for duets with Lata Mangeshkar. During 1966-68, O P Nayyar stopped engaging Mohammed Rafi due to some misunderstanding and most such songs went to Mahendra Kapoor.

In short, the rise of Mahendra Kapoor as a playback singer came mostly by way of being considered as an alternative to Mohammed Rafi ( some time called ‘poor man’s Rafi) and not on his own identity as a different type of a singer. On the other hand, playback singers like Mohammed Rafi, Mukesh, Talat Mehmood, Kishore Kumar had created their own niche for themselves thanks to the uniqueness of their voices.

3. Mahendra Kapoor’ s playback singing career spanned nearly 5 decades during which he recorded more than 1200 Hindi film songs. His songs especially from the films of B R Chopra with Sahir Ludhianvi as lyricist and his patriotic songs in Manoj Kumar’s films were very popular. But those did not come near to the popular hit songs churned out by his main contemporaries. This fact can be confirmed from Bimnaca Geetamala’s annual listings. Mahendra Kapoor’s popular songs never came within the top 5 songs of Binaca Geetmala’s yearly lists.

The net effect of the factors mentioned above was that despite singing more than 1200 Hindi film songs, Mahendra Kapoor remained an under-rated playback singer. But this does not mean that Mahendra Kapoor had no admirers. What I talked about the absence of his admirers is within my own circle of family and friends as well as within Atulites.

Mahendra Kapoor has many popular songs to his credit which are still remembered today. But I have a different list of his songs which I relish the most. Sometime I feel that if some of these type of songs were to become popular or sustain the popularity, probably, he would have carved out his own identity in terms of a different style of playback singing. Let me give a sample of such songs:

rafta rafta wo hamaare dil ke armaan – Ham Kahaan Jaa Rahen Hain (1966,
jigar mein dard kaisa – Apna Ghar Apni Kahaani (1968)
nazar nawaaz nazaaron mein kho gaya hoon main – Susheela (1966),
dil lagaakar ham ye samjhe – Zindagi Aur Muat (1965)
ga rahi hai zindagi – Aanchal (1960)

And the 6th song of my list is, in my view, the best song Mahendra Kapoor ever sang for Hindi films which I am presenting today. The song is ‘tum naacho ras barse’ from the film Sati Naari (1965). The song is set to music in Raag Yaman Kalyan by Pt. Shivram Krishna. Gopaldas Saxena ‘Neeraj’ penned the song in pure Hindi which is more like a short poem than the lyrics.

The film starts with this dance song and at the end of the song, Gandharva (Manahar Desai) gets infatuated with the dancer Rambha (probably, Kumari Kala as per credit titles). The lyrics in the mukhdas are indicator of what is going on in the mind of Gandharva when Rambha dances. He misbehaves with her. As a punishment, Gods send him to earth to live like a human being.

Listen to this song and one may be left wondering how this song remained uncovered in the Blog for such a long time.

Audio

Video

Song-Tum naacho ras barse (Sati Naari)(1965) Singer-Mahendra Kapoor, Lyrics-Neeraj, MD-Pt Shivramkrishna

Lyrics

namaami Brahma
namaami Vishnu
namaami Maheshwara aa aa

tum naacho ras barse
barse ae
tum naacho ras barse
barse
tum naacho ras barse

bheege ghoonghat
bheege aanchal
bheege naina
bheege kaajal
praan praan tarse ae ae ae
tum naacho ras barse
barse ae
tum naacho ras barse
barse
tum naacho ras barse
ga re saa ni
ni re ma ga
pa ma ma re
ma pa
dha ma pa
ma re ga saa
ga re ni pa pa
ni re pa ma ma re
pa ma dha pa ni dha ma re saa

ude gandh swar disha disha mein
bhed rahe na usha nisha mein
bhuwan bhuwan sarse ae ae
tum naacho ras barse
barse
tum naacho ras barse
barse
tum naacho ras barse

ghunghroo thirke aangan aangan
runan runan nupur dhun gun gun gun
swar mridang garze
aa aa aa aa aa
aa aa aa aa aaa
aa aa
aa aa aa
swar mridang garze ae ae ae ae
tum naacho ras barse
barse ae
tum naacho ras barse
barse
tum naacho ras barse


This article is written by Sadanand Kamath, 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.

OONCHI HAVELI (1955) was produced under the banner of Sharad Productions and it was directed by Dhirubhai Desai. The star cast included Karan Diwan, Nirupa Roy, Lalita Pawar, B M Vyas, Yashodara Katju, Bhagwan, Janakidas, Indira Bansal, Heera Sawant, Niranjan Sharma etc. The film appears to be an obscure one as no other details are available. From the title of the film as well as a few still photographs of the scenes from the film, the story looks to be about the conflict between a royal family and a commoner.

