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

Archive for the ‘Lyrics by Sudhir’ Category


This article is written by Mahesh Mamadapur, 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 :

4353 Post No. : 15669

ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार 
फिर भी कितनी सुंदर हो
तुम कितनी सुन्दर हो

Yes, this song is from film ‘Mohra’ (1994). Ah but I am not bringing on the film version of the song.

This very song was earlier and originally sung by Mukesh in his inimitable voice in the sixties. The film for which he had sang never reached proper production stages. The song has since remained and gets counted amongst the many NFS that he sang. There are almost no details available about Mukesh version and hence this post will be quite short and devoid of any tables, histograms etc. 🙂

But then, I do not want to make the post too short either and so let me write something about the 1994 film which I have never seen. I am told it had a rather unexpected climax and so pondering if I should watch only the ending. 🙂

I consider myself qualified to write about the 1994 film as it is yet to make its debut on the blog which is quite surprising. There is a well-established wiki page of the movie on the net and I request interested readers to visit it for much of the details.

One of the apparent reasons as to why the song sung by Mukesh was included in the film could be probably because Viju Shah the music director of the film is the son of music director Kalyanji Virji Shah of composer duo Kalyanji Anandji. The lyric writer obviously remained Indeewar.

The film has 3-4 versions of the song sung by Pankaj Udhas and Sandhana Sargam.  All these years, I was under the impression that at least the romantic version was picturised on Raveena Tandon but it does not seem to be.

And, with such poor knowledge of “new films”, I am happy I seldom venture into this rather unfamiliar territory. I am sure more knowledgeable contributors will take up the film song and write in detail about the many versions.

As usual, I reached out to Shri Harish Raghuwanshi ji, the Surat based complier of Mukesh Geetkosh to see if I could get more details about the Mukesh version. He gave several leads such as searching the register where song was to be recorded, contacting any of the Kalyanji-Anandji’s orchestra team etc. He has also written to me stating that he has contacted Anandji, Indeewar, Mohnish Behl etc to get some leads but to no avail. All he remembers is the film being about Navagraha. I thank him for the continuous support and help I receive.

All these efforts of tracing the film that never took off being quite an ordeal, I decided to go ahead and represent this post on the blog. What is more important is that the complete song sung by Mukesh is available on several platforms and is a treat to listen.

Song – Na Kajre Ki Dhaar, Na Motiyon Ke Haar  (NFS-Mukesh) (1960s) Singer – Mukesh, Lyrics – Indiwar, MD – Kalyanji Anandji

Lyrics (Provided by Sudhir)

na kajre ki dhaar
na motiyon ke haar
na koi kiya singaar
phir bhi kitni sunder ho
tum kitni sunder ho

na kajre ki dhaar
na motiyon ke haar
na koi kiya singaar
phir bhi kitni sunder ho
tum kitni sunder ho

tu taazgi phoolon ki
kya saadgi ka kehna
tu taazgi phoolon ki
kya saadgi ka kehna
singaar tera yauwan
yauwan hi tera gehna
teri soorat jaise moorat
main dekhoon baar baar
na kajre ki dhaar
na motiyon ke haar
na koi kiya singaar
phir bhi kitni sunder ho
tum kitni sunder ho

tera ang sachcha sona
muskaan sachche moti
tera ang sachcha sona
muskaan sachche moti
tere honth hain madhushala
tu roop ki hai jyoti
ude khushboo jab chale tu
boley to bajey sitaar
na kajre ki dhaar
na motiyon ke haar
na koi kiya singaar
phir bhi kitni sunder ho
tum kitni sunder ho

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

ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार
फिर भी कितनी सुंदर हो
तुम कितनी सुंदर हो

ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार
फिर भी कितनी सुंदर हो
तुम कितनी सुंदर हो

तू ताज़गी फूलों की
क्या सादगी का कहना
तू ताज़गी फूलों की
क्या सादगी का कहना
सिंगार तेरा यौवन
यौवन ही तेरा गहना
तेरी सूरत जैसे मूरत
मैं देखूँ बार बार
ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार
फिर भी कितनी सुंदर हो
तुम कितनी सुंदर हो

तेरा अंग सच्चा सोना
मुस्कान सच्चे मोती
तेरा अंग सच्चा सोना
मुस्कान सच्चे मोती
तेरे होंठ हैं मधुशाला
तू रूप की है ज्योति
उड़े खुशबू जब चले तू
बोले तो बजे सितार
ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार
फिर भी कितनी सुंदर हो
तुम कितनी सुंदर हो


This article is written by Mahesh Mamadapur, 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:

4348 Post No. : 15661

We remember Nightingale of Punjab on her remembrance day today.

Surinder Kaur (25 November 1929 – 14 June 2006) was the recipient of the prestigious Padma Shri in 2006. She was the recipient of numerous other awards including Sangeet Natak Akademi Award and also a doctorate degree by Guru Nanak Dev University. Much of her life details can be easily found on her wiki page and many other articles and interviews on the net.

Her popularity of course stems from the fact that she pioneered and popularised folk songs of Punjab to the rest of the world. However, readers are well aware that she had a very short but memorable stint in HFM in the late forties. She gave playback to 57 songs in 21 films during the golden era and many of her songs are remembered and played to this day.

She has been one of my favourite singers for as long as I can remember and there is some aspect of her voice which attracts listeners. One is bound to be spellbound and even enter some sort of a trance on hearing her voice.  Very few singers of the golden era had such combination of rustic and melodious voice. Her full-throated contemporaries being the big three of Noor Jahan, Suraiya and the versatile Shamshad Begum, it’s easy to get confused when Surinder Kaur sang especially with Shamshad Begum.

I am aware of her immense popularity in Punjab and Haryana where she is nothing less than a legend, but we shall restrict ourselves to her Hindi songs in this post. This post has taken an inordinate time for self to complete. I must admit that the delay has been by several years rather than months. A few years back one of my good friends who hails from Hisar in Haryana was on his way home from Mumbai where we were working together. He asked me if there was anything that he should bring back to me. I told him I wanted a booklet on Surinder Kaur’s Hindi songs. He had a bizarre look at me and asked; Anything else? The unanswered reply being that it would be very difficult to trace such a thing.  Well, crazy music enthusiasts have crazy requirements.

It’s not that I have taken several years only to compile these 57 songs in the form of a table. This work started several years back and due to lack of proper commitment and other priorities, the post continued to be put off several times. This year, I resolved to complete the work and am excited to bring out the compilation.

In this post an effort has been made to put together all her songs sung for Hindi movies. A compilation of all her Hindi songs has been made in a tabular column. Before we proceed to the total list, here is the table of the number of songs she sung under different composers. Since the tables are self-explanatory, not much detailing is further provided.

Composers No. of Songs
Gyan Dutt 15
A R Qureshi 7
Hansraj Behl 7
Ghulam Haider 5
Husnlal Bhagatram 5
Khurshid Anwar 4
Naashad 5
Others 9
TOTAL 57

An interesting table of her songs with different singers follows.

Singers No. of Songs
Solo 30
Mohd. Rafi 5
Mukesh 5
Ram Kamlani 2
Talat Mehmood 1
Raja Gul 1
Other female singers and chorus 13
TOTAL 57

As can be seen above, more than half of her 57 songs were sung as solo numbers while Rafi saab and Mukesh sang a maximum of 5 each with her. Many of these songs will be discussed later.

Coming to the distribution of the number of songs that she sang in each year of her short stay in Bombay, following is the table. As is evident, more than 90% of her Hindi songs were sung only in 3 years of 1948-50.

Year Number of Songs Number of Films
1947 1 1
1948 20 6
1949 17 6
1950 15 4
1951 3 3
1952 1 1
TOTAL 57 21

I have not made a table of her songs under different lyricists, but from the detailed table below it is quite evident that DN Madhok wrote the maximum of 27 out of her 57 songs.

43 of the 57 songs have been already represented on the blog and hardly 14 remain.

Starting with Ghulam Haider who introduced many such wonderful artists to HFM, Surinder Kaur sang her first song, a duet with actress-singer Munawar Sultana in the film ‘Mehndi’ in 1947. What followed was what made Surinder Kaur Surinder Kaur in HFM.

Three priceless solo gems in the film ‘Shaheed’ 1948 that made her voice a craze all over India. These songs can be heard on repetition any given day. Song No 02 remains in active memory of many music lovers and I suppose this is one song which many associate with her.

‘Pyar Ki Jeet’ (1948) is basically remembered for its Suraiya songs, but Surinder Kaur stood her ground with her solitary solo and the two triad songs. Apparently, the solo is so very similar to the songs that she sang in ‘Shaheed’ even though the composers were different. The solo at 06 is sung under much gusto and one can only admire the rendition skills of Surinder Kaur.

‘Nao’ (1948), composed by Gyan Dutt has some wonderful songs. “Ek Nazar Wo Yaad Hai Unki” is a masterpiece, which continues to linger in the mind long after being heard. I happened to hear this song only a few years back and have been absolutely smitten to it ever since. More the song plays forward, more the mind loiters behind to absorb and ponder the depth of the voice and the words being rendered.  It is from this film that I take up today’s solo for representing in this post.

Gyan Dutt who has the highest songs rendered by her for any composer continues in 1948 with ‘Lal Dupatta’. It would have been interesting to know if he would have continued with her voice had she continued to sing in HFM. Readers may be well aware that Lata Mangeshkar has a solitary solo for Gyan Dutt.

The years of 1949 and 50 were important for she sang almost all her duets with male singers in these two years. With Mukesh she sang all her 5 duets in only two films of 1949 viz. ‘Dada’ and ‘Sunehre Din’.

For very obvious reasons, these remain my personal favourites especially “Tera Kisi Se Pyar Tha“. In “Dil Do Naino Mein Kho Gaya,” it’s interesting to hear how the two singers sing in quick succession their respective lines.

Rafi saab had one duet in 1949 and the remaining 4 in the next year. My personal favourite is the one from Sabak, “Keh Do Hamen Na Bekarar Kare” which is played quite often on SLBC to this day.

Her final two years of stay in Mumbai had other composers like SD Burman and Anil Biswas try her voice under their compositions. But then, health concerns in coastal Mumbai being the reason, Surinder Kaur shifted her base to Punjab where she became a phenomena in folk songs singing.

In this post, I am afraid I have not done enough justice to the appreciation and admiration of the voice and the popularity of her songs. However, my main intention was to club all her songs in a table so that it is easy for other knowledgeable contributors to cover her balance songs to be posted on the blog.

I have relied on a couple of biographical posts on Surinder Kaur by our Sudhir ji, valuable comments by Nitin ji, cineplot blog, the highly reliable HFGK and my notes. I express my sincere gratitude to all these sources. There were a few clarifications and attributions of songs to various singers. Again, Sudhir ji took the initiative of contacting his reliable sources and helped me at arriving to the correct compilation. I further requested him to help me with the lyrics of today’s post. I express my gratitude to Sudhir ji for all the help rendered.

