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

Archive for the ‘Lata solo’ Category


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 : 3777 Post No. : 14755

“Anmol Ratan”(1950) was directed by M Sadiq for Jaimini Dewan Productions, Bombay. The movie had Meena (Shorey ?), Karan Dewan, Gope, Gulab, Madan Puri, Nirmala ec in it. The movie had eleven songs in it. As many as ten songs have been covered in the past.

Here are the details of the ten songs from the movie that are already covered:-

Song Title

Post No.

Post Date

Laakhon mein ek hamaare sainyya laakhon mein ek 3652 14-Mar-11
Jab kisi ke rukh pe zulfen 5519 24-Feb-12
Taare wohi hain chaand wohi hai 6090 17-Jun-12
Yaad aane waale phir yaad aa rahe hain 7573 28-Feb-13
Dard mila hai tere pyaar ki nishaani 7711 19-Mar-13
Morey dwaar khule hain 7750 25-Mar-13
Shiqwa tere main gaaun 8333 12-Jul-13
Sajan aaye aadhi raat 12408 28-Sep-16
Kaale kaale baadalon mein paani 13884 7-Jan-18
Koi kah de balamwa se ut nahin jaaye 14743 12-Nov-18

Here is the eleventh and final song from “Anmol Ratan”(1950) to appear in the blog. This song is sung by Lata. D N Madhok is the lyricist. Music is composed by Vinod.

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

With this song, “Anmol Ratan”(1950) joins the list of movies that have all their songs covered in the blog.


Song-Mere ghoonghat mein do nain pukaaren piya piya din rain (Anmol Ratan)(1950) Singer-Lata, Lyrics-D N Madhok, MD-Vinod

Lyrics

mere ghoonghat mein do nain
pukaaren piya piya din rain
ho mere ghoonghat mein do nain
pukaaren piya piya din rain
ho o o
bedardi aaja re
bedardi aaja re
naina dete duhaai
duhaai re ae
naina dete duhaai
mere ghoonghat mein do nain
pukaaren piya piya din rain

raat pade sab jag soye
birhan ko neend na aaye
raat pade sab jag soye
birhan ko neend na aaye
taaron ki jhurmath mein aen aen chanda hansi udaaye
taaron ki jhurmath mein aen aen chanda hansi udaaye
o o
door desh ke vaasi tohe zara laaj na aayi
laaj na aayi re
naina dete duhaai
mere ghoonghat mein do nain
pukaaren piya piya din rain
ho o o
bedardi aaja re
bedardi aaja re
naina dete duhaai
duhaai re
naina dete duhaai

aa main tere dil mein bhar doon apne dil ki haaye
aa main tere dil mein bhar doon apne dil ki haaye
phir tu jaan sakega aa aa
kya hai peer paraayi
phir tu jaan sakega aa aa
kya hai peer paraayi
o o
bedardi ke pyaar mein
maine yoonhi umar ganwaai
umar ganwaai re ae
naina dete duhaai
mere ghoonghat mein do nain
pukaaren piya piya din rain
ho o o
bedardi aaja re
bedardi aaja re
naina dete duhaai
duhaai re
naina dete duhaai

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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 : 3767 Post No. : 14740

“Aabshaar”(1953) was produced and directed by Hasrat Lucknowi for Globe Pictures, Bombay. The movie had Nimmi, Ashok Kumar, Rajkumar, Shyama, Nigar Sultana, Om Prakash, Lalita Pawar, Kuldip, Tiwari, Shyam Lal, Iftikhar, Neelam, Chandni, Leela Pandey etc in it.

The movie had eight songs in it which were penned by three lyricists and composed by three music directors, with five singers lending their voices in these songs.

Two songs from this movie have been covered in the past.

Here is the next song from the movie to appear in the blog. According to HFGK, this song is a multiple version song. One version is sung by Lata and another version by Rajkumari. Sarshar Sailaani is the lyricist. Music is composed by Bhola Shreshtha.

Only Lata version of the song is available and it is a lovely song to listen to. I am sure Rajkumari version would sound just as sweet when we can locate that.
[Editor Note: The Rajkumari version of this song is also now uploaded by Sudhir ji.]

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

[Lata Version]

[Rajkumari Version]

Song-Mujhko hai tujhse pyaar kyun (Aabshaar)(1953)Singer-Lata/ Rajkumari, Lyrics-Sarshar Sailaani, MD-Bhola Shreshtha

Lyrics

Lata Version
o o o
o o o
mujhko hai tujhse pyaar kyun
pyaar kyun

mujhko hai tujhse pyaar kyun
mujhko hai tujhse pyaar kyun
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyun
pyaar kyun

itni kathor preet kyun
preet ki hai ye reet kyun
itni kathor preet kyun
teri hamesha jeet kyun oon oon oon
teri hamesha jeet kyun
meri hamesha haar kyun
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyun
pyaar kyun

mehki hui hawa bhi hai
behki hui ghata bhi hai ae
mehki hui hawa bhi hai
behki hui ghata bhi hai
aise mein haaye dil mera aa aa aa aa
aise mein haaye dil mera
dhadke hai baar baar kyun
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyun
pyaar kyun
pyaar kyun
pyaar kyun

Rajkumari Version

mujhko hai. . .
tujhse pya..aar kyon

mujhko hai tujhse pyaar kyon
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyon

dil mein khayaal e yaar hai
dil mein khayaal e yaar hai
dil hai khayaal e yaar mein
dil hai khayaal e yaar mein
itna khayaal e yaar kya
itna khayaal e yaar kya
itna khayaal e yaar kyon
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyon

aankhen karo na chaar tum
aankhen karo na chaar tum
rooth rahe hain ?? tum
rooth rahe hain ?? tum
aaoge ek baar tum
aaoge ek baar tum
dil ko hai ye aitbaar kyon
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyon
ye na bata sakoongi main
ye na bata sakoongi main
mujhko hai tujhse pyaar kyon
pyaar kyon. . .