The film had 9 songs in it. One of these songs has been covered in the Blog as far back as in November 2011. All the songs were written by Bharat Vyas which were set to music by Pt. Shivram (I guess, the music director is the same person as Pt.Shivram Krishna).

Pandit Shivram Krishana (1927-1980) was one of those music directors from Rajasthan who was talented but had no luck to prosper as a music director in Bollywood. Despite being music director for 24 Hindi films between 1953 and 1980, composing some melodious songs, he could not rise to the category of even the second rung of music directors in Hindi movies.

Pt Shivram Krishna started his career as an assistant to Khemchand Prakash during the second half of 1940s. Before becoming a full-fledged music director in Hindi film industry, he worked as a music director with HMV. In 1951, he returned to Bombay and got his first break as a music director in V Shantaram’s ‘Teen Batti Chaar Rasta’ (1953) and ‘Surang’ (1953). In the latter period of his musical career, Pt Shivram Krishna was mostly associated with mythological films.

I am presenting one of Pt. Shivram Krishna’s songs ‘ roop kaisa diya hai tujhe Raam ne’ from the film OONCHI HAVELI (1955). This song is sung by Pt. Shivram Krishna, Asha Bhonsle and chorus. The song is written by Bharat Vyas. This song was not new to me as I had heard this song in my teens on Vividh Bharati.

The song is a rare one in the sense that despite my best efforts, I could not locate the song on YT. So I have made a video from mp3 clip of the song I had and have uploaded the same on YT.


Song-Roop kaisa diya hai tujhe Raam ne (Oonchi Haweli)(1955) Singers-Pt. Shivram, Asha Bhonsle, Unidentified Male Voice, Lyrics-Bharat Vyas, MD-Pt Shivramkrishna
Male Chorus, Female Chorus,
All Chorus

Lyrics

ho o o o
o o o o o
o o o o
o o o o
aa aa aa
aa aa aa aa
aa aa aa
o o o o
o o o o

roop kaisa
roop kaisa diya hai tujhe Raam ne
ho o
chaand sharmaaye gori tere saamne
roop kaisa diya hai tujhe Raam ne
ho o
chaand sharmaaye gori tere saamne

kaari kaari ye pyaari do ankhiyaan
o jaise neele kamal ki pankhiyaan
ho o jaise neele kamal ki pankhiyaan
naache tan man magan
baaje jhan jhan (??)
kaisi Raadha
kaisi Raadha banaayi Ghanshyaam ne
roop kaisa diya hai tujhe Raam ne
ho o
chaand sharmaaye gori tere saamne

o o o o
o o o
o o o o

aa aa aa aa
aa aa aa
aa aa aa
aa aa aa

rangeele chhabeelon ke dar se
huwa mushqil nikalna ghar se
huwa mushqil nikalna ghar se
main jaaun jidhar
nain laage udhar
mujhe paagal
mujhe paagal banaaya kare Raam ne
roop kaisa diya hai mujhe Raam ne

ho o o
chaand sharmaaye gori tere saamne

mere man ki o meethi mithhaayi
o teri sooratiya iss mein bithhaayi
ho o bholi sooratiya iss mein bithaayi
ek teri chamak
haluwe mein namak
jaao jaao
jaao jaao na aao ji saamne
roop kaisa diya hai tujhe Raam ne
ho o
chaand sharmaaye gori tere saamne

o o o o
o o o
o o o o

aa aa aa aa
aa aa aa
aa aa aa
aa aa aa

nahin aisa nazar koi aaye
jo nakhre dulhan ke uthhaaye
haay jo nakhre dulhan ke uthhaaye
pehlu pe phisal
jab girtaa hai dil
nahin aata
nahin aata hai koi saamne

roop kaisa diya hai tujhe Raam ne
ho o
chaand sharmaaye gori tere saamne


This article is written by Sadanand Kamath, 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.

Recently, Tommydan55 has uploaded the film PREM KAHAANI (1937) with some cleaning and restoration works relating to both the video and the audio. The full film is here. The result was that I got motivated to watch the movie without much of the strain on my eyes. What a film! As against my expectation of a slow moving story of the film which was my experience in most of the films of the 30s, this film was different. The slick editing of the film ensured that the story moved in a pace comfortable for viewing. This may be the reason as to why I could watch the movie in one sitting which I seldom do especially in respect of old classic Hindi films of 30s and 40s. The DVD/VCD of the movie is of 1 hour 30 minutes which means that the film has been heavily edited for DD/VCD including a couple of songs. But I did not find much issue with the continuity of the story.