Yes, Surinder Kaur sang a handful of only 57 songs in the golden era, but as they say the blessings are always to be counted. We, music lovers, are fortunate to listen to her having sung some exceptionally great songs in a voice that was a class apart and on a different level altogether.

Her name will undoubtedly and forever be etched in golden letters in the annals of Hindi Film Music.

Song – Ab Tere Bin Mera Nahin Thikaana  (Naao) (1948) Singer – Surinder Kaur, Lyrics – DN Madhok, MD – Gyan Dutt

Lyrics (Provided by Sudhir)

ab tere bina
mera nahin thikaana
ab tere bina
mera nahin thikaana
o o o pardesia
ye bhool na jaana
o o o pardesia
ye bhool na jaana
ab tere bina
mera nahin thikaana

main ne suna hai
log rog laga ke pyaar ka dukh paate hain
main ne suna hai
log rog laga ke pyaar ka dukh paate hain
yahi baaten
gham se bhari raaten
dil ko samjhaate hain
yahi baaten
gham se bhari raaten
dil ko samjhaate hain
o o o dil phir se hua begaana
o o o dil phir se hua begaana
ab tere bina
mera nahin thikaana

dekho dekho ji
neha laga ke daga na dena
hamaari haaye na lena
dekho dekho ji
neha laga ke daga na dena
hamaari haaye na lena
mera nanha naazuk dil roye
dukhi hoye
dekha jaaye mo se na
mera nanha naazuk dil roye
dukhi hoye
dekha jaaye mo se na
o o o dar laage bura zamaana
o o o dar laage bura zamaana
ab tere bina
mera nahin thikaana

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

अब तेरे बिना
मेरा नहीं ठिकाना
अब तेरे बिना
मेरा नहीं ठिकाना
ओ ओ ओ परदेसिया
ये भूल ना जाना
ओ ओ ओ परदेसिया
ये भूल ना जाना
अब तेरे बिना
मेरा नहीं ठिकाना

मैंने सुना है
लोग रोग लगा के प्यार का
दुख पाते हैं
मैंने सुना है
लोग रोग लगा के प्यार का
दुख पाते हैं
यही बातें
ग़म से भरी रातें
दिल को समझाते हैं
यही बातें
ग़म से भरी रातें
दिल को समझाते हैं
ओ ओ ओ दिल फिर से हुआ बेगाना
ओ ओ ओ दिल फिर से हुआ बेगाना
अब तेरे बिना
मेरा नहीं ठिकाना

देखो देखो जी
नेहा लगा के दगा ना देना
हमारी हाय ना लेना
देखो देखो जी
नेहा लगा के दगा ना देना
हमारी हाय ना लेना
मेरा नन्हा नाजुक दिल रोये
दुखी होइए
देखा जाये मो से ना
मेरा नन्हा नाजुक दिल रोये
दुखी होइए
देखा जाये मो से ना
ओ ओ ओ डर लागे बुरा ज़माना
ओ ओ ओ डर लागे बुरा ज़माना
अब तेरे बिना
मेरा नहीं ठिकाना

 


This article is written by Mahesh Mamadapur, 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 :

4320 Post No. : 15606 Movie Count :

4298

I am reminded of Halley’s comet when I started writing this post. Relevance and context. . .?

Well, as they say…. samajhne waale samajh gaye hain

Anyway, coming to this unique post, all I can say is that I was surprised when I was asked to go ahead with the song by none other than Sudhir ji. There is some email interaction happening between self, Atul ji and Sudhir ji on another topic.  In this interchange of emails and out of the blue, I was suggested to take up today’s “song”.

This song is from a film that never got completed. The film was shelved and the ‘song’ technically is from an unreleased film.

I am a huge admirer and follower of the rules of this blog such as.

  1. Only Hindi film and non-film songs are represented.
  2. Every song is represented only once, no matter how important or popular it is.
  3. Lyrics are a must in each post for the song represented.
  4. Multiple-version songs from the same film are considered as one.
    Etc.

Of course, there are some exceptions, such as room for songs rendered in English in our Hindi films etc. “Wish Me Luck” from ‘Mera Naam Joker’ (1970), “My Heart Is Beating” from ‘Julie’ (1975) etc. being such examples. But then, I understand, deviations do require some permission and go-ahead from the bosses. 🙂

Well, how about a shelved and incomplete film.? Yes, we do have many such representations also. So, what’s unique about today’s song? Ok, the interesting thing about today’s song is that it is

  1. From an unreleased/incomplete/shelved film
  2. Recording of the song is not available
  3. The singer has sung the song in a concert

With this background, I bring forth a song sung in a concert by Mukesh from the film ‘Chalaak’ (some sources attribute the making year to 1966) which never saw the light of the day. Not much information is available about this film on the web, but I happened to find a very interesting and detailed article of this film authored by one Mr Karan Bali, and posted on the blog named ‘Upper Stall’. Here is the link to the full article – https://upperstall.com/features/incomplete-films-chalaak/.

Since the story behind the incomplete film is important, I am copy pasting the relevant paras from the same article. Readers are requested to read his detailed article from the link above as it also has some rare photographs taken during the shooting of this incomplete film. The sad tale of this film is linked with the equally sad life story of Madhubala, who was the heroine in this film.

Sometime around 1964, once she felt a little better, Madhubala decided to make a comeback and finish her work on yet another film that was stalled for quite some time, called Chalaak, where she was cast opposite Raj Kapoor. The film was being produced and directed by JK Nanda, who had directed singing star KL Saigal’s last film Parwana (1947), besides having worked with Madhubala earlier in films like Singaar (1949) and Dhake Ki Malmal (1956). The film also starred Agha, Om Prakash and Jeevan, while the music for the film was being scored by Raj Kapoor regulars Shankar-Jaikishan. According to the July 15, 1960 issue of Screen, some ten reels were in the can by then. Some more filming took place before Madhubala’s ailment again brought the film to a halt. It is said that she collapsed on the sets and was advised strict bed rest thereafter. Still determined to finish it, sometime around 1966, Madhubala again made a valiant attempt to complete the film. Stills of her from the film show just how ill she was, her still-beautiful face looking shrunken and heavily made up, a deep sadness in those famous twinkling eyes.

However, the physical effort to complete Chalaak proved too much for the actress. The film shut down shop for good. It was all the more tragic as it is said that Chalaak had just a few more filming days left. And in less than 3 years after its shelving, the Venus of the Indian screen left this world on February 23, 1969, when just 36. . .

While no records of the film’s music came out, Mukesh did sing a song from the film at some of his concerts. At one such function in the 1960s, he declared the film had not released but would soon be seen in the theatres. As we know that never happened. . .

The film never got released, however one solitary recording of Mukesh singing this song at a concert in Mombasa (Kenya) is thankfully available. I was aware of this song and had also heard it a few times on the net. But, for the reasons mentioned above regarding the rules of the blog, I was under the impression that I may not be entertained for posting it on the blog. However, when I was offered to represent this concert song, I grabbed it with both the hands. I thank Atul ji and Sudhir ji for giving me an opportunity to represent this unique song on the blog.

In connection with the writing of this post, I was also in touch with Shri Harish ji of Surat who as usual was quite prompt in his help and replies. I thank him for the help rendered.

I do not want to promise but can assure readers that the comet will appear soon again. 🙂

Song – Bata De Meri Jaan Tere Dil Mein Kya Hai  (Chalaak) (UR) (1960s) Singer – Mukesh, Lyrics – Hasrat Jaipuri, MD – Shankar Jaikishan

Lyrics (Provided by Sudhir)

bata de meri jaan

bata de meri jaan ke tere dil mein kya hai
bata de meri jaan tere dil mein kya hai
bata de meri jaan tere dil mein kya hai
pyaar bhare dil ki mehfil mein kya hai
pyaar bhare dil ki mehfil mein kya hai
bata de meri jaan tere dil mein kya hai
bata de meri jaan tere dil mein kya hai

roz sapnon mein tu aati kyon hai
roz sapnon mein tu aati kyon hai
apne aashiq ko sataati kyon hai
roz sapnon mein tu aati kyon hai
apne aashiq ko sataati kyon hai
ye raaz kholiye
kuchh to boliye
ye raaz kholiye
kuchh to boliye
ke aankehn tu hum se churati kyon hai
bata de meri jaan tere dil mein kya hai
bata de meri jaan tere dil mein kya hai
pyaar bhare dil ki mehfil mein kya hai
pyaar bhare dil ki mehfil mein kya hai
bata de meri jaan tere dil mein kya hai

kya tere dil mein wo gehraai hai
kya tere dil mein wo gehraai hai
jis mein hum dooben wo tanhaai hai
kya tere dil mein wo gehraai hai
jis mein hum dooben wo tanhaai hai
ik nazar daal idhar
o meri jaan e jigar
ik nazar daal idhar
o meri jaan e jigar
keh de to tod ke taare laa doon
bata de meri jaan tere dil mein kya hai
bata de meri jaan tere dil mein kya hai
pyaar bhare dil ki mehfil mein kya hai
pyaar bhare dil ki mehfil mein kya hai
bata de meri jaan tere dil mein kya hai

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
बता दे मेरी जान

बता दे मेरी जान के तेरे दिल में क्या है
बता दे मेरी जान तेरे दिल में क्या है
बता दे मेरी जान तेरे दिल में क्या है
प्यार भरे दिल की महफिल में क्या है
प्यार भरे दिल की महफिल में क्या है
बता दे मेरी जान तेरे दिल में क्या है
बता दे मेरी जान तेरे दिल में क्या है

रोज़ सपनों में तू आती क्यों है
रोज़ सपनों में तू आती क्यों है
अपने आशिक को सताती क्यों है
रोज़ सपनों में तू आती क्यों है
अपने आशिक को सताती क्यों है
ये राज़ खोलिए
कुछ तो बोलिए
ये राज़ खोलिए
कुछ तो बोलिए
के आँखें तू हमसे चुराती क्यों है
बता दे मेरी जान तेरे दिल में क्या है
बता दे मेरी जान तेरे दिल में क्या है
प्यार भरे दिल की महफिल में क्या है
प्यार भरे दिल की महफिल में क्या है
बता दे मेरी जान तेरे दिल में क्या है

क्या तेरे दिल में वो गहराई है
क्या तेरे दिल में वो गहराई है
जिस में हम डूबें वो तनहाई है
क्या तेरे दिल में वो गहराई है
जिस में हम डूबें वो तनहाई है
इक नज़र डाल इधर
ओर मेरी जान ए जिगर
इक नज़र डाल इधर
ओर मेरी जान ए जिगर
कह दे तो तोड़ के तारे ला दूँ
बता दे मेरी जान तेरे दिल में क्या है
बता दे मेरी जान तेरे दिल में क्या है
प्यार भरे दिल की महफिल में क्या है
प्यार भरे दिल की महफिल में क्या है
बता दे मेरी जान तेरे दिल में क्या है

 

 


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4204 Post No. : 15393 Movie Count :

4243

Today’s song is from an obscure film ‘Angoori’ (1943).