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

लता की आवाज़

ओ ओ ओ
ओ ओ ओ
मुझको है तुझसे प्यार क्यों
प्यार क्यों

मुझको है तुझसे प्यार क्यों
मुझको है तुझसे प्यार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों
प्यार क्यों

इतनी कठोर प्रीत क्यों
प्रीत की है ये रीत क्यों
इतनी कठोर प्रीत क्यों
तेरी हमेशा जीत क्यों॰ ॰ ॰
तेरी हमेशा जीत क्यों
मेरी हमेशा हार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों
प्यार क्यों

महकी हुई हवा भी है
बहकी हुई घटा भी है
महकी हुई हवा भी है
बहकी हुई घटा भी है
ऐसे में हाए दिल मेरा॰ ॰ ॰
ऐसे में हाए दिल मेरा
धड़के है बार बार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों
प्यार क्यों
प्यार क्यों
प्यार क्यों
प्यार क्यों

राजकुमारी की आवाज़

मुझको है॰ ॰ ॰
तुझसे प्या॰॰आर क्यों

मुझको है तुझसे प्यार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों

दिल में ख्याल ए यार है
दिल में ख्याल ए यार है
दिल है ख्याल ए यार में
दिल है ख्याल ए यार में
इतना ख्याल ए यार क्या
इतना ख्याल ए यार क्या
इतना ख्याल ए यार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों

आँखें करो ना चार तुम
आँखें करो ना चार तुम
रूठे रहे हैं ?? तुम
रूठे रहे हैं ?? तुम
आओगे एक बार तुम
आओगे एक बार तुम
दिल को है ये एतबार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों
ये ना बता सकूँगी मैं
ये ना बता सकूँगी मैं
मुझको है तुझसे प्यार क्यों
प्यार क्यों॰ ॰ ॰


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 : 3759 Post No. : 14729

“Do Sitaare” (1951) was directed by D D Kashyap for Famous Pictures. The movie had Dev Anand, Suraiya, Kuldip Kaur, Baij Sharma, Prem Nath, Shakuntala etc in it.

The movie had eight songs in it. Seven songs from this movie have been discussed in the past. Here are the details of the songs that have been covered in the past :-

Song Title

Post No.

Post Date

Mujhe tumse muhabbat hai 5338 24-Jan-12
O saajan dekh is duniya se kya kya le ke jaate hain 8779 28-Sep-13
De de de de Kanhaiyya mori dhaani chunariya 9104 6-Dec-13
Ho o mere dil ki dhadkan mein 9589 19-Mar-14
So ja re so ja bete ghareeb ke 9596 20-Mar-14
Meri aasmaani ghodi udaaye liye jaaye 14349 22-May-18
Ek do dilon ka kaafilaa 14707 20-Oct-18

Here is the eighth and final song from “Do Sitaare”(1951) to appear in the blog. This song is sung by Lata. Rajinder Krishan is the lyricist. Music is composed by Anil Biswas.

With this song, “Do Sitaare”(1951) joins the list of movies that have all their songs covered in the blog.

When this year began, we were YIPPYing one movie every day and we maintained this new year resolution till end of march 2018. We had YIPPEED 92 movies in the first 92 days of this year before the enthusiasm seemingly wore off. We somehow kept on this exercise with gaps till april 2018. 111 movies were YIPPEED in the year till end of april 2018.

Ever since, the rate dropped off drastically. Today’s movie is only the tenth YIPPEED movie after April 2018 and the first YIPPEED movie for November 2018. It is the 1048th YIPPEED movie in the blog overall.

Nevertheless, it feels nice to be YIPPYing a movie again. And what a nice song to listen to for closing the account of “Do Sitaare”(1951). The song sounds like a quintessential “puraani film ka geet” that we so loved to listen to on radio till 1970s.

I came to know (from our whatsapp group messages) that today happens to be the birthday of our beloved Sudhir Jee. It is only yesterday that he had posted a message in the group which read-

Listening to 5 to 10 songs a day can improve memory, strengthen immune system, and reduce depression risk by 80 %.

We fully agree, and we in this blog are doing our bit to keep people healthy. 🙂 And our beloved Sudhir Jee, with his musical excavations, background researches and interesting writeups is keeping us in great and robust health.

