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

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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a 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.

September 28th is the date which the connoisseurs of Hindi film music would definitely remember for being the birthday of Lata Mangeshkar, one of the greatest singers born in the 20th century. We are fortunate that she is in the midst of us hale and hearty and continues to sing songs for Hindi films. As per http://www.myswar.com, the last song she recorded was ‘jeena kya hai jaana maine’ for the film ‘Dunno Y2 Life Is A Moment’ (2015). With a singing carrier of over 7 decades with a vast treasure of her songs as well as numerous articles and books on her life, Lata Mangeshkar does not need introduction. In fact, her introduction in a nutshell is ‘meri aawaaz hi pehchaan hai’ (My voice is the identity).

I was not sure whether I would attempt any write-up on Lata Mangeshkar’s 87th birthday for the Blog. As it is, even in normal circumstances ( meaning uploading of 4-5 songs per day on the Blog), Lata Mangeshkar would surely find place in the Blog almost every day. What prompted me to write this piece at the last moment was my coming across one of her rare songs only a couple of days back while searching for Balakram’s songs in Hindi films. I felt very nostalgic when I heard the song. For the moment, I forgot that a part of this song was also rendered by Balakram.

On the occasion of the 87th birthday of Lata Mangeshkar, I am presenting one of her rare songs of the late 40s ‘jhoolo jhoolo pyaar hindole’ which she sang with Balakram in the film ‘Hamaari Kahaani’ (1940s). What I liked about the song is that Lata Mangeshkar sang this composition of a semi-classical tune with ease. Note how Lata Mangeshkar sings ‘Jhoo……lo’ with ornamentation.

The music director of the song under discussion is Hemant Kedar who is none other than Ramkrishna Shinde as confirmed by his wife during an interview conducted by Shishir Krishna Sharma. As per the interview, Ramkrishna Shinde took the name ‘Hemant Kedar’ as Hemant and Kedar were two of his favourite raagas. Before joining the film industry, both Ramkrishna Shinde and Lata Mangeshkar were performing together in some musical events at fairs and exhibitions to make ends meet.

I was keen to know at which year, the song under discussion may have been recorded. Ramkrishna Shinde’s first Hindi film as a music director was ‘Manager’ (1947) and he was also one of the two music directors for the film ‘Bihari’ (1948) in which he composed “Sabze Ki Durfishaani Phoolon Ka Shaamiyaana” sung by Lata Mangeshkar. I find some similarity in style of rendering by Lata Mangeshkar of the song from ‘Bihari’ (1948) and the song under discussion. This leads me to believe that the song under discussion may have been recorded sometime between1947-48. My hunch is that the song may have been recorded closer to 1948.

Enjoy the song which, I am sure, would make all of us nostalgic.

Audio Clip:

Song – Jhoolo jhoolo pyaar hindole (Hamaari Kahaani) (1940s) (UR) Singers – Lata Mangeshkar, Balakram, Lyrics – Banwaasi, MD – Hemant Kedar
Both

Lyrics

jhoolo jhoolo pyaar hindole
jhoo……lo
jhoolo jhoolo
jhoolo jhoolo pyaar hindole
jhoo……lo
jhoolo jhoolo

din aaye salone suhaane
aao gaayen muhabbat ke gaane
din aaye salone suhaane
aao gaayen muhabbat ke gaane
beeti baaton ko bhoolo
beeti baaton ko bhoolo
bhoolo
bhoolo
jhoolo
jhoolo
jhoolo
jhoolo jhoolo pyaar hindole
jhoo o o lo
jhoolo jhoolo pyaar hindole
jhoo oo oo lo
jhoolo jhoolo

ajab leela hai ishwar ki nyaari
ajab leela hai ishwar ki nyaari
jisne bigdi banaayi hamaari
jisne bigdi banaayi hamaari
aaj saari umangon mein jhoolo
aaj saari umangon mein jhoolo
jhoolo
jhoolo
jhoolo jhoolo pyaar hindole
jhoo oo oo lo
jhoolo jhoolo
jhoolo jhoolo pyaar hindole
jhoo oo oo lo
jhoolo jhoolo

mera tan man to aanand magan hai
ik teri hi mujhko lagan hai
mera tan man to aanand magan hai
ik teri hi mujhko lagan hai
aao pyaar ki boli bolo
aao pyaar ki boli bolo
bolo
bolo
jhoolo
jhoolo
jhoolo
jhoolo jhoolo pyaar hindole
jhoo oo oo lo
jhoolo jhoolo
jhoolo jhoolo pyaar hindole
jhoo oo oo lo
jhoolo jhoolo


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.

There are two beautiful songs rendered by G M Durrani in ‘Nayi Kahaani’ (1943). Fortunately, video clips of both the songs are available. In the first of the two songs, neend hamaari khwaab tumhaare kitne meethhe kitne pyaare a boy suddenly gets up from the group of musicians and start singing sargam in a ‘rapid fire’ mode and then sits down for the song to continue. He sings sargam in his own voice. Again, in hamen kya ab khizaan jaaye na jaaye , the boy gets up during the musical interlude of the song and starts conducting the orchestra. These are the ‘scene stealer’ situations in the songs which, I am sure, must have remained in the minds of the audience when they came out of the theatre after watching the film. The boy was actor-singer Balakram.