The film was produced by The Indian Art Pictures, Bombay. This was a new company formed and this film was their first venture. They did not have their own studio, like many other producers. Due to the second world war, many new financiers turned to film making, using their black money earned during the rationing of many essential commodities. Even the raw film stock, used to make a movie, was controlled and naturally was available in black market freely at a premium price. Such producers got their films shot in some established studios by renting a shooting floor. The prolific film company, Ranjit, had reserved 2 floors out of their 8 shooting floors, only to be given on rent to such producers. Film ‘Angoori’ was shot in the studios of Circo Production company.

The film was based on a novel by writer LK Shukla. For the director, Mahesh Kaul, this was his debut film as a Director. So far he had been only a writer and a sundry actor in films.

Mahesh Kaul (10-4-1911 to 2-7-1972) was born in Lahore and educated in Moni College, Nagpur. After graduation, he worked as a journalist and a bank manager. He then entered films as a lyricist and dialogue writer. He debuted as an actor in KA Abbas scripted film ‘Naya Sansar’ (1941) and played Dronacharya’s role in film ‘Mahatma Vidur’ (1943). His other films as an actor were ‘Apna Ghar’ (1942), ‘Gopinath’ (1948), ‘Kaaghaz Ke Phool’ (1959) and ‘Tere Mere Sapne’ (1971). His first film as a director was ‘Angoori’, then came ‘Paristan’ in 1944. He produced and directed film ‘Gopinath’, with Raj Kapoor and IPTA actress Tripti Mitra. Some of his major films as a director are ‘Naujawaan’ (1951), ‘Aakhri Dao’ (1958), ‘Talaaq’ (1958), ‘Sautela Bhai’ (1962), ‘Palki’ (1967), ‘Sapnon Ka Saudagar’ (1968) etc. In all he directed 15 Hindi films. His last film ‘Agni Rekha’ came after his death, in 1973.

The music director for this film was GM Durrani and the lyricist was Rammurty Chaturvedi. Earlier, when the film was planned and an advertisement was published in ‘Film India’ magazine, the film had given the name of Pt. Indra as the lyricist, but later on probably he was replaced by Rammurty. The cast of the film was Ulhas, Kaushalya, Dar Kashmiri, Mukul, Chandrahas, Sunetra, PR Joshi, Angre, Ranjan, Peer Muhammad, Mukul etc. This was Durrani’s first film as an MD.

Ghulam Mustafa Durrani, often abbreviated as GM Durrani (1919 – 8 September 1988) was a popular and legendary Indian radio drama artist, playback singer, actor and music director. To his credit, he tried to make his own identity as a playback singer and not try to follow the KL Saigal type of singing. GM Durrani was notable for sad songs, romantic songs, patriotic songs, Quraan Khani, qawwalis, ghazals and bhajans. He was also one of the first Muslim singers to get to sing Hindu Devotionals. GM Durrani was also the most senior Punjabi singer-actor at that time. He was radio drama artist and full-time singer of Lahore, Delhi and Bombay stations of AIR (All India Radio, aka Akashvani (radio broadcaster)). His native language was Pashto but he had a strong command over Hindi, Urdu and Punjabi. He sang in many Indian languages including Hindi, Urdu, Punjabi and Pashto language in Indian movies in the 1930s, 1940s and 1950s. After the 50s Durrani sang very few songs. Durrani was the disciple of radio broadcaster Zulfiqar Ali Bukhari.

Ghulam Mustafa Durrani was born in Peshawar, British India in 1919. He was a Pathan (Pashtun) and belonged to the Mohammad Zai Durrani Kabila. He was from a conservative family where even tea was not taken. Milk and lassi were the drinks of choice. When he used to go to those shops and some songs used to be heard, he used to hum along with them. Everyone used to say this boy should go to Bombay, as his voice was very good. The thought of becoming an actor entered his mind as well. He soon ran out of money to make ends meet.

His mother had expired when he was very young. Father was educated and of artistic mind but very strict, and the only ally at the home was his loving grandmother. But she could also not protect him from his father’s anger.

The last job Durrani did in Peshawar was of at a painter’s shop where an artist always used to hum the tunes of the songs composed by highly respected composer and actor Rafiq Ghaznavi. He also started imitating those songs and got appreciation from the colleagues which inspired him. Durrani started practising Rafiq Ghaznavi’s songs and assumed him as his master. During this time, his father took him to another job at his uncle’s motor-part shop. But the artist within, didn’t stay long there and Durrani ran away from the home to Lahore with only 22 rupees in his pocket.

In Lahore, Durrani did odd jobs along with singing on radio. This brought him fame and passion for radio singing which took him to Delhi first, and then to Bombay. He came to Bombay on 14 April 1935. In Bombay, he got somehow a job at the Radio Station and from here he got recognition. Film wallahs started calling him to sing.

His singing career started from AIR. Durrani was discovered by film producer Sohrab Modi of Minerva Film Company (later known as Minerva Movietone). Modi gave him his first break around 1935-36 in the movie ‘Saed-e-Havas’ (1936), a historical under the music director, classical musician Bundu Khan popularly known as ‘Taan-Talwar‘ Bundu Khan.

When Durrani came to Bombay playback system was not there and one had to act on screen. He didn’t like running around trees and refused to work further. He faced a lot of difficulties and could not return as people would call him a ‘Kanjar‘. Minerva was reportedly to close down soon too. He soon joined the Delhi Radio Station of AIR (Akashvani). Durrani was working at the Delhi Radio Station where he got acquainted with poet Behzad Lakhnavi whose many ghazals had been sung by Mallika-e-Ghazal (Queen of Ghazals) Akhtari Bai Faizabadi, later to become famous as Begum Akhtar.

He later shifted to the Bombay Radio Station where he met a big personality at the time, whom he considered his ustad (master), Station Director of Bombay station of AIR (Akashvani), Baba-e-Nasharayat (Father of Broadcasting) Zulfiqar Ali Bukhari who helped the radio station come up a lot. Durrani always referred to Zulfiqar Ali Bukhari as ustad as a mark of honour. (ZA Bukhari, was the Station Director of Delhi station and then Bombay station of AIR (Akashvani). After the partition of India and creation of Pakistan, Bukhari migrated to Pakistan. He was made the first director-general of Radio Pakistan (Pakistan Broadcasting Corporation) and later, he served as general manager of PTV (Pakistan Television Corporation)).

Durrani’s salary was fixed at Rs 40 per month. Here he was working as a drama artist. He was soon counted as one of the best drama artist on the radio those days. Over a period of three years his salary had gone up to Rs 70 per month. But fate would soon call him back to films. In 1939-40, when the method of playback singing was already in use, he returned to films, to lend his voice for a film titled ‘Bahurani’ (1940) as his first playback singing assignment. The film was made by Sagar Movietone and its music director was Rafiq Ghaznavi. Durrani was then working as a full-time Singer in AIR (Akashvani). Those were British days and they were not allowed to do any private recordings. But Ghaznavi insisted. and Durrani laid down some conditions, like; the recording should be fixed on a Sunday night so that no outsiders would be allowed to enter the studio. Secondly, he said that his name shouldn’t appear in credit titles or on discs. The song was a duet with Miss Rose, an Anglo-Indian, who didn’t have much experience as a singer. He was paid Rs. 75 for the song as against his salary of Rs. 70 a month at AIR (Akashvani). He then left  his job at AIR on 31st December 1940 and decided to concentrate fully on his film career.

Thereafter he sang for, among others, noted music directors like Khawaja Khurshid Anwar, friend Naushad, Shankar Rao Vyas and AR Qureshi (also known as Alla Rakha, Pandit Ravi Shanker’s famous tabla accompanist) for films like ‘Namaste’ (1943), ‘Shama’ (1946), ‘Mirza Sahiban’ (1947), ‘Magroor’ (1950), ‘Sabak’ (1950), ‘Humlog’ (1951) and scores of others. He became very popular. Many singers started their careers with him and he inspired many others too.

He was the idol of Mohammed Rafi who imitated him in the initial days. Now what could be a better tribute to singer than that, that the symbol of divinity in the Indian Music Industry, Mohammad Rafi, followed him. In fact, in 1944 Rafi recorded what he considered his first Hindi language song for the film ‘Gaon ki Gori (1944) for Shyam Sunder, “Aji Dil Ho Kaaboo Mein To Dildaar Ki Aisi Taisi” with GM Durrani and chorus.

Geeta Dutt also started her career in her break through movie ‘Do Bhai’ (1947) with the song “Aaj Preet Ka Naata Toot Gaya“, a duet with GM Durrani for SD Burman.

Similarly, “Haaye Chhore Ki Jaat Badi Bewafa“, (in film ‘Chaandni Raat’, (1949), a duet with GM Durrani, was Lata’s first song for composer, Naushad.

Durrani has sung many songs during his career. His output later reduced. According to a story he was influenced not to sing for some time after his Hajj visit and Rafi then helped him get back to singing but by then his career was over. Music composer Khawaja Khurshid Anwar in his first film ‘Kurmai’ (Punjabi-1941) took Durrani as his assistant and later gave him the film ‘Angoori’ (1943) as music director.

In the period of KL Saigal – Surinder, Khan Mastaana and GM Durrani were also famous. GM Durrani was one of the 40s legendary playback singers. Durrani tried to make his own identity as a playback singer and not try to follow the KL Saigal type of singing. His singing style was to inspire Rafi and others in the years to come. Later GM Durrani became a model to many playback singers who followed then. The soulful renditions of Durrani were to be reminded of by Talat’s singing as well.

Mohammed Rafi was influenced most notably, by GM Durrani on whose style he based his singing. He sang with his idol in some of the songs such as “Humko Hanste Dekh Zamana Jalta Hai” (Hum Sab Chor Hain, 1956) and “Khabar Kisi Ko Nahin Wo Kidhar Ko Dekhte Hain” (Beqasoor, 1950).

Durrani considered his first famous song was “Duniya Mein Sab Jode Jode” of the film ‘Sharda’ (1942) composed by Naushad.

The song “Neend Hamaari Khwaab Tumhaare Kitne Meethe Kitne Pyaare“, that made him a real rage was however composed by Shyam Sundar for the movie ‘Nai Kahaani’ (1943). This song, sung most part by GM Durrani with some support by child-star Balakram, was playing everywhere. When he sang, this song, the listeners went crazy. This timeless melody can never be forgotten by fans of Indian Cinema. Nearly 40 years later, when Tata Oil Mills did a program Mortal Men Immortal Melodies to celebrate fifty years of talkies in India, they invited him to re-render the song. Although many had forgotten him, his voice was still great and he got a standing applause for it.

There was a time when GM Durani was the favourite and most preferred singer for most composers in the industry. From 1941 to 1951, he sang over 300 songs. He is a case of “Riches to Rags”. Once a rich and famous singer,he spent his last few years fighting with throat cancer, poverty and loneliness. His end was quite pathetic.