I take this opportunity to wish him a very happy birthday and wish him many happy returns of the day. Have a great musical day when you get to listen to 5 to 10 songs, and may be even more. 🙂


Song-Idhar kho gaya ya udhar kho gaya (Do Sitaare)(1951) Singer-Lata, Lyrics-Rajinder Krishan, MD-Anil Biswas

Lyrics

idhar kho gaya ya udhar kho gaya
ye dil mera jaane kidhar kho gaya
idhar kho gaya udhar kho gaya
ye dil mera jaane kidhar kho gaya
idhar kho gaya ya udhar kho gaya

nazar se nazar ka hua saamna
nazar se nazar ka hua saamna
to dil ye pukaara mujhe thhaamna
to dil ye pukaara mujhe thhaamna
sambhaala to maine magar kho gaya
sambhaala to maine magar kho gaya
idhar kho gaya ya udhar kho gaya
ye dil mera jaane kidhar kho gaya
idhar kho gaya ya udhar kho gaya

meri unse yoonhi mulaaqaat thhi
meri unse yoonhi mulaaqaat thhi
kaho ji ye koi buri baat thhi
kaho ji ye koi buri baat thhi
ye dil ki khata hai agar kho gaya
ye dil ki khata hai agar kho gaya
idhar kho gaya ya udhar kho gaya
ye dil mera jaane kidhar kho gaya
idhar kho gaya udhar kho gaya
ye dil mera jaane kidhar kho gaya
idhar kho gaya


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 : 3757 Post No. : 14724

Sachin Dev Burman is, beyond doubt, the most sensitive instrument of musical inspiration – his soul is the very soul of music, the very soul of magic. Navketan ….is synonymous with Burman …whose songs are nesting places of whistling birds, tinkling bells and sobbing flutes….. A genius who has breathed music, dreamed music, lived music all his life.

This was a part of a signed note written in his own hand writing by Dev Anand, probably as a tribute to S D Burman. The entire note was reproduced in the book “The Navketan Story – Cinema Modern” by Sidharth Bhatia (2011).

Today, October 31st 2018 is 43rd Remembrance Day of Sachin Dev Burman (01/10/1906 – 31/10/1975), a legendary music director whose song compositions of 1950s through early 70s sound as young today as they did at the time of their creation. On S D Burman’s 112th birth anniversary on October 1st, 2018, I had set out in an article on this Blog, his journey from the Royal Tripura Family to the country side of the then East Bengal, to Calcutta (Kolkata) and finally to Bombay (Mumbai) to become one of the leading music directors of the golden period of Hindi film music.

When S D Burman landed in Mumbai in 1944, he had tough competition from well-established music directors like Anil Biswas, Naushad, Ghulam Haider, Khemchand Prakash and C Ramchandra. There were also emerging music directors in the mid-1940s like Sajjad Hussain, Husnlal-Bhagatram, Shyam Sundar, Hansraj Bahl etc. To some extent, his competition lessened with the migration of Ghulam Haider to Pakistan in 1948 and the sudden death of Khemchand Prakash in 1950. However, he had to face competition from new music directors – Shankar-Jaikishan, O P Nayyar. Madan Mohan, Roshan etc who operated concurrently with him.

There were some other handicaps with which S D Burman commenced his musical career. Apart from his poor knowledge of Hindi, S D Burman was said to have some personality traits which were not conducive for creating a successful filmy career. He gave an impression that he was whimsical, temperamental and stubborn. He lacked tact in handling his prospective customers (producers-directors). On the ‘plus’ side of his personality, as outlined by many who had worked with S D Burman, he was sagacious, humble, unbiased and had child-like innocence. Perhaps these qualities in him more than made up for his negative traits.

In Hindi film industry, in addition to talent, one also requires net-working with those who matters for picking up the music director for their films. He rarely attended filmy parties. He would not meet producer-directors or actors’ to seek work. He had very few friends and almost all of them were associated with Hindustani classical music or from Bengali music circle.

Despite all these handicaps and competitions from fellow music directors, I wonder as how could S D Burman maintain his position as one of the top music directors for as long as 24 years (1951-1975)? Let me analyse it based on 50 odd interviews of personality I have gone through who had closely worked with S D Burman and also of those who had known him.

For S D Burman, music was his world. Pandit Hari Prasad Chaurasia called him ‘Sangeet Sant’ (Saint of Music). Uttam Singh who was a violinist in S D Burman’s team of musicians and later a music director referred to him as ‘Rishi’ (Sage). Those who have closely worked with him had noticed that most of the time, he was in musical trance. Neeraj once observed that when Burman Dada was creating tunes for dance songs, he himself would dance to get a feel as to how a tune will fit on a dance song. Even among his few close friends, music was the only subject of his talk.

He was totally committed to song compositions under whatever the circumstances. Vijay Anand, in an interview taken by Piyush Sharma, had revealed that Burman Dada had composed some of the songs of ‘Guide’ (1965) from his hospital bed. He had personally gone to collect one of the tunes ‘piya tose naina laage re from the hospital bed. That he could conceive and create such a complex tunes ( 4 antaras in the song have different melodic treatments) even during illness speaks volume for his calibre as a music director. Waheeda Rahman had revealed that Burman Dada would tell her that he had conceived the tune with these dance steps in his mind so she should take care to do justice to them during the shooting. For ‘Tere Mere Sapne’ (1971), he had called Hema Malini to his home to explain the dance style of ta thai tat thai that thai ta. His good understanding of almost all aspects of song picturisation with his passion for perfection resulted in a very high percentage of his songs becoming hit.