PREM KAHAANI (1937) was Bombay Talkies 8th film, based on Niranjan Pal’s original story in English ‘ Touchstone’ or ‘Marriage Market’. The film was directed by Franze Osten. The main star cast included Ashok Kumar, Maya Devi, Vimla Devi, Madhurika Devi, M Nazir, Mumtaz Ali, Sunita Devi, Saroj Borkar, Chandraprabha, Tarabai Solanki, Kamta Prasad etc.

The film has a story with in a story. The film opens with a scene in which the father tells his daughter ‘I have told you once. I have told you a million times. You will marry the boy I have chosen’. But daughter is adamant. She would marry the man she loves. This dialogue is heard by the priest (M Nazir) who has come to fix the marriage. When the mother requests the priest to prevail upon the daughter to marry the boy of their choice, he refuses to intervene. Why? Herein lays the story of priest’s life within the story of the film which is the tragic story of Jagat (Ashok Kumar), Maya (Maya Devi), Ramla (Vimla Devi), Usha (Madhurika Devi) and Chandrakant (M Nazir). With a tragic background, Chandrakant renounced the world and became an ascetic and then a priest.

There were two widows – Shanti Devi (Saroj Borkar) and Heera Devi (Tarabai Solanki) who stayed together in a house. Heera had a son, Jagat (Ashok Kumar) and Shanti had a daughter, Maya (Maya Devi). As they grew up, they started liking each other. However, Shanti Devi has fixed Jagat’s marriage with Usha, Chandrakant’s sister. The idea is to get a hefty dowry which will enable Heera to send Jagat to Bombay for higher studies. Chandrakant is also looking to get married to a beautiful girl which he finds in Shanti’s daughter, Maya. Jagat is forced to marry Usha as a faite accompli while Maya agrees to marry Chandrakant for the betterment of Jagat’s dream.

Before their impending marriages against the wishes of Jagat and Maya, a third dimension is introduced by way of Ramla (Vimla Devi) who is the sister of Bhagwandas ( P F Pithawala). Jagat stays with the family while studying in Bombay. Jagat becomes close to Ramla on account of their charities shows in which Sharma (Mumtaz Ali), Indira (Sunita Devi) and Prabha (Chandraprabha) are connected. Realising that he is becoming too close to Ramla who is already engaged to Motilal (Manohar Ghatwani), Jagat returns to his town. Ramla follows him which infuriates Motilal. He also follows them with a vengeance. How his vengeance turns into a tragedy is the lesson the priest wants the parents of the daughter to learn.

After hearing the story of priest’s own life, the film has an unusual ending with the last dialogue in which father tells his daughter ‘dear, you will marry the man you love’.

The film had 8 songs, all written by J S Kashyap which were set to music by Saraswati Devi. I am presenting the first song ‘ankhiyaan jhapi mori …nadiya kinaare khadi sochti’ from the film to appear in the Blog.

This is an unique song as there is another song within this song as a flashback. While Saraswati Devi sings ‘ankhiyaan jhapi mori’ for Chandraprabha in raag yaman as a rehearsal, Ashok Kumar in another room hears the song which reminds him of his romantic sojourn with Maya Devi on the banks of a river in rural area where they sing ‘nadi kinaare khadi sochti’. The song ends with Saraswati Devi singing the refrain.

HFGK has listed this song as two separate songs as this ‘double song’ could not have been accommodated within the maximum duration of about 3 minutes and 40 seconds on one side of a 78 RPM record. This is evident from the existence of two audio clips whose links are also given below.

With this song (listed as two separate songs in HFGK), ‘Prem Kahaani’ (1937) makes its debut in the Blog.

Audio(Part-1) :

Audio (Part-2) :

Video

Song-Ankhiyaan jhapi mori…nadi kinaare khadi (Prem Kahaani)(1937) Singers-Saraswati Devi, Maya Devi, Ashok Kumar, Lyrics-J S Cashyap, MD-Saraswati Devi