GM Durani was a leading singer, like Surendra. The difference was Surendra sang only in his own films and thus had limitations,but Durrani was a playback singer, without much competition. In the 40s, there were hardly any male Playback singers,because most singers were actors themselves and sang their own songs, like Asit Baran. Karan Dewan, Ashok Kumar, Prem Adeeb, Arun Ahuja, Balwant singh, CH Atma, Ishwarlal, kantilal, KL Saigal, Pahadi Sanyal etc. There were of course few playback singers like Khan Mastaana, SD Batish, AR Oza, Balbir etc., but they were no competition to Durrani at all.

Because of this ,some singers were jealous of him and there was an attempt to poison him with Mercury Chloride (sindoor) given in a paan  by another well known singer. All relevant stories point out fingers to Hafeez Khan Mastaana in this incident as the culprit. Before he could confess, which he wanted to it seems, Mastaana died in absolute poverty and in total neglect near Mahim Dargah.  Later on his only son used to be seen begging there for quite some time. One of the RMIM members had met him there.

After singing assignments dried up, he opened a provision stores in Mahim, Bombay and ran it for 3 years. Finally, when the losses mounted, he sold off the business in loss.

In his last days, Durrani had throat cancer. He was looked after well by his sons and daughters. In his last days, he was interviewed by the famous writer Shri Rajnikumar Pandya ji. After I came to know Shri Pandya ji, he kindly gifted me a CD containing this last interview of Durrani. The interview was conducted just one day prior to his death . So I have not only Durrani’s real voice, but also a song he sang from his deathbed for this interview ! Thanks to Shri Pandya ji. GM Durrani, in that last interview claimed that he had helped both financially and professionally two rising singers – Mohd. Rafi and Lata Mangeshkar, in their initial struggling period. He describes his first meetings with them in the interview.

GM Durani sang many memorable songs like, “Haath Seene Pe Jo Rakh Do To Qaraar Aa Jaaye“, with Noorjehan in ‘Mirza Sahiban’ (1947), “Laara Lappa Laara Lappa Laai Rakhda” with Lata in ‘Ek thi Ladki’ (1949), “Nazar Phero Na Ham Se” with Shamshad Begum in ‘Deedar’ (1951), “Gaaye Chala Jaa“, with Lata in ‘Hum Log’ (1951), “Humko Hanste Dekh Zamana Jalta Hai” with Rafi in ‘Hum Sab Chor Hain’ (1956. Durrani sang about 300 songs. His last song came in ‘Lal Pathar’ (1971). Co-incidentally, in this last film, he also appeared on screen, lip syncing a song by Mohd Rafi – “Unke Khayaal Aaye To Aate Chale Gaye“.

GM Durrani acted in 16 films, from 1949 to 1978. He sang 305 songs in 168 films. He gave music as MD in 8 films and also wrote lyrics in film ‘Nazaare’ (1949).

An odd name in the cast of ‘Angoori’ is Dar Kashmiri. A little information about this name. He was the eldest brother of Omkar Nath Dar aka OK Dar  aka Jeevan.

Om Prakash Dar was born into a  large family. He had 23 siblings. His grandfather was the Governor of Gilgit in Gilgit-Baltistan. He lost his father when the youngest- Jeevan – was 3 years old and his mother died at childbirth. Being the eldest, he came to Bombay in search of jobs and entered films. Instead of his original long name, he was called Dar Kashmiri.

Actually, when Jeevan came to Bombay in search of film roles, Om Prakash Dar aka Dar kashmiri, his elder brother, was already working in films. Jeevan appeared first time in ‘Fashionable India’ (1935). Since his name was Onkar Nath, he was billed as OK Dar (and not Dar Kashmiri – please note).

His elder brother Dar Kashmiri worked in many films- some of them are – ‘Noor Mahal’ (1934), ‘Watan Parast’ (1934), ‘Yaad Rahe’ (1940), ‘Abla’ (1941), ‘Saugandh’ (1942), ‘Angoori’ (1943), ‘Naya Taraana’ (1943), ‘Room No. 9’ (1946), ‘Hua Savera’ (1948′, ‘Kundan’ (1955) and ‘Ayodhyapati’ (1956). and many other films. In every film, he was billed as Dar Kashmiri only.

Jeevan was billed as  OK Dar (Jeevan) from film ‘Romantic India’ (1936) onwards and then on as Jeevan only – except still a few films where he was billed as OK Dar (Jeevan). In film ‘Patit Paavan’ (1955), both brothers acted and they were individually billed as Jeewan and Dar Kashmiri. This settles their name issue completely.

Let us now listen to this duet. With this song, film ‘Angoori’ of 1943, makes its debut on the blog.

(Information about GM Durrani here, is based partly on an article in www.peoplepill.com and from Rajani Kumar Pandya ji’s book ‘Aap ki Parchhainyan’. I acknowledge and my thanks to both. Information on Dar Kashmiri is from Filmdom-46).


Song – Nainon Mein Naina Deenho Daal. . . O. . . Baanke Naina Waale (Angoori) (1943) Singer – Kaushalya, GM Durrani, Lyricist – Ram Murty Chatruvedi, MD – GM Durrani
Kaushalya + GM Durrani

Lyrics (Provided by Sudhir)

nainon main naina deenho daal
nainon main naina deenho daa..aal
oo oo ooooo
baanke naina waale
nainon main naina deenhi daal
nainon main naina deenhi daa..aal
oo oo ooooo
baanke naina waali
nainon main naina deenho daal

jaat dagariya lad gaye sajni
jaat dagariya lad gaye sajni
chanchal nain hamaare
chanchal nain hamaare
chhail tere zulmi nainon se
chhail tere zulmi nainon se
nain hamaare haare
nain hamaare haare
oo oo ooooo
baanke naina waale
nainon main naina deenhi daal
nainon main naina deenhi daa..aal
oo oo ooooo
baanke naina waale
nainon main naina deenho daal

baney baawre pyaase naina
baney baawre pyaase naina
ab to naa tarsaao
ab to naa tarsaao
bas kar ke nainon mein pi
bas kar ke nainon mein pi
nainon ki pyaas bujhaao
nainon ki pyaas bujhaao
oo oo ooooo
baanke naina waale
nainon main naina deenho daal
nainon main naina deenho daa..aal
oo oo ooooo
baanke naina waale

nainon main naina deenho daa..aal
nainon main naina deenho daa..aal

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

नैनों में नैना दीन्हों डाल
नैनों में नैना दीन्हों डा॰॰ल
ओ ओ ओss
बाँके नैना वाले
नैनों में नैना दीन्हीं डाल
नैनों में नैना दीन्हीं डा॰॰ल
ओ ओ ओss
बाँके नैना वाली
नैनों में नैना दीन्हों डाल

जात डगरिया लड़ गए सजनी
जात डगरिया लड़ गए सजनी
चंचल नैना हमारे
चंचल नैना हमारे
छैल तेरे ज़ुल्मी ननों से
छैल तेरे ज़ुल्मी नैनों से
नैन हमारे हारे
नैन हमारे हारे
ओ ओ ओss
बाँके नैना वाले
नैनों में नैना दीन्हीं डाल
नैनों में नैना दीन्हीं डा॰॰ल
ओ ओ ओss
बाँके नैना वाली
नैनों में नैना दीन्हों डाल

बने बावरे प्यासे नैना
बने बावरे प्यासे नैना
अब तो ना तरसाओ
अब तो ना तरसाओ
बस करके नैनों में पी
बस करके नैनों में पी
नैनों की प्यास बुझाओ
नैनों की प्यास बुझाओ
ओ ओ ओss
बाँके नैना वाले
नैनों में नैना दीन्हों डाल
नैनों में नैना दीन्हों डा॰॰ल
ओ ओ ओss
बाँके नैना वाले

नैनों में नैना दीन्हों डाल
नैनों में नैना दीन्हों डा॰॰ल


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4200 Post No. : 15384

Today’s song is from the first decade of the talkie era and from one of the very popular Saigal films coming from New Theatres, Calcutta, ‘President’ (1937).

Ardeshir Irani of Imperial Film Co. won the race with Calcutta’s Madon Theatres and released the first talkie film of India – ‘Alam Ara’ (1931) and a revolution took place in the Indian Film Industry ! With just one shot, scores of Anglo-Indian actresses of the silent era became jobless, because they could not speak Hindi or sing a song. Smaller producers of silent films just shut their shops, because now, a single talkie film needed 4 times more investment compared to cheaper varieties of silent films produced earlier. The financial wizards understood the new opportunity of making money by investing in talkie film production. The number of staff of film companies increased and the big players with sound finances, became ready to grow bigger.

By 1934, the production of silent films ceased completely. Some of the noted film makers like V Shantaram, for example, who had shunned the talkie films initially as a temporary aberration, now took keen interest in making talkie films. They realised that talkie films could be an excellent vehicle for giving out social reform messages to the society. Initially, though the talkie films were made on folk tales, Parsi dramas and mythological stories, after 4-5 years the trend changed in its content and we can see a variety of genres in films then.

The playback was introduced in 1935 at Calcutta and in 1937 at Bombay – both by Bengali MDs. So, in 1937 films became mature. The other major highlights of 1937 were. . .
1.The first songless film – ‘Naujawan’ – was made by the Wadias
2. First English poem was used as a song in a Hindi film – which is available even today.
3. Younger MDs like Gobind Ram, Gyan Dutt, Ram Gopal Pande etc started their film careers.
4. Prabhat Films brought out their first film on social reforms – ‘Duniya Na Maane’. Same time New Theatres gave ‘Mukti’, ‘Ánath Ashram’ and ‘President’, on social issues.
5. First colour film – ‘Kisan Kanya’, indegenously shot and processed by Imperial, was released.

In 1937, a total of 176 films were made in India, out of which 102 were Hindi films. 14 films were made in Calcutta, 2 in Poona, 1 each in Kolhapur and Lahore and 83 films were made in Bombay alone, establishing itself as the undisputed Capital of Film Industry. In Bombay, the major players (film companies) made films in 1937 alone, thus – Prabhat-2, Ranjit-8, Sagar-6, Bombay Talkies-4, Minerva-2, Huns Pictures-3, Wadias-4, Prakash-3 and the maximum films were made by Imperial-9. The rest films were made by dozens of smaller production houses and individual producers under their banners. The major companies made 41 films, which was a major chunk of the 83 Bombay made films, in 1937.

Out of this, some notable films were – ‘Khwab Ki Duniya’ made by Prakash, was based on the famous novel and a subsequent Hollywood film ‘The Invisible Man’ (1933). The trick scenes were lapped up by the audiences. ‘Mahageet’ made by Sagar, heralded the playback singing in Bombay. ‘Savitri’ made by Bombay Talkies, was Ashok kumar’s first mythological film (he acted in another film ‘Úttara Abhimanyu’ (1946) later on). ‘Naujawan’ was Wadia’s first songless talkie film of India.