S D Burman was never part of the rat race in the field of music direction in Bollywood. He would restrict the work of music direction to just 3-4 films a year. He had a phobia that if he took more films on hand, he may sound repetitive in his song composition. His style of composition required sufficient time to work on the songs to his full satisfaction. He would agree to compose songs for a film only after he had gone through the script of the film and the song sequences were fitting well in the story of the film.

There was an instance quoted by Pulak Bandopadhyay, who worked with S D Burman as lyricist for his non-film Bangla songs. He was present when this incidence happened. One day, a gentleman from the South film industry came to Burman Dada’s house and opened his brief case which was full of currency notes. He wanted to sign Burman Dada for his film. Burman Dada told the gentleman that he could show him as many bundles of currency notes as he had but he had no time to take up the new assignment.

After the gentleman had left disappointed, one of the persons in his room told Burman Dada that he should not have refused the film. He replied him by way of an idiomatic expression to make him understand. He compared film music as a draw-well. He said if one draws all the water from the well, it dries up. One needs to give the well sometime to recoup the water. [I have paraphrased here from the instance mentioned in ‘S D Burman – The World of His Music’ by Khagesh Dev Burman (Second Impression, 2016)].

Another important feature of S D Burman’s song compositions was that he was so particular about his melodic creations that he would not allow his singer’s voice and the lyrics to be over-shadowed by heavy orchestration. He used to tell his music arrangers that his melody was like a beautiful bride who did not need much ornamentation and dressing up. Another idiomatic expression he used to give in this regard was that orchestration was like a bindi (dot) on the forehead of a lady. A small bindi (dot) on the forehead of a beautiful lady would enhance her beauty. But a big bindi will spoil her beauty.

S D Burman was a strong believer in experimentation. Probably, this belief stemmed from his phobia that his songs may sound repetitive if he did not do something different. A sample of some non-film Bengali songs which he had composed in the 1930s and 40s itself gives an indication of his experimentation. Once in a conversation with Pandit Shiv Kumar Sharma, the Santoor player, Burman Dada said in his broken Hindi “main maar khaayega lekin main kuchh naya karega’’. What he meant was that he would continue to experiment with his songs and the music compositions even though his experiments may sometime fail. Let me list out at least a few of his experimentation:

1. I think, the first successful experimentation S D Burman carried was converting a ghazal into a club song tadbeer se bigdi huyi taqdeer bana le. This song became so famous that the film ‘Baazi’ (1951) became synonymous with this song. In ‘Funtoosh’ (1956), he once again converted a ghazal sounding lyrics into a light fun song, wo dekhen to unki inaayat.

2. In jaane kya toone kahi, a new musical instrument called Chinese Temple Blocks was used which created a mesmerising impact to match the mood in the song. The instrument was played by Kersi Lord, the Drummer and Accordionist in the S D Burman’s team of musicians. Another surprise was that S D Burman experimented by using Khol (a type of percussion) in this song which was essentially a naughty one. In Bengal and other North-Eastern States, the khol is used mainly for devotional and kirtan songs. In hothon mein aisi baat main daba ke chali aayi, S D Burman used a variety of percussion instruments of North-East Indian states and from Nepal and Myanmar numbering around 20.

3. Music Director Chitragupt used to tell his music director sons, Anand-Milind to study the songs composed by S D Burman especially the antara part of the songs where he sometimes experimented by composing in different metres than the mukhda metres. Anand gave an example of the song, choodi nahin ye mera dil hai which has antaras in different metres than mukhda. Even within antara, three out of 5 lines are again in different metres. The expertise of S D Burman in these types of songs is that the tune of antaras in different metres is brought close to the mukhda tune of the song like an aircraft making a smooth landing.

4. Poet Neeraj who started writing for S D Burman from ‘Prem Pujari’ (1970) also said that Burman Dada did a lot of experimentation with his song compositions. For instance, in phoolon ke rang se dil ki kalam se, Burman Dada started the song with antara. It was after 7 lines that the mukhda of 4 lines started. In dil aaj shaayar hai, there was no mukhda at all. For the song, yaaron neelaam karo susti, Burman Dada composed the first two lines based on a folk song, the next two lines were raag based tune, 5th and 6th lines were pop based tune and the last 4 lines which are the mukhda of the song were composed in qawwali style. Neeraj said that Burman Dada did these kinds of experimentation to break the monotony in the songs.

5. S D Burman was a fan of Ustad Faiyaz Khan of Agra Gharana. With his prior approval, he had used his famous bandish, ‘jhan jhan jhan jhan paayal baaje’ in Raag Nat Behag in composing non-film Bengali song ‘jhan jhan jhan jhan manjeera baaje’ (1937) which became very popular. He reused the tune with some improvisation in Hindi film ‘Buzdil’ (1951).