Lyrics ( from the video version)

ankhinyaan jhapi mori ee ee
ankhiyaan jhapi mori ee
bisaraa gayi sudh aa
bisara gayi sudh aa
bhoola gayi dukh
sapne mein daras dikhaaye
yada o ri mori ee
ankhiyaan jhapi mori ee
ankhiyaan jhapi ee

nadiya kinaare thadi ee ee
nadiya kinaare thadi ee
chhabi nirakhat rahi ee
chhabi nirakhat rahi
nadiya kinaare thadi ee ee
nadiya kinaare thadi

nadi kinaare khadi sochti
nadi kinaare khadi sochti

kyaa aa
main nadiya hoti
kal kal karti jaati

nadiya ke dhig (?) khada sochta
nadiya ke dhig (?) khada sochta

kyaa aa
main saagar hota
mujh mein aa mil jaati

main parvat mein chhup jaati
maidaanon mein reh jaati ee
main jungle mein kho jaati ee
nahin aati ee

ahaa
baadal ko doot banaa kar
main nanhe nanhe boondaniyon hi mein
sandeswaa bhijwaata
tab

lahraati
madmaati
bal khaati
ithlaati
main daudi daudi aati
aur saagar mein mil jaati
mila na kiya aa
yada ho ri mori
ankhiyaan jhapi mori ee
ankhiyaan jhapi
ankhiyaan jhapi
ankhiyaan jhapi


This article is written by Sadanand Kamath, 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.

Ever since talkies came in to being in 1931, there have been some classical and semi-classical female singers who got attracted to Hindi film industry as actor-singers and playback singers in the 1930s and the 1940s. Begum Akhtar, Mukhtar Begum, Indubala, Roshanara Begum, Mallika Pukhraj, Saraswati Rane etc were some of the names that come to my mind. However, their filmy careers was short and soon they returned to the concert singing as their main vocation.

One of the lesser known names in this category of singers was Sundarabai of Poona.
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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. 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.

PARISTAAN (1944) was produced under the banner of N R Acharya Art and it was directed by Mahesh Kaul. The star cast included Pahadi Sanyal, Anjali Devi, Kamal Zamindar, Ranjeet Kumari, Sunalini Devi, Master Amritlal, Moni Chatterji, Padma Banerjee etc. From the title of the film, probably many people may guess that it was a film belonging to fantasy genre. But it turned out to be a slapstick comedy though the story by Vaju Kotak was not less than a fantasy.
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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. 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.

INDRAASAN (Ekaadashi Mahima) (1952) appears to an obscure movie. In a few places on the internet, the film is spelled as ‘Indrasen’. I went by how the film was spelled on the publicity photographs of some scenes from the film. The film had some well-known actors of the 30s and 40s consisting of Prem Adib, Paro Devi, Ishwarlal, Durga Khote, Nand Kishore, Ranjana etc. The film was produced under the banner of Greenland Pictures, Bombay and was directed by Raja Nene.
Read more on this topic…


This article is written by Sadanand Kamath, 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.

PATIT PAAWAN (1955) was produced by Hemavati Sapru under the banner of D K Films and was directed by Vasant Painter. The star cast included D K Sapru, Sulochana, Ulhas, Hamavati, Lalita Pawar, Bipin Gupta, Jeewan, Ranjan Haksar, Nand Kishore, Parshuram etc.
Read more on this topic…


This article is written by Sadanand Kamath, 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.

Greetings to Atulites and all the readers of the Blog on the occasion of India’s 69th Independent Day.
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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. 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.

The moment the image of Ameerbai Karnataki comes to my mind, I remember some of her most popular songs, mostly full of pathos, melancholy, and devotion. In fact, the most popular songs of her singing career come from these genres. She started her filmy career in 1934 as an actor-singer but realising that the potential for career as a playback singer was bright after the system of playback singing was introduced in Bombay film industry in 1937, she confined herself mainly to playback singing thereafter. After her songs in ‘Kismet’ (1943) became very popular, for the next five years or so, she remained one of the top playback singers. Of the total of around 375 songs she sang during her filmy career, more than 50% was accounted for during 1943-48.
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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. 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 1950s, many new female singers joined Hindi film industry to try their luck in making their careers in playback singing. Many of them went into oblivion after a couple of years or so. Playback singing career of a few of them like Seeta Kalyanpur, Suman Purohit ended with one or two films. A few others like Meenal Wagh (11 songs during 1950-54), Kaumudini Munshi (10 songs during 1954-68) could remain connected with Hindi film music for longer period but their singing output was low. While some of them may not have pursued the playback singing career due to personal reasons, there is no doubt about the fact that with the emergence of Lata Mangeshkar in early 50s along with established playback singers like Geeta Dutt and Shamshad Begum, the newcomers faced tough competition from them.
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What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 12300 song posts by now.

Total number of songs posts discussed

12346

Number of movies covered in the blog

Movies with all their songs covered =812 Total Number of movies covered =3451

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