By 1937, the film music had also undergone total change. From stage drama style music, now MDs tried various other original melodies. Thus music became one of the major attractions of a film. Particularly some film songs are such that they occupy a special place in our heart. Many such songs of Hindi films are known to all of us and at some point of time we all had also got carried away with such songs. The other day, I was reading the book- “Golden period of film music 1931-1960” by film historian and writer Isak Mujawar ( चित्रपट संगीताचा सुवर्णकाळ १९३१-१९६०), in which he has related an anecdote…

When Producer Director Raj Khosla was a small boy, his father used to love Saigal songs. They had an ancient type of gramophone and his father would always play Saigal’s song “Ik Bungala Bane Nyaara” from film ‘President’-1937. It was his favourite song. Even Raj used to like this song. As he grew older he always used to remember his father and this song. In 1969, when he made film “Do Raaste”, he created a scene in it, in which Balraj Sahani – the eldest  of the three brothers in the film, always listens to this song on his gramophone. The same song is played in the film many times. In fact,the entire film story is built around that song.”
(free translation from Marathi).

When I read this, out of curiosity I opened my laptop and went to You Tube. I searched for the film ‘Do Raaste’ and watched it. Lo and behold ! The song indeed is played by Balraj Sahani and I too – along with Balraj Sahani – enjoyed the song again. Nowadays, we find in many films, old songs are played. Our own Sudhir ji is also running a series of such songs on this blog.

About a month back, I came across 2 song snippets, from film President-37, which I found were not covered in the Blog so far. The problem was, one song was of only 40 seconds and the other was of 50 seconds. Next day, I had urgent engagements till next 10 days, so I left the matter at that. However, when I became free, I sent those snippets to Atul ji and Sudhir ji. Sudhir ji informed me that the shorter song was opening part of the famous song “Ek Bangala Bane Nyaara” and was already covered in the blog. However the other 50 second snippet needed some work on it. Sudhir ji restored it by editing, cutting, joining and adding the missing song lines to it, etc. to make it a song of respectable duration of 2+ minutes. It included some dialogues also. He even uploaded it. I thank Sudhir ji for mending, amending and sending the song to me for presentation.

As per HFGK, there are 8 songs in film President. 6 songs are already discussed. In these posts, lot of information about the film and related matters has already been given , so there is nothing left to write about these matters. However, I have found that the synopsis of the film given by the Encyclopedia of Indian Cinema takes a different angle of the story than what is already given in the blog. So I am reproducing it here to know what it means. . .

A famous Saigal musical narrating a strange love story set against 1930s industrialisation and worker-management relations. The 16-year-old Prabhavati (Chandrabati Devi/Kamlesh Kumari) inherits a mill and turns it into an extremely profitable enterprise.

Prakash (Saigal) is a worker who designs a more efficient machine for the factory for which he first gets sacked and then is re-employed. He falls in love with Prabhavati’s sister Sheila (Leela Desai), who later makes way for Prabhavati who is also in love with Prakash.

Her withdrawal distresses Prakash, causing him to bully the workers who then go on strike. Prabhavati realises the problem and presumably commits suicide (she disappears into an office and locks the door) for the good of her sister and of the business. The hint is about her death.

The unmistakable thrust of the story is that the ‘personal’ (i.e. relations with women) should not be allowed to interfere in male pursuits like business or management, equated with social good. The film has Saigal’s classic number Ek bangla bane nyara. The plot echoes the Guru Dutt script for the unfinished Baharain Phir Bhi Ayengi.

Let us now listen to this reborn 7th song. Some dialogues come free with the song…


Song – Door. . . Bahut Door (President) (1937) Singer – Bikram Nahar, Lyricist – [Unattributed], MD – Pankaj Mullick
Leela Desai
Jagdish Sethi

Lyrics (Provided by Sudhir)

[jeejee
ae ree jeejee
toone jo kiya thheek kiya
tujhe ye sab kuchh chhod kar chala jaana hoga
door
bahut door
bahut door
]

door
bahut door
phir bhi tum itne nahin door
jitna aankhon se noor
phir bhi tum itne nahin door
jitna aankhon se noor

[damn it
daam aankhen
damn noor
]

ras bhari vaani se to
man ki kali
khil gayi
khil gayi
hic
theeeeeeee
kathor vachan
hic
sunte hi
murjhaayi
hic

[Vikram
ye bakwaas band karoge ya nahin]

[. . .]
[..clipped dialogues..]
[. . .]

[apne us rascal se keh dena ki
uski daal ab yahaan nahin galegi

Sheela darling us’se nafrat karti hai

Sheela dear. . .]

[tum isi laayak ho

raat khatm hone waali hai
jee bhar ke ro sako to ro lo
savere tak dil ki bhadaas nikal jaayegi
ghabraane ko koi baat nahin
]

mere nainan ke tat pe shnaan
birha ki kaali raat
karti hai jis bhaant(?)
ho jaati hai parbhaat
mere nainan ke tat pe shnaan
birha ki kaali raat
karti hai jis bhaant(?)
ho jaati hai parbhaat

haar mein hoti hai jeet
yahi ee
hai
preeet ki reeeet

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

[जीजी
ए री जीजी
तूने जो किया ठीक किया
तुझे ये सब छोड़ कर चला जाना होगा
दूर
बहुत दूर
बहुत दूर]

दूर
बहुत दूर
फिर भी तुम इतने नहीं दूर
जितना आँखों से नूर
फिर भी तुम इतने नहीं दूर
जितना आँखों से नूर

[डैम इट
डैम आँखें
डैम नूर]

रस भरी वाणी से तो
मन की काली
खिल गई
खिल गई
हिक
थी॰॰॰
कठोर वचन
हिक
सुनते ही
मुरझाई

[विक्रम
ये बकवास बंद करोगे या नहीं]

[. . .]
[..संवाद कट..]
[. . .}

[अपने उस रास्कल से कह देना कि
उसकी दाल अब यहाँ नहीं गलेगी

शीला डार्लिंग उससे नफरत करती है

शीला डियर ॰ ॰ ॰]

[तुम इसी लायक हो

रात खत्म होने वाली है
जी भर कर रो सको तो रो लो
सवेरे तक दिल कि भड़ास निकाल जाएगी
घबराने कि कोई बात नहीं]

मेरे नैनन के तट पे श्नान
बिरहा  कि काली रात
करती है जिस भाँत(?)
हो जाती है परभात
मेरे नैनन के तट पे श्नान
बिरहा  कि काली रात
करती है जिस भाँत(?)
हो जाती है परभात

हार में होती है जीत
यही॰॰॰
है
प्रीत कि रीत


This article is written by Arunkumar Deshmukh, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4104 Post No. : 15255 Movie Count :

4192

Today’s song is from film ‘Gokul Ka Raja’ (1954). This is the first song of this film to be discussed here. I am surprised how this film was not featured on the blog so far, because songs of this film have been on You Tube for quite some time. May be, because the entire team of this mythological film was from Marathi film industry and the names of producer, director, MD, or the cast were not familiar to the most people. It is because this was a bilingual film, made first in Marathi as ‘Gokulcha Raja’ (गोकुळचा राजा) way back in 1950 and the Hindi version was released only in 1954.

Made by Yashodhan Chitra, Bombay for producers Nana Bapat and Haribhau Guruji, the film was directed by a well known Marathi Director – Bal Gajbar. He had earlier directed another bilingual Hindi-Marathi film ‘Sandesh’ (1952) and before that yet another bilingual ‘Mere Laal’ (1948) (माझं बाळ in Marathi). Bal Gajbar had directed few Kannada films too, like ‘Vichitra Prapancha’ (1955). Before becoming a director, he was an art director with V Shantaram’s Rajkamal Kala Mandir.

All songs of the film were written by YN Joshi. The Music Director was Shridhar Parsekar – a name very few people will remember. I wrote about him first time in my series “Less Known Composers”, on 17-12-2012, seven years ago. Not much was known about him then. In January 2017, Sadanand Kamath ji wrote on him. In last nearly 3 years, some new information has become available on him, so his bio data is now updated further. As the new sources give new information, the history keeps on updating itself. This is a regular process of nature.

Hindi film music is like an ocean. As many rivers merge into the ocean at various stages, regional music from various parts of India is assimilated in HFM (Hindi Film Music).

Initially it was the Marathi stage/natya sangeet and Parsee Theatre which influenced HFM. In the East, it was Robindra Sangeet and Nazrul Geeti made the basis of film songs. In the Lahore centre it was the Punjabi style after ‘Khazanchi’ (1941).

After Partition and polarisation of film production language wise, it was BOMBAY, which became the centre for HFM and it was a wonderful mixture of music specialties from all over the country. There were many successful Music Directors in India. I remember a famous quotation – “Behind every successful man there is a woman.”

Can you tell me,who is behind every successful Music Director ? I am sure many of us do not have the answer.

The answer is THE ARRANGER.

Now, who is this arranger? Some have a vague idea, some may even think, he is the person who arranges song recordings and the musicians.

An arranger is the SOUL of film music. Once the composer conceives the tune for a song, he tells it to the arranger, who immediately makes its notations (writing music or Swar Lipi), which a properly schooled musician can read and play. Arranger also decides the instruments and their placements in the song. Most of the arrangers in the Film Industry were from Goa, where traditionally Jazz music was very popular.

A typical Goan likes to live life – ‘sushegaat’– which loosely means ‘araam se‘ or a carefree life. Their philosophy is eat, drink and be merry. This merry part includes Music.

Goa has given many musicians to India. Lata/Asha are  from Mangeshi – Goa, though the family had shifted to Kolhapur, MDs Dattaram (Wadkar) and N Datta (Datta Naik), Singers Kishori Amonkar, Kesarbai Kerkar, Shobha Mudgal, Hema Sardesai, Prabhakar Karekar, Remo Fernandez, Lorna are from Goa. (The list is only indicative, not exhaustive).

Most Arrangers were from Goa —-

Anthony Gonsalves from Majorda, Goa. He worked for Naushad,OP Nayyar and LP. The famous song “My Name Is Anthony Gonsalves” is a tribute by LP to him. He had taught Pyaarelal so many things including notations.

Chic Chocolate aka Anthony Vaz from Aldona, Goa. He worked for C Ramchandra mainly.

Chris Perry worked for Khayyam, RD Burman, Kalyanji Anandji, and Laxmikant Pyaarelal.

Frank Fernando – Anil Biswas, Kishore Kumar, Roshan, C Ramchandra.

Sebastian D’Souza from Bicholim, Goa – worked for Shanker Jaikishen from 1952 to 1975, and also OP Nayyar.

Most of the players of western instruments in the orchestras were from Goa.

From this crop of musicians from Goa, there was one outstanding musician – SHRIDHAR PARSEKAR, who was a singer, a famous violin player, composer of many Marathi songs/films/dramas and few Hindi films. He was an expert in playing almost 10 different instruments.

SHRIDHAR PARSEKAR was born in 1920 in Goa. From the childhood he was a lover of music and learnt classical music, first from his uncle Parshuram Buwa Parsekar and he was trained by him in playing various instruments like harmonium, jaltarang, tabla and violin. He was a disciple of Gajanan Buwa Joshi a noted musician. He operated a vand in Bardez, Goa and played violin, clarinet, harmonium and many other instruments. He was a genius and soon became famous for playing violin.