But in ‘Manzil’ (1960), S D Burman went a step ahead. He experimented with using Ustad Faiyaz Khan’s famous Dadra in Raag Bhairavi, ‘banaao batiyaan hato kaahe ko jhooti’ on Mehmood as arre hato kaahe ko jhooti banaao batiyaan in a light comical situation. He got Manna Dey to sing keeping in view the fact that he was singing for Mehmood in the role of Paanwala. When I first heard this song without the picturisation, I really felt that it was sung as a semi-classical song in the film as a part of the stage show. This song became very popular because it had the chord to connect with the masses.

Later, Roshan also adopted this experimentation successfully in laaga chunri mein daag chupaaun kaise and in phool gendwa na maaro. Both these semi-classical songs have been used in comical situations and sung by Manna Dey.

6. According to Uttam Singh, Violinist with S D Burman and R D Burman and later the music director, S D Burman is the only music director in Hindi film industry who has experimented with composing a classical dance song, piya tose naina laage re in Rupak Taal (7 beats) which is regarded as unusual for a dance song. He said that after this dance song, no other music director in Hindi film industry has attempted to compose a classical dance song in Rupak Taal.

I do not know much of the nuances of Hindustani classical music. On-line study material gave me some idea as to why Rupak Taal is unusual. All other Taals like Dadra Taal (6 beats), Kherwah (8 beats), Ek Taal (12 beats), Dhamar (14 beats), Teentaal (16 beats) etc have even number of beats. It is only the Rupak Taal which has uneven number of beats (7).

7. Shekhar Sen, the current Chairman of the Sangeet Natak Akadamy who is also a singer, lyricist, composer, playwright and musicologist, said that Burman Dada had experimented composing a Hindi film song on Merukhand style used in Hindustani classical music. Merukhand is an improvisation style recited in the 3-4 notes in sargam. For example, 4 notes, Sa Re Ga Ma can be sung in various combination in maximum of 24 patterns without repeating any note. Merukhand is used for vocal practice by those who have just completed training in Hindustani classical music.

The song in Merukhand which Shekhar Sen referred to was palkon ke peeche se kya kah daala. Getting a clue from this song, I guess, geet pehle bana thhaa yaa bani thhi ye sargam is also a Merukhand inspired song. Both these songs became popular.

Let me summarise as to how S D Burman could remain as one of the top music directors for as long as 24 years (1951-1975). First, he concentrated on the quality rather than quantity of song compositions by restricting his assignments to not more than 3-4 film in a year. Secondly, he chose mainly those genres of films for which he had a flavour for composing songs. Thirdly, he ensured that he worked with those directors who had been excellent in song picturisation. He was lucky to get directors like Guru Dutt, Raj Khosla, Vijay Anand, Bimal Roy and later Shakti Samanta and Hrishikesh Mukherjee. Fourthly, he did improvisation in his song compositions to make them acceptable to the masses. He also made experimentation in the song compositions to ensure that his songs did not become monotonous.

I will end my longish post on Burman Dada with a quote from Shekhar Sen. “Burman Dada’s song compositions were like lime pickle which became more tasty as years passed”.

On the occasion of 43rd Remembrance Day of S D Burman, I present one of the songs composed by him, ‘o tushima ri tushima..aa gaya toofaan’ from the film ‘Ye Gulistaan Hamaara’ (1972). The song is sung by Lata Mangeshkar on the lyrics of Anand Bakshi.

The tune of the song is based on a Nepali folk song which S D Burman’s Madal player, Ranjit Gazmer had once sang among his other musicians while relaxing during the rehearsal. S D Burman liked the tune and later used in this film with some improvisation.

—————————————————————————————————————————————–

Acknowledgements:

In writing this article, I have relied on interviews which were given by those who had closely worked with/close association with S D Burman. They included producers-directors, actors, music directors, singers, lyricists, music arrangers, lead musicians and his close friends. Most of videos/audio interviews were taken by Moti Lalwani which he has uploaded on YT.

Video Clip:

Song-Ho tushima ri tushima…aa gaya toofaan (Ye Gulistaan Hamaara)(1972) Singer-Lata, Lyrics-Anand Bakshi, MD-S D Burman

Lyrics

ho o o o
tushima aa aa

ho tushima ri tushima
ho tushima ri tushima
aaj jaane kis kaaran
haule haule doley mann
aaj jaane kis kaaran
haule haule doley mann
aa gaya toofaan
haan
aa gaya toofaan
aa gaya toofaan
haan
aa gaya toofaan
ho tushima ri tushima
ho tushima ri tushima

chhaayi masti basti basti
parvat parvat jhoomen
chhaayi masti
chhaayi masti basti-basti
parvat parvat jhoomen
yoon chale purvaai
ang ang leve angdaai
dharti chhuve aasmaan
aa gaya toofaan
aa gaya toofaan
haan
aa gaya toofaan
ho tushima ri tushima
ho tushima ri tushima

thhanda paani chhoone se bhi
aag badan mein laage
thhanda paani
thhanda paani chhoone se bhi
aag badan mein laage
neend se joban jaaga
chupke se dhadkan laaga
mera manwa beimaan
aa gaya toofaan
aa gaya toofaan
haan
aa gaya toofaan
ho tushima ri tushima
ho tushima ri tushima

maine dekha apna mukhda
maujon ke darpan mein
maine dekha
maine dekha apna mukhda
maujon ke darpan mein
mann se maine poochha
yeh hoon main yaa koi dooja
itni sundar main kahaan
aa gaya toofaan
aa gaya toofaan
haan
aa gaya


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 : 3731 Post No. : 14675

“Narsimha Avtaar”(1949) was directed by Sohrab Modi for Minerva Movietone, Bombay. This mythological movie had Laxman, Niranjan sharma, Shobhana Samarth, Mahipal, Madan Mohan, Raj Narayan Tiwari, Hari Shivdasani, Kamal, Anant Joshi, Leela Kumari, Kanta Kumari, Sheela Kumari, Pt Amarnath, Sulochana, Saajan, Rajkumar etc in it.