Balakram Jadhav (24/02/1931 – 02/03/1974) was born in Nagpur where his father Gangaram Bapu Jadhav was an active member of a musical drama company. Gangaram had four children – Vijaymala, Manjula (Manju Diwan), Trayambak and Balakram who was the youngest . The family shifted to Pune when the father got a job in Prabhat Films. Balakram started his filmy career as a child artist in ‘Majha Mulga’ (in Marathi) and its Hindi version, ‘Mera Ladka (1941)’. In the same year, he acted in Prabhat’s bilingual ‘Aadmi’ (1941). In both these films, he sang songs for himself.

During this period, Balakram was also learning the nuances of Hinsustani classical music from Pandit Gunidas and Pandit Jagannath Prohit of Agra Gharana. A glimpse of his proficiency in Hindustani classical music can be seen when he sings a fast sargam in the midst of a song in Prabhat’s ‘Nayi Kahaani’ (1943) referred to above. In Prabhat’s ‘Chaand’ (1944), Balakram acted in the film in which he had two songs picturised on him. But he did not sing the song on himself. Instead, his elder sister Manju gave playback for him. Probably, Balakram was on a threshold of his adolescence and his voice pitch may have changed which may not have suited his child’s role.

After a hiatus of about 3 years, Balakram returned to Hindi films with a role in ‘Krishna Sudama(1947) probably donning the role of Sudama. Whether it is coincidence or otherwise, the films in which acted thereafter were mostly belonging the genre of mythology/Devotional like ‘Seeta Swayambar’ (1948), ‘Satyanarayan’ (1948), ‘Sati Ahilya’ (1949), ‘Sant Janabai’ (1949), ‘Subhadra Haran’ (1964), ‘Shri Ram Bharat Milan’ (1965) etc.

Balakram once again had a long break in Hindi film career between 1949 and 1964. During this period, he acted and sang in many Marathi films and was associated with some Marathi plays where he got fame. He also participated in classical vocal concerts and gave training in classical music. At Dadar, he established Pandit Gunidas Sangeet Vidyalaya and started teaching music to children.

Balakram died of liver complications on 02/03/1974.

KRISHNA SUDAMA (1947) was Balakram’s first mythological film after which he got associated with this genre of Hindi films. The film was produced under the banner of National Artists and was directed by C R Bajaj. The star cast included Karan Diwan, Balakram, Vijay, Dulari, Gulab, Kusum etc. By the way, Balakram was brother-in-law of Karan Diwan as his sister Manju had married Karan Diwan in 1944. The film had 11 songs, all written by Kamalnayan which were set to music by Shyambabu Pathak. This was the film in which Shyambabu Pathak gave initial pbreaks as playback singers to Sulochana Kadam and Krishna Goyal.

I am presenting the first song ‘mann prem ki gaathon mein baandh liyo’ from the film to appear in the Blog. Although online websites like http://www.myswar.com has not identified the singer, mp3 clip of the song from which I made the video clip and uploaded the same on YT, has accredited Balakram as singer. I have checked a song sung by Balakram in the film ‘Hamaari Kahaani’ (1948, unreleased) and I am fairly sure that the voice in the song under discussion matches with that of Balakram. As mentioned earlier, Balakram also acted in the film. None the less, I would request the knowledgeable readers of the Blog to share their views on the singer of the song.

[Note: Some of the inputs for the profile of Balakram came from Shishir Krishna Sharma’s Blog beetehuedin.blogspot.com].


Song-Man prem ki gaanthhon mein (Krishna Sudaama)(1947) Singer-Balakram, Lyrics-Kamalnayan, MD-Shyam Babu Pathak

Lyrics

mann prem ki gaanthon mein
baandh liyo
o o o ??jhat(?)
Shyaam mora Ghanshyaam
mann prem ki gaanthon mein baandh liyo jhat(?)
Shayam mora Ghanshyaam
Shyaam mora Ghanshyaam
mukh chooma jora jori aur phir
mukh chooma jora jori aur phir
chhup gayo gokul gaaon
chhup gayo gokul gaaon

mukh chandra mukut Nandlaala
mukh chandra mukut Nandlaala
haan kaanan kundal vanmaala
haan kaanan kundal vanmaala
(?)tu bansi ki sargam baa..je
(?)tu bansi ki sargam baaje re
(??) thha Shyaam
(??) thha Shyaam
mann prem ki gaanthon mein baandh liyo jhat(?)
Shyaam mora Ghanshyaam
Shaayam mora Ghanshyaam

mita Raam roop se Raavan
aur dusht Kans ko mohan
mita Raam roop se Raavan
aur dusht kans ko mohan
hai jag vidhaam(?) Vishnu moorat ke hi
hai jag vidhaam(?) Vishnu moorat ke hi
Raam mana kahin Shyaam
Raam mana kahin Shyaam
mann prem ki gaanthon mein baandh liyo jhat(?)
Shyaam mora Ghanshyaam
Shyaam mora Ghanshyaam


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.