He came to Bombay and continued learning music here under many well known gurus, like Khadeem Hussain Khan, Natthan Khan and Anwar Hussain. Soon he was performing in stage shows doing jugalbandis with stars of the day like Ravi Shanker, Vilayat Khan and Akbar Ali Khan. Kishen Maharaj was very pleased with him. For some time he joined AIR Bombay as a musician and got friendly with Ustad Alla Rakha who also worked in AIR. RG Ramnathkar, who got him the AIR job, also taught him many Raaga/Raaginis. Parsekar worked at AIR for 6 years.

Later he worked as asst. to Music Director Annasaheb Mainkar and then started as MD for Marathi Films and stage dramas. His music in dramas like ‘Bhakta Damaji’, ‘Paisa Bolto Ahe’, ‘Kuber’ and ‘Kanyadaan’ was very popular. He also recorded many bhavgeets and natyageets from reputed singers in Marathi. HMV and Odeon published his records. Singers like Jyotsna Bhole, Saraswati Rane, Hirabai Badodekar, Vatsala Kumthekar and Master Krishnarao Chonkar also sang for him. One of his songs- “Vithal Vithal Gajari, Awaghi Dum Dumali Pandhari” ( “विठ्ठल विठ्ठल गजरी, अवघी दुमदुमली पंढरी” ) from ‘Bhakta Damaji’ is so popular that it is sold even today.

With Marathi films, recording of private songs, stage shows with prominent musicians, Shridhar had every happiness with him. He had a bungalow, cars, bank balance, name, fame and plenty of demand. He wrote a book on music – ‘Swar Ninad‘.

And then it happened !

He became an alcoholic. Normally, a person becomes alcoholic when he is unsuccessful. But this was an opposite case. While on the top of success he became an alcoholic. He used to drink day and night.

Once there was a jugalbandi programme with Ustad Vilayat Khan. Shridhar came fully drunk to the theatre. Vilayat Khan scolded him and left the show. Such things kept on happening, leading to his downfall. He stopped getting work and all his wealth, house, cars etc. was sold for liquor. His condition was such that he would play violin on streets and earn money. Lata Mangeshkar has narrated an incident, which I read in a book ‘From Noorjehan to Lata’ by Isak Mujawar. The book says…

“One day Lata’s car stopped in the traffic. Out of curiosity she peeped out to see what happened. There was a person in tattered clothes playing a violin beautifully and people had gathered to listen to him. Some people gave him alms. She asked the driver if he knew that person. The driver replied that it was Parsekar Buwa. She got down, went to Parsekar and told him to come with her. She will look after him now. On this, Parsekar replied that her father had asked him to look after their family, which he could not do, so why should she look after him. If she wanted to help, just give some money. She gave him 50 rupees and he almost ran away from there – probably to the wine shop !“

Finally Shridhar Parsekar died of liver cirrhosis on 10-9-1964 !  He was only 44 years old !!  Such a brilliant artist wasted by alcohol. So sad ! Pt Ravi Shankar and Vilayat Khan had personally met his family after his death, so much was the respect for his talent !!

In addition to 7 Marathi films, Shridhar Parsekar gave music to five Hindi films – ‘Nagad Narayan’ (1943), ‘Mahakavi Kalidas’ (1944), ‘Meri Amanat’ (1947), ‘Andhon Ka Sahara’ (1948) and ‘Gokul Ka Raja’ (1954). He composed 45 songs in these films. He sang 5 songs in 2 films, ‘Andhon Ka Sahara’ and ‘Gokul Ka Raja. Many famous singers sang for him, like, Minakshi, Khan Mastana, Rajkumari, Master Krishnarao, Mohantara, Vinodini Dikshit etc.

(Information from these sources also used herein- Marathi Chitrapat Sangeetkar Kosh, Marathi Cinema in Retrospect by Sanjit Narwekar, Purvasurinche Soor by Dr. Suresh Chandvankar and the book ‘Kalatmak Gomantak’ – Kala Academy, Panji – 1972) .

The cast of the film consisted of Dwarakanath, Ratnamala, Chandrakant, Gauri, Hanumanta, Angre etc.

I do not know anything about actor Dwarakanath. Never heard of his name before or after this film ever. Actor Chandrakant was Chandrakant Mandhare (real name Gopal) – the elder brother of the more popular brother Suryakant. These two brothers ruled the Marathi cinema from the late 40s to the 60s.

Gauri was originally Tanibai Dawari, who was active in Prabhat from the silent era. She became famous because of her role of Awali – the shrew wife of Sant Tukaram in that film in 1936. I have recently written in details about her, only last month. As far as the heroine Ratnamala is concerned, how many of us really know anything about this actress. It is surprising that a very lovely and beautiful actress, who was heroine of about 20 films in the 40s and has about 300 films to her credit, remains practically unknown. She was the heroine with Saraswati Cinetone, Prabhat Film Company, Sagar, Ranjit, Prakash Pictures etc. – all well known banners. She was in films for 50+ years and was a famous name in Marathi films of Dada Kondke.

Its a great pity that hardly any or no information about her is available in books, encyclopedias, wiki or on internet. When all sources of information come to a dead end, I turn to Harish Raghuwanshi ji of Surat and I am never disappointed. Here, I provide a short bio-data of Ratnamala, based principally on the articles given by Harish ji. Thanks, Harish ji.

She was born as Kamal Bhivandkar on 22-6-1923 in Bombay. Her father was Auditor of Central Bank, Bombay. She was good looking and could sing well. From the age of 14 years, she went on the stage of several Ganesh Melas prevalent in those times. She earned 5-10 rupees per performance. Due to family’s financial problems, she started looking for work. She was proficient in Marathi, Gujarati, English and Urdu languages. In 1938, she was picked up by Dada Torne of Sarswati Cinetone, Poona, who cast her as Heroine in Marathi film ‘Bhagwa Zenda’. Seeing her performance, she was taken by Prabhat Film Company for the Marathi version of their film ‘Das Baje’ (1942). Torne had renamed her as Ratnamala.

Vijay Bhatt of Prakash Pictures offered her a role in film ‘Bharat Milap’ (1942), when Kusum Deshpande selected for the role of Bharat’s wife fell ill. Seeing her performance, she was selected as a heroine for film ‘Station Master’ (1942). Here too the original heroine Jyoti fell ill. Then came ‘Panghat’ (1943), ‘Police’ (1944), ‘Kavita’ (1944) etc. She acted in many mythological films also. Some of her well known films were ‘Dholak’, ‘Maya Bazaar’, ‘Sasural’, ‘Bhabhi Ki Chudiyan’, ‘Faulad’, ‘Woh kaun thi’, ‘Nishaan’, ‘Bahu Beti’, ‘Mera Saayaa’, ‘Raaz’, ‘Saraswati Chandra’, ‘Brahmachari’, ‘Upahaar’, ‘Seeta aur Geeta’, ‘Nastik’ etc.

She acted in 130 Hindi films and many more Marathi films. Later she did side roles. She became famous as mother of Dada Kondke in 11 of his films. She was called ‘Aaye’ (आये )  in the Marathi films of Kondke.

Ratnamala was married to Raja Pandir, producer director of Marathi films, when she was very young. As Ratnamala became successful and Raja became a failure, their marriage came on rocks. She had one son – Jaikumar, who had also acted in one film. Unfortunately, he died suddenly in an accident. Ratnamala lived in her own bungalow in Andheri, Bombay, along with her foster son – Ramesh. Ratnamala died of heart attack on 23rd January 1989.

Today’s song is the first song sung by Shridhar Parsekar that is being presented. One can easily make out from his clear voice, impeccable pronunciations and the classical singing style that the singer is trained in classical music and is a knowledgeable person. With this song the film ‘Gokul Ka Raja’ and singer Shridhar Parsekar are making their debut on this Blog.

Song – Mangal Prabhat Jaage Surya Kiran Sang (Gokul Ka Raja) (1954) Singer – Sridhar Parsekar, Lyrics – YN Joshi, MD – Sridhar Parsekar

Lyrics

jaa..aa..aa..aage ae ae ae
jaage ae ae ae

jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
surya kiran sang
gokul mein rang
surya kiran sang
gokul mein rang
navjeevan anuraage
jaage
navjeevan anuraage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage

go dhan amrit varsha karta..aa..aa
aaaaa aaaa aaaa aaaa
go dhan amrit varsha karta
sukh saurabh gokul mein jharta
sukh saurabh gokul mein jharta
baal gopal
baal gopal charaayen gaayen
madhu murli jiya laage
laage
madhu murli jiya laage
laage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage

surya kiran sang
gokul mein rang
navjeevan anuraage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
jaa..aa..aa..aage

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

जा॰॰आ॰॰आ॰॰आ॰॰आगे ए ए ए
जागे ए ए ए

जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
सूर्य किरण संग
गोकुल में रंग
सूर्य किरण संग
गोकुल में रंग
नवजीवन अनुरागे
जागे
नवजीवन अनुरागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे

गो धन अमृत वर्षा करता॰॰आ॰॰आ
आsss आsss आsss आsss
गो धन अमृत वर्षा करता
सुख सौरभ गोकुल में झरता
सुख सौरभ गोकुल में झरता
बाल गोपाल
बाल गोपाल चराएं गाएँ
मधु मुरली जिया लागे
लागे
मधु मुरली जिया लागे
लागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे

सूर्य किरण संग
गोकुल में रंग
नवजीवन अनुरागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे

जा॰॰आ॰॰आ॰॰आ॰॰आगे


This article is written by Arunkumar Deshmukh, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3999 Post No. : 15096 Movie Count :

4144

Today’s song is from an obscure film – ‘Jeb Katra’ aka ‘Pick Pocket’ aka ‘Girahkat’. The film may be obscure, but the song is extremely melodious and it is a pleasure to listen to such a song. I have liked it very much. The film was produced by actress-singer Brijmala’s home production Brij Prakash Productions. Looking at the cast of film and its director, it seems to be a stunt film. It was advertised as a Social Stunt film – whatever that means. To me it was like saying ‘a religious murder mystery film’ !

I have seen this film’s advertisements in the Jan and Feb 1946 issues of magazine Film India. In the Jan issue the lyricist is given as Shams Lucknowi and the composer as Bashir Khan Dehalvi. Next month – Feb – the ad says the lyricist is Ahsan Rizvi and MD is Nisar Bazmi.

The cast of the film was Navin Yagnik, Raj Rani, Samson, Ali, Radha, Habib, Sandow etc. The role of the ‘Pick Pocket’ was done by Samson, as mentioned on a photo of the film. The film was directed by Nari Ghadiyali- a veteran of C grade stunt films. Nari (Nariman) was a Parsee.

From the silent film era, Parsee community has been involved in film industry in different ways. In about every department of film making, there has been a Parsee, sometime somewhere. Parsee community is a very small entity. They never, even at their best times, exceeded a population of 3 lakhs in entire India. This is the only community which is truly a Minority community with just about 70000 people in entire India now. They have never ever asked for any reservation from the government. Parsees have significantly contributed to India’s industrial growth. Parsee greats like Tata, Godrej and Wadias have been extremely philanthropic too.