The movie had eleven songs in it. Three of these songs have been covered in the blog. All of them were discussed in 2011 !

Now, after seven years, here is the next song from “Narsimha Avtaar”(1949) to appear in the blog. The song is sung by Lalita DewoolkarLata. Pt Narendra Sharma is the lyricist. Music is composed by Vasant Desai.

I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

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


Song-Jagmag taare jhhalke (Narsimha Avtaar)(1949) Singer-Lata, Lyrics-Narendra Sharma, MD-Vasant Desai

Lyrics

jagmag taare jhalke ae ae
jagmag taare jhalke
jagmag taare jhalke ae ae
jagmag taare jhalke

raat andheri
dekh na dar mann
raat andheri
dekh na dar mann
jagmag taare jhalke ae ae
jagmag taare jhalke

prabhu ka dhyaan hriday mein
sir par maa ki aanchal chhaaya
dekh rahin do aankhen
das disi dhan aanand mandraaya
das disi dhan aanand mandraaya
sukh muskaata neeche maa ke
paawan charan kamal ke ae
jagmag taare jhalke

sankat to bhakton ki kasauti
gahna hai dukh sahna aa aa
gahna hai dukh sahna aa aa
hai hari naam adhar ki shobha
hai hari naam adhar ki shobha
keshav kahte rahna aa aa
keshav kahte rahna aa aa
keshav
keshav
keshav


This article is written by Peevesie’s Mom, 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. : 14667

Hullo all in Atuldom

Saw a good clean movie with a straight forward story today. The story was almost as if inspired from the life of Valmiki.

Let me begin at the beginning. As I was writing my previous post on Hrishikesh Mukherjee I went through the filmography and saw that I had missed out seeing Sabse Bada Sukh; Arjun Pandit; Naukri; Achcha Bura; Naamumkin (of the 70s and 80s) and a few from the earlier decades. So, I decided since I have the time I shall see one today. But before that I was looking for songs where Sachin Dev Burman and Majrooh Sultanpuri had collaborated and was also hoping that all the songs of this duo had not bee posted. And sure enough all the extremely popular albums – Paying Guest, Solva Saal, Lajwanti, Nau Do Gyarah, Chalti Ka Naam Gaadi etc- that the two have worked together on have made their appearance on the blog. So that left me with the 70s to put under the search engine (because post 31st October 1975 SD Burman was not there). The 70s have given us a few gems from this duo- Phagun, Abhimaan, Sagina, Arjun Pandit etc. and on running through “the list of songs moviewise and checking up the status of these movies I found we have one song posted from Arjun Pandit, all songs of Abhimaan, Phagun (3 out of 6) Sagina (all songs posted). That left only Arjun Pandit for my use. Then I checked up number of songs in the movie and one out of three are posted.

Bingo! Here is the next song. I sat through the uploaded version of the movie on YouTube – the actual movie might have been longer as the YouTube version had only two songs, so maybe some parts of the movie too, may have got edited on the way to the cyberworld. Was impressed by the star cast. More positive feelings when I saw the introduction of Bindu in the movie. And the good feeling didn’t diminish through the movie. Nothing could go wrong with the movie- after all Hrishikesh Mukherjee was the director, dialogues were by Gulzar, central character was played by Sanjeev Kumar. The rest of the cast were also good actors, even debutant actress Srividya (from the South Indian film industry).

A small introduction to Srividya. She was born in 1953 to the Carnatic classical singer M L Vasanthakumari and Tamil film comedian Krishnamurthy. She made her acting debut at a very young age as the family had financial problems as her father had to stop acting due to some illness. She was successful in all the four South Indian language cinemas. She was also an expert classical vocalist and had done playback singing in a few south movies. Her filmography says she has worked in 5 Bollywood movies and that “Jaise Ko Taisa” was her first Hindi movie. But the title card of “Arjun Pandit” says introducing “Srividya”. {Need experts to clarify this}.

Today’s song shows Srividya getting ready to receive her friend and Saajan. Very simple sweet lyrics by Majrooh Sultanpuri and simple orchestration by SD Burman. Only two singers were used in the movie- Kishore Kumar and Lata Mangeshkar. The Kishore Kumar song from this movie was posted on October 1, 2013 on the occasion of the lyricist and music director’s birthdate. {do we still have doubts about the birthdate of S D Burman as is mentioned by Bluefire in the comments to this posthttps://atulsongaday.me/2013/10/01/dil-mera-udaa-jaaye}

Oh, I just realized I have to explain about the Valmiki- inspiration angle to this movie. We have Sanjeev Kumar playing a henchman to the local Zamidaar (Rajan Haksar) who is dreaded by everyone in the village including his own daughter. Enter Ashok Kumar, as the doctor in the local village health centre and also a friend of the zamindar. His calm and loving nature inspires Sanjeev Kumar (Arjun Sardaar) to turn a new leaf, educate himself and make his daughter be comfortable when he is around. He goes on from being an illiterate strongman to a compassionate compounder to the doctor and finally also ends up looking after the family of the doctor as a responsible elder and family member would. So that then is the Valmiki part.