Prahlad Keshav Atre, popularly known in Maharashtra as Acharya Atre (1898-1969) was a multi-talented personality of Maharashta. He was a writer, a playwright, a poet, an educationist, a journalist, a politician and producer-director-screen play & dialogue writer. During his association with Hindi films, Acharya Atre produced films like ‘Charnon Ki Daasi’ (1941), ‘Raja Rani’ (1942), ‘Vasantsena’ (1942), ‘Tasveer’ (1943), ‘Dil Ki Baat’ (1944), ‘Parinde’ (1945) and ‘Dulha’ (1946) under the banner of Atre Pictures.
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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.

Baburao Patel, the fiery editor of ‘Filmindia’ magazine ( later known as ‘Mother India’) was associated with Hindi film industry since 1931. During 1931-35, he directed 5 films – “kismet’ (1931, Silent film), ‘Sati Mahananda’ (1933), ‘Maharani’ (1934), ‘Bala Joban’ (1934) and ‘Pardesi Saiyaan’ (1935) . However, with the starting of his monthly film magazine ‘Filmindia’ in 1935, Baburao Patel appeared to have taken a long sabbatical from Hindi film industry to concentrate on his editorial work. He again joined Hindi film industry in 1944 as producer and director of the film ‘Draupadi’ (1944), to promote Susheela Rani as actor-singer. This was followed by another film ‘Gwalan’ (1946).
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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.

I am aware that Begum Para and Paro Devi are two different actresses. There is no same name confusion. Yet momentarily, I tend to get confused with the names of these two actresses. If someone to ask me as to which one of these two actresses was in the film ‘Neel Kamal’ (1947), I may have to think for a while before giving the correct answer, that is Begum Para.
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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.

What is the main feature in three sets of songs given below?
1(i). do dilon ko ek dil milaakar banaana yaad hai – Kamala (1946)

(ii). kat rahi hai bekasi mein har ghadi tere baghair – Deewaani (1947)

2(i). wo dekho udhar chaand nikla gagan mein – Roopkumari (1956)

(ii). nigaahon mein tum ho khayaalon mein tum ho – Jaadoo Nagri (1961)

(iii). ye tan man watan par nichhawar karenge – Kunwaari (1966)

3(i). aaj mausam ki masti mein gaaye pawan – Banarasi Thug (1962)

(ii). ek chameli ke mandve tale – Cha Cha Cha (1964)
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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 late 50s and early 60s when I got interested in Hindi film songs, I used to identify the popular songs only with the playback singers who had rendered them. It never came to my mind that I should also know as to who wrote the lyrics and who composed the music for the songs.  In the next stage of my interest in Hindi film songs, I was keen to know as to who composed the music for the songs that I liked very much. It was only when I heard some of the songs from films such as ‘Pyaasa’ (1957), ‘Kaaghaz Ke Phool’ (1959), ‘Anaadi’ (1959), ‘Barsaat Ki Raat’ (1960) etc, I felt that need to know as to who wrote the lyrics of the songs as well.
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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.

There are many lyricists who joined Hindi film industry since the talkies came into being. While some of them became famous, many remained in the background though some of them were connected with the film industry for a considerable length of time. The result is we do not have much information about the latter category of lyricists as far as their their detailed profiles are concerned. In this category, the names of Dr. Safdar ‘Aah’ Sitapuri, Rammurti Chaturvedi, Bhutaram Sharma, Shams Lucknowi, Kaif Irfani, Shevan Rizvi and many more come to my mind. Among the ‘many mores’ is the lyricist Aziz Kashmiri about whom very little is known of his life before he joined Hindi film industry.
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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.

Why am I producing REHANA (1946)?

This was the heading of a full page advertisement issued by the producer G A Thakur, the owner of Girdhar Bahar Productions in October 1945 issue of ‘Filmindia’ magazine. He was announcing his intention of producing ‘Rehana’ (1946), the story of which is based on the Middle-East background. I have paraphrased below the reasons given by the producer in the advertisement:
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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 1930s and 1940s, there was a producer and director by the name of Kikubhai Desai. He had produced and directed many mythological films in the silent era. With the advent of talkies in 1931, Kikubhai Desai switched over to talkies. His expertise lay in producing talkies of stunt, costume and magical genres. He also directed a few of these films produced by him under these genres. Some of the films he produced under the banner of Paramount Pictures were ‘Chalta Purza’ (1934), ‘Khooni Kanjhar’ (1935), ’Jaadui Danda’ (1935), ‘Burkhawali’ (1936), ‘Guru Ghantal’ (1937), ‘Alladdin Aur Jaadui Chiraag’ (1938), ‘Aflatoon Aurat’ (1940) etc. These films were meant for mass entertainment only. The films were produced at his own Paramount Studio, now known as Filmalaya Studio.
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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 12400 song posts by now.

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12412

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Movies with all their songs covered =815 Total Number of movies covered =3479

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