Parsees are mainly seen in Bombay and so it was no wonder that they joined the film industry, but a Parsee in Bengal has been a Pioneer in Cinema in the eastern India. JF Madon (1856 to 1923) had a roaring Parsee Theatre business in Bombay, but he shifted to Calcutta in 1902 and built an empire of Theatres and Cinema making. At one time the Madons had control on 127 Theatres in India. They made silent and talkie films in Bangla and Hindi. After his death, his third son JJ Madon took over. However, they closed their film business in 1937 and concentrated on their other interests like, imports, foods, pharma, insurance and real estate.

In Bombay, who can forget the contribution of Ardeshir Irani in starting the Talkie era with his ‘Alam Ara’ in 1931 ? In the early era, many Parsees contributed to Hindi cinema like Homi Master, Sohrab Modi, Sarswati Devi, JBH and Homi Wadia, John Cawas etc. In later period, the Irani sisters (Honey, Daisy and Manaka), Aruna Irani, Shammi, Fali Mistry and many others contributed. Earlier, in the field of direction, there were two well known names- Aspi (Aspinder) Irani and Nari (Nariman) Ghadiyali. Aspy Irani had married actress Husn Banu and Nari Ghadiyali had married actress Pramila. Both worked for stunt films made by another Parsee group – Wadia Brothers. Today’s film is also directed by Nari Ghadiyali. He directed 25 films, starting with ‘Jungle King’ (1939) to ‘Murad’ (1961).

The hero of film ‘Jeb Katra’ was Navin Yagnik, who was frequently seen in  C grade action/stunt films. Such films were made with tight budgets by small producers and hence the actors did not earn much money. To earn more money, their endeavour used to be to get roles in social films or films of other genres, especially made by well known production houses. Their payments were much better and also timely. Thus Navin also worked in some social films made by big banners.

As such stunt films declined in the latter half of the 50s, compared to 30s and 40s, as many producers like the Wadias, Mohan Pictures etc. shifted their focus to social films. Similarly major stunt film actors like Master Vithal, Master Bhagwan, Baburao Pehelwan, Azim Bhai etc. started getting roles in social films. Recently, I found a reference to Navin Yagnik in the autobiography of Hansa Wadkar- ‘Sangte Aika’ (‘सांगते ऐका’)  roughly translated as ‘Listen, I tell you’. In it she said. . . “My hero in this film was one Navin Yagnik, a handsome boy from UP. He was very shy and after the shootings, he would quietly sit in one corner reading something. He never joined our drink parties, nor he participated in any other group activity. I was attracted towards him but he gave no response. He sent me invitation card of his marriage, when it was fixed.’  Navin Yagnik (3-10-1912 to 28-10-1977) worked only in 30 films from film ‘The Mill’ (1934) to ‘Bhagwat Mahima’ (1955).

The MD for film ‘Jeb Katra’ was Nisar Bazmi. He was one of those musicians who migrated to Pakistan much later after the partition. There is a general perception among Indians that all those who migrated to Pakistan had a tough time there and they died in poverty. While this is true in cases of many actors and actresses, the converse is true about music composers.

Music directors who were worthless, unknown and unsuccessful, who gave music to obscure of B and C grade films here, in India, prospered very well in Pakistan. Composers like GA Chishti, Nisar Bazmi, Firoz Nizami, Tufail Faruqui, Rashid Atre, Inaayat Hussain, Fateh Ali Khan, Inaayat Nath, Khursheed Anwar were not very famous or popular in India, but in Pakistan almost every musician from India became famous, popular and successful. For example, Nisar Bazmi gave music to 40 films (only 27 released) in India. They were mostly C grade films and most songs were forgotten here. Same person, in Pakistan gave music to almost 60 films, won several awards and became famous and successful. How this happened ? What is the mystery ?

To understand this we must know what happened in Pakistan after partition and how was their film and music industry. According to an article in Wiki, since 1947, Pakistan film and music industry underwent several changes. It is worth repeating here. The period is divided as following,

‘Due to shortage of composers, all were welcomed with open arms. Those who had talents did extremely well here. Unfortunately the second generation of composers of calibre were not prepared and once these migrants disappeared from the scene, the musical fields of Pakistan dried up. According to  Wiki, there are 7 ages in Pakistan film music –

  1. Independence and growth – 1947-1958
  2. The Golden Age of Pak Film Music –  1959 – 1977
  3. The Age of Disaster – 1977 – 1988 (Onslaught of VCR and brain drain to Bangladesh in 1971)
  4. Politics, Islamisation and Downfall – 1979 – 1987
  5. Collapse – 1988 – 2002
  6. Decline – 2002 – 2009
  7. New Wave and Hope – 2010 onwards’

Anyway, Nisar Bazmi migrated to Pakistan during the Golden Age period and got all the benefits. Let us see what happened to Nisar Bazmi in Pakistan. His last film in India was ‘Mister Toofan’, released in 1963. Nisar migrated to Pakistan in 1962. Producer Sibtain Fazli of Fazli brothers offered him first film ‘Aisa Bhi Hota Hai’. The music of this film became hit and very popular and there was no looking back for Nisar Bazmi. He gave music to 57 Pak films. He won Nigar Awards 7 times and also won ‘Pride of Performance’ award from the President.

His last film was in 1981. He came back to Karachi and started teaching aspiring singers, but only one of them became a famous singer. He regretted that the younger generation looked for quick money and did not put hard work. None of his 8 sons loved music. They all followed different avocations. In his later life he was famous for learning Quran by heart.

Bazmi sahib taught music to up-and-coming youngsters, but only Faisal Latif managed to become somewhat popular. When asked why his students like Shafiq-ur-Rehman, Tanveer Afridi, Shabana and Shazia Kausar are unable to reach the top, he said, “My job was to train them, which I did. Now it is up to the musicians to utilize them as I am sure they have the talent to be the best.” When asked if the youth (of Pakistan) are going in the right direction, Bazmi Sb felt that it was because of our youths’ lack of interest that our music is not what it used to be. “A youngster today doesn’t want to be taught like the legendary singers. His only interest is to become rich and famous in a short time, which is certainly the wrong way.”

Nisar Bazmi died on 22-3-2007 at Karachi.

Today’s song from film ‘Jeb Katra’ is an exceptionally melodious song comparable to any leading composer’s song in India. With such tunes in his repertoire, I wonder why Nisar bazmi could not gain fame here itself. Usually when the film is a failure, the music of that film does not reach more audience and hence does not get exposure to become popular. Of course there are songs which became popular from flop films also. After all, it is a matter of luck only.

Song – Chaandni Raaten Kya Huin (Jeb Katra) (1946) Singer – Zohrabai Ambaalewali, Lyrics – Ahsaan Rizvi, MD – Nisar Bazmi

Lyrics

chaandni raaten
haaye
chaandni raaten kya huin
sukh ke wo din guzar gaye
chaandni raaten
haaye
chaandni raaten
jee bhar ke hum hanse naache
jee bhar ke hum hanse naache
aankhon mein aansoo bhar gaye
chaandni raaten
haaye
chaandni raaten

aisi buri hawa chali
aisi buri hawa chali
murjha gaye chaman ke phool
aisi buri hawa chali
aisi buri hawa chali
murjha gaye chaman ke phool
hasraten dil ki mit gayin
hasraten dil ki mit gayin
armaan saare mar gaye
chaandni raaten
haaye
chaandni raaten

doobhar hui hai zindagi
doobhar hui hai zindagi
marna bhi ho gaya kathin
doobhar hui hai zindagi
doobhar hui hai zindagi
marna bhi ho gaya kathin
doobne hum jahaan gaye
doobne hum jahaan gaye
dariya wahaan utar gaye
chaandni raaten
haaye
chaandni raaten

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

चाँदनी रातें
हाए
चाँदनी रातें क्या हुईं
सुख के वो दिन गुज़र गए
चाँदनी रातें
हाए
चाँदनी रातें
जी भर के हम हँसे नाचे
जी भर के हम हँसे नाचे
आँखों में आँसू भर गए
चाँदनी रातें
हाए
चाँदनी रातें

ऐसी बुरी हवा चली
ऐसी बुरी हवा चली
मुरझा गए चमन के फूल
ऐसी बुरी हवा चली
ऐसी बुरी हवा चली
मुरझा गए चमन के फूल
हसरतें दिल की मिट गईं
हसरतें दिल की मिट गईं
अरमां सारे मर गए
चाँदनी रातें
हाए
चाँदनी रातें

दूभर हुई है ज़िंदगी
दूभर हुई है ज़िंदगी
मरना भी हो गया कठिन
दूभर हुई है ज़िंदगी
दूभर हुई है ज़िंदगी
मरना भी हो गया कठिन
डूबने हम जहां गए
डूबने हम जहां गए
दरिया वहाँ उतर गए
चाँदनी रातें
हाए
चाँदनी रातें


This article is written by Arunkumar Deshmukh, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3990 Post No. : 15082

Today’s song is from film ‘Kashmir’ (1951).

More than 3 years ago I had discussed one song from this film. That time I had said this, which is true even today.

In Hindi films, there were quite a few films made on the background of Kashmir. The first such film was ‘Kashmir Ki Kali’ (1940), in which the lead pair was handsome Master Vithal and petite, lovely Kavita Devi. Next was ‘Kashmir Hamara Hai’ (1950) (original name was ‘Bapoo Ne Kaha Tha’) with lead pair of Paresh Bannerjee and Meera Mishra. This was also the first Hindi film of Bombay, in which Jagmohan Sursagar sang a song – Rang De Kesariya’. The third film was ‘Kashmir’ (1951), where the lead pair was beautiful, regal Veena and handsome Al Nasir. This film was actually filmed in Kashmir ghati.

Next film was ‘Kashmir Ki Kali’ (1964), by far the most successful of all Kashmir films so far. The lead pair was debonaire Shammi Kapoor and a debutante Sharmila Tagore. There was also a documentary ‘Kashmir Hamara Hai’ made by Films Division of Indian Government in 1948 which was shown in all theatres in India, in the wake of tribal attacks by Pakistan on Kashmir. Later on some more films on Kashmir were made – (the list is indicative, not exhaustive)

  • Johar in Kashmir (1966)
  • Shayar-E-Kashmir (1972)
  • Love in Kashmir (1976)
  • Mission Kashmir (2000)
  • Kashmir Hamara Hai (2001) ( Unreleased, though Censored on 17-10-2001)
  • Border Kashmir (2002).

‘Kashmir’ (1951) was not a very popular film. The reason was, after the partition and independence, people were looking for a respite from all that patriotic fervor, which they had more than enough for the last few years. They were tired. Now they got what they wanted and some peace of mind was sought, perhaps. Additionally, the Hindi film music was going through its Golden Period and so many films with excellent music were enjoyed by people, may be hence serious films like ‘Kashmir’ issue got side tracked. Though a film buff myself, even I had not seen this film.

The film was produced and directed by Rajendranath Jolly, for Raajdeep Pictures, Bombay. The MD was Hansraj Behl and the lyricists were Sasrshaar Sailaani and Baaba ji, for 9 songs of the film. The song is sung by Mohd. Rafi and Master Sonik.