Song – Bolo Preetam, Kya Boli Thee Main Aage Re (Arjun Pandit) (1976) Singer – Lata Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – SD Burman

Lyrics

ho oo ooo
oo oo ooo
bolo preetam
bolo preetam
kya boli thi main aage re
bolo preetam kya boli thi main
bolo preetam kya boli thi main aage re
bolo preetam kya boli thi main
bolo preetam

oo ooo
oooooooo
ooo oooo ooo

kahin  bhi rooth ke jaaoge jaaoge
yahin pe laut ke aaoge aaoge
kahin bhi rooth ke jaaoge jaaoge
yahin pe laut ke aaoge aaoge
aaye na karke bahana piya
bolo preetam
bolo preetam
kya boli thi main aage re
bolo preetam

dekho na saans ulajh gayi na gayi na
agan si sulag gayi na gayi na
dekho na saans ulajh gayi na gayi na
agan si sulag gayi na gayi na
kahe ko garva se lipta liya
bolo preetam
bolo preetam
kya boli thi main aage re
bolo preetam kya boli thi main
bolo preetam kya boli thi main
bolo preetam

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

हो ओ ओs
ओ ओ ओs
बोलो प्रीतम
बोलो प्रीतम
क्या बोली थी मैं आगे रे
बोलो प्रीतम क्या बोली थी मैं
बोलो प्रीतम क्या बोली थी मैं आगे रे
बोलो प्रीतम क्या बोली थी मैं
बोलो प्रीतम

ओ ओs
ओsssssss
ओs ओsss ओs

कहीं भी रूठ के जाओगे जाओगे
यहीं पे लौट के आओगे आओगे
कहीं भी रूठ के जाओगे जाओगे
यहीं पे लौट के आओगे आओगे
आए ना कर के बहाना पिया
बोलो प्रीतम
बोलो प्रीतम
क्या बोली थी मैं आगे रे
बोलो प्रीतम

देखो ना सांस उलझ गई ना गई ना
अगन से सुलग गई ना गई ना
देखो ना सांस उलझ गई ना गई ना
अगन से सुलग गई ना गई ना
काहे को गरवा से लिपटा लिया
बोलो प्रीतम
बोलो प्रीतम
बोलो प्रीतम क्या बोली थी मैं
बोलो प्रीतम क्या बोली थी मैं
क्या बोली थी मैं आगे रे
बोलो प्रीतम


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॰ ॰ ॰


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 : 3725 Post No. : 14662

“Ham Matwaale Naujawaan” (1961) was directed by L R Asthana for Rover Films Production, Bombay. The movie had Shekhar, Sayeeda Khan, Jeevan, Agha, Chaman Puri etc in it.

The movie had seven songs in it. Five songs from this movie have been discussed in the past.

Here is the sixth song from this movie. This song is sung by Lata and chorus. Majrooh Sultanpuri is the lyricist. Music is composed by Chitragupta.

Only the audio of this song is available and so it is difficult to guess how and on whom this song is picturised. I request our knowledgeable readers to throw more light on this matter.


Song-Dil ne kuchh aisa pukaara (Ham Matwaale Naujawaan)(1961) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Chitragupta
Chorus

Lyrics

hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm hmm

dil ne kuchh aise pukaaraa
dil lene waala aa hi gaya
dil ne kuchh aise pukaara
lalalalalalala
ho
dil ne kuchh aise pukaara

dard uthha to door se
mil hi gayi usey khabar
dard uthha to door se
mil hi gayi usey khabar
keh gayi haal e dil mera
meri jhuki jhuki nazar
halka sa paa ke ishaara
dil lene waala aa hi gaya
dil ne kuchh aise pukaara
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
aa aa aa aa aa aa

thehri hui thhin dhadkanen
aankhen thhin intzaar mein
khwaabon ka mere aashiyaan
jalne ko thha bahaar mein
aise mein ban ke sahaara
dil lene waala aa hi gaya
dil ne kuchh aise pukaara

beet gayi wo shaam e gham
aa gaye din qaraar ke
beet gayi wo shaam e gham
aa gaye din qaraar ke
ab to ruke meri bala
kehte hain hum pukaar ke
sun le zamaana hamaara dil lene waala aa hi gaya
dil ne kuchh aise pukaara
hmm hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm

dil ne kuchh aise pukaara
dil lene waala aa hi gaya
dil ne kuchh aise pukaara
lalalala lalala
lalalala

ho o dil ne kuchh aise pukaara
lalalala lalala
lalalala

ho o dil ne kuchh aise pukaara


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 : 3706 Post No. : 14631

“Dost”(1954) was produced was Kuldip Sehgal and directed by Rajendra Sharma for Kuldip Pictures Limited, Bombay. The movie had Usha Kiran, Suresh, Majnu, Randheer, Ramesh Thakur, Khairati, Uma Dutt, Kammo, Mohana, S Kapoor, S Nazeer etc in it.

The movie had seven songs in it. Five songs have been covered in the past.

Here is the sixth song from “Dost”(1954) to appear in the blog. HFGK is silent about the singer of the song. It is clear that the song is sung by Lata (though there appears to be another female voice in it) alongwith chorus. Butaram Sharma is the lyricist. Music is composed by Hansraj Bahl.

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


Song-Sharaab e ishq jaati hai pilaayi pi nahin jaati(Dost)(1954) Singer-Lata, Lyrics-Butaram Sharma, MD-Hansraj Bahl
Chorus

Lyrics

sharaab-e-ishq jaati hai pilaayi
pi nahin jaati
aa aa
sharaab e
sharaab-e-ishq jaati hai pilaayi
pi nahin jaati
ye ho jaati hai apne aap
ulfat ki nahin jaati
ye ho jaati hai apne aap
ulfat ki nahin jaati

meri aankhon mein usne
pyaar se jab daal di aankhen
aa aa aa
nigaahon mein hi dil ki baat
dil se kah gayi aankhen
hai dekhi humne jis din se
iski shabnami aankhen
aa aa aa
usi din se humaari
intzaari mein lagi aankhen
tamanna preet ki aji haan
tamanna preet ki
tamanna preet ki aji haan tamanna preet ki

haan tamanna preet ki
phir se khadi bhugti nahin jaati
ye ho jaati hai apne aap
ulfat ki nahin jaati
ye ho jaati hai apne aap
ulfat ki nahin jaati


This article is written by Bharat Upadhyay, 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 : 3698 Post No. : 14615

1958 Film Suvarna Sundari was Produced by Anjali Pictures, Madras (now Chennai) and Directed by B Raghavaiyah was a Hit picture, coming from South, having a huge star cast including Anjali Devi, Shyama, Daizy Irani, Saroja Devi, Agha, Mukri, Dhumaal, Randhir, Bipin Gupta, Niranjan Sharma, Sachin Shankar, Kamaljit, Sapru, Gummadi, Vishwanath, Chaudhury, Radhakishan, Piketi etc.

According to HFGK, it had 14 songs, all written by Bharat Vyas with Music by Adi Narayan Rao, assisted by Satyam Munnuswami and TV Raju.

Only two songs:

1. Kuhu Kuhu Bole Koyalita – Lata Rafi Duet

2. Mujhe Naa Bulaa – Lata Solo

have been included in our Sureela Musical Blog up till now and this, a Lata Solo, is the third addition.

There were nine songs by Lataji (Solo and duets) in this film and this one is the third song on our Blog

It is an obvious Sales pitch song, with the seller, Anjali Devi selling toys on the street and is surrounded by many children.


Song-Le Lo Ji Le Lo Gudiya(Suvarna Sundari)(1958) Singer-Lata, Lyrics-Bharat Vyas, Music-Adi Narayan Rao

Lyrics

ho o o o o oo
ho o o o ooo

le lo ji le lo gudiya aa aa
jaadu ki hai yeh pudiya aa aa
chhajje pe khadi khadi
naache yeh ghadi ghadi
khhan khhan bajaaye choodiyaan
hoo ooo
le lo ji le lo gudiya aa aa
jaadu ki hai yeh pudiya aa aa
chhajje pe khadi khadi
naache yeh ghadi ghadi
khhan khhan bajaaye choodiyaan
hoo ooo
le lo ji le lo gudiya

ho ooo
o ladke kyun jiya tera dhadke
khada hai kyun akad ke
kya paisa tu laaya re
jeb khaali soorat hai niraali
bana re tu mavaali
kyun man bharmaaya re
meri gudiya chhabeeli rangeeli badi
dekho pahne huye motiyon ki ladi
mujhe duniyaa mein sabse ye mahangi padi
gori gori
gori gori kamar mein bandhi dori
dulhan naache chhori
dhinak dhin dha
ho ooo oo
le lo ji le lo ji gudiya

nanhi munhi idhar udhar thumak thumak dole
gori mori ghoonghat ka pat khole re naa khole
hoy nanhi munhi idhar udhar thumak thumak dole
gori mori ghoonghat ka pat khole re naa khole
laaj aaye ri yeh laajwanti badi
phool se halki hai yeh meri phuljhadi
dekho parde mein mukhda chhupaaye khadi
dheere dheere
dheere dheere baabuji munh chhupaana
nazar na lagaana
naazuk gudiya
hoo ooo
le lo ji le lo gudiya
jaadu ki hai yeh pudiya aa aa
chhajje pe khadi khadi
naache yeh ghadi ghadi
khhan khhan bajaaye chudiya
hoo ooo
le lo ji le lo gudiya

aaa aaaa aaa aaa
aaa aaaa aaa aaa
aaa aaaa aaa aaa
aa aaaa aaa aaa


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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 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

14789

Number of movies covered in the blog

Movies with all their songs covered =1153
Total Number of movies covered =4044

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