Master Sonik aka Manohar Lal Sonik was born on 26-11-1926 in Siyalkot, Punjab. By the time he was three years old, he lost his vision completely. Undaunted, he learnt music – first from music school of Lahore and then from Lucknow. For sometime, he was assistant to Pt Amarnath Batish.

After  partition he joined All India Radio, Delhi. Later, he sang 8 songs in 7 Hindi films, namely ‘Chaar Din’ (1949), ‘Stage’ (1951), ‘Kashmir’ (1951), ‘Khaibar’ (1954), ‘Mast Qalandar’ (1955), ‘Inquilab’ (1956) and then after 20 years he sang in film ‘Umar Qaid’ (1975) also. He gave music to film ‘Ishwar Bhakti’ (1951) along with Giridhar and then film ‘Mamta’ (1952), with Hansraj Behl.

Meanwhile, his nephew Omprakash Sonik, who was a singer on Delhi AIR, proposed working as a team of composers. They got their first film ‘Dil Ne Phir Yaad Kiya’ (1966). The songs became very popular. They continued to give music till ‘Anaadi Dada’ (1993). Master Sonik died on 9-7-1993.

The cast of the film was an interesting mix of fading and emerging actors, like Veena, Al Nasir, Badriprashad, Tiwari, Kailash, Uma Dutt, Kamal Kapoor, Nirupa Roy, Arun Ahuja etc. There was also an actress who made her debut with this film. Let us take a look at her short bio again.

For the actress Achala Sachdev (3-5-1920 to 30-4-2012), this was her debut Hindi film (though another film ‘Dilruba’ (1950) featuring her was released prior to this film, but she considers this film as her debut film). Achala Sachdev’s original name was Rajinder. Her name is permanently conjoined with a mother’s role. She did a mother’s role when she was very young and since then – more than a heroine – she has been seen either as a sister or mother in films. In her earliest film ‘Dilruba’ (1950) she was Dev Anand’s sister and later in many films she was a fixed mother of Dev Anand.

She worked in All India Radio, Lahore. She came to Delhi after the Partition and continued her job in All India Radio, till her first film. She acted in 181 Hindi films, 3 Punjabi films and 1 Gujarati film, in addition to 1 incomplete Bangla film. She acted in few television serials and FD documentaries too.

In her early years she had got married to Gyan Sachdeva. She begot one son and one daughter from him. Her son settled in US and daughter in Bombay. When she could not pull on, she divorced her husband. After 12 years of loneliness she fell in love and married an American Clifford Douglas Peters, who was an Engineer and ran an electronics factory in Poona. She stopped accepting new films after 1976 and then shifted to Poona.

After her second husband died, she shifted from her bungalow in Bhosari, near Poona to a spacious flat in Hadapsar area of Poona. She had completed all films on hand, but due to insistence of family friend Yash Chopra, she acted in some of his films – notably ‘Dilwale Dulhaniya Le Jaayenge’ (1995). Though her last film was ‘Dahak’ (1998), her last released film was ‘Suno Sasur Ji’ (2003).

During her heydays, she was very friendly with Sunil Dutt and Nargis, Mona Dev Anand (Kalpana Kartik), Meena Kumari, Saira Bano and her mother Naseem Bano. She was very punctual during her shootings. Once while working in a Rajesh Khanna film, she had to wait for him for 4 hours, with all make up done. When this continued to happen for next 10 days, she left the film and went back to Poona. Rajesh Khanna wrote an apology letter to her and then only she came back to complete the film.

After her husband passed away in 2002, she was all alone. Her last film released in 2003. After that no one from film industry ever contacted her till her last days. She was very generous. She had donated 25 lakhs to an NGO, Janseva Foundation to start ‘Achala Sachdev Institute of Education’. She also gave 15 Lakhs to Dr. HV Desai Eye Hospital for a ward construction. In her last days, she even donated her flat also to the NGO Janseva Foundation.

She was seriously unwell for last 6 months of her life, and was looked after by the NGO. Admitted to Poona General Hospital ICU, she got paralysis, lost her vision and then lost her life on 30-4-2012. A highly successful film star with lots of money, but she was neglected by her own son and daughter. Above all, during her last lonely 10 years in Poona, not one soul from the film world met her. What was pathetic was, when she was admitted in ICU, her attending doctor, Dr. Mehta sent messages to Yash Chopra and others in film industry, but none came or even enquired and she died a lonely death.

(Based on Cine Blitz, Madhuri,Times of India, Indian Express, Wikipedia and info kindly given by Shri Harish Raghuwanshi ji ).

Another interesting person in this film was actor Al Nasir. Many people make a confusion in him and actor Nasir Khan. Some sites even wrongly mix up their filmography. Even earlier, I have clarified this difference. Not many readers will be aware of him. Al Nasir was one of the most handsome actors of his times. ABDUL REHMAN AL NASIR GAZNAVI (popularly known as Al Nasir ) was born on 27-11-1922 in Kabul. His father was a big shot – Chancellor of Law. He was related to the Begum of Junagadh and also to the Nawab of Bhopal.

His schooling was done in Dehradun up to Sr. Cambridge and degree was obtained from Kabul college. He was a tall and handsome young man, who was keen on joining Air Force. He went to Bombay in 1941 for this purpose. While in National Studios to meet a friend, Mehboob spotted him and offered him a job. He was taken on the rolls of studio.

For next 6 months there was only pay, but no work. In 1942 National Studios closed down, but Mohan Sinha offered him hero’s role in film ‘Preetam’ (1942). His father did not like this. However Al Nasir worked in 17 films till 1957.

Being handsome and polished he impressed women . He was a womaniser. During the shooting of film ‘Prithvi Vallabh’ (1943), he married Khursheed Jehan commonly known as Meena (later Meena Shorey). Whenever she was away, he would run after other women. He had an affair with Nigar Sultana. After the divorce with Meena, he married actress  Manorama, when he had gone to Lahore.

He divorced Manorama in 1946 and married actress Veena. They had 2 children. Daughter Huma became a professor and son was Altamash. Al Nasir  was fond of hunting and reading English books.

He acted in ‘Preetam’, ‘Prithvi Vallabh’, ‘Pathron Ke Shehar’, ‘Shehar Se Door’, ‘Dhamkee’, ‘Shalimaar’, ‘Khamosh Nigaahen’, ‘Aarsi’, ‘Ek Roz’, ‘Daastaan’, ‘Bewee’, ‘Kashmir’, ‘Mr and Mrs 55’, ‘Hatimtai Ki Beti’, ‘Sakhi Haatim’, ‘Indrasabha’ and ‘Mera Salaam’.

Al Nasir died at the age of only 35 years, on 17-10-1957.

As mentioned earlier, the film had 9 songs. Today’s song will be the 4th song to be discussed from this film. Coincidence is that both songs, earlier discussed by me – “Uth Ae Watan Ke Naujawan” and today’s song, happen to be patriotic songs, sung by Indian fighters in the film. Surprisingly, both these patriotic songs were not released in Pakistan. My guess is that, the then Government possibly did not want to hurt Pakistan’s feelings, so these songs were released only in India.

One more thing. The first song of this film , discussed earlier by me, was in 2 parts (gramophone record no. N-36728). One more part (part 3) was recorded in the voices of Rafi, Geeta and chorus. This Patriotic song too was not  issued on a commercial record (possibly for the same reason). This information is given in the HFGK itself.

Let us now enjoy the second patriotic song from this film, released only in India and not in Pakistan.

Song – Raah e Wafaa Mein Nikle Hain Seenon Ko Taan Ke (Kashmir) (1951) Singer – Mohammed Rafi, Master Sonik, Lyrics – Saarshaar Sailaani, MD – Hansraj Behl
Chorus

Lyrics

raah e wafaa mein nikle hain
seenon ko taan ke
raah e wafaa mein nikle hain
seenon ko taan ke
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke

hum hausle ke sher hain
dil ke daler hain
dil ke daler hain
parbat hamaare saamne matti ke dher hain
matti ked her hain
sikke bichha ke chhodenge bharat ki shaan ke
bharat ki shaan ke
farzand hum hain
farzand hum hain
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke

ubhre to aasmaan ko neecha dikhaayenge
neecha dikhaayenge
uthe hain apne saath qayaamat uthaayenge
qayaamat uthaayenge
sachche hain apni baat ke
pakke zubaan ke
pakke zubaan ke
farzand hum hain
farzand hum hain
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke

mazhab hai aur cheez
qayaamat hai aur shai
qayaamat hai aur shai
mazhab judaa judaa hain magar qaum ek hai
magar qaum ek hai
taare hain shaikh o barhaman ik aasmaan ke
ik aasmaan ke
farzand hum hain
farzand hum hain
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke

raah e wafaa mein nikle hain
seenon ko taan ke
raah e wafaa mein nikle hain
seenon ko taan ke
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke
farzand hum hain maadr e hindostan ke

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

राह ए वफा में निकले हैं
सीनों को तान के
राह ए वफा में निकले हैं
सीनों को तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के

हम हौसले के शेर हैं
दिल के दलेर हैं
दिल के दलेर हैं
परबत हमारे सामने मट्टी के ढेर हैं
मट्टी के ढेर हैं
सिक्के बिछा के छोड़ेंगे भारत की शान के
भारत की शान के
फ़रज़ंद हम हैं
फ़रज़ंद हम हैं
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के

उभरे तो आसमान को नीचा दिखाएंगे
नीचा दिखाएंगे
उठे हैं अपने साथ क़यामत उठाएंगे
क़यामत उठाएंगे
सच्चे हैं अपनी बात के
पक्के ज़ुबान के
पक्के ज़ुबान के
फ़रज़ंद हम हैं
फ़रज़ंद हम हैं
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के

मज़हब है और चीज़
क़यामत है और शै
क़यामत है और शै
मज़हब जुदा जुदा हैं मगर क़ौम एक है
मगर क़ौम एक है
तारे हैं शैख ओ बरहमन इक आसमान के
इक आसमान के
फ़रज़ंद हम हैं
फ़रज़ंद हम हैं
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के

राह ए वफा में निकले हैं
सीनों को तान के
राह ए वफा में निकले हैं
सीनों को तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के
फ़रज़ंद हम हैं मादरे हिंदोस्तान के


This article is written by Arunkumar Deshmukh, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3983 Post No. : 15072

Today’s song is from film ‘Kaarwaan’ (1956), a costume drama, made by Shahkaar productions, Bombay. Produced by Dev Jolly, it was directed by Rafiq Rizvi – whose career as a director came to a close with this film. His 6 films began with ‘Waayda’ (1940). The music was by S Mohinder. The lyricists were Tanvir Naqvi, Pt. Bhushan and Saarshaar Sailani.

S Mohinder aka Bakshi Mohinder Singh Sarna, was one of the very few Sikh composers in Hindi films (only 3 till 1970. Sardul Kwatra, GS Kohli and S Mohinder). For this film, he had 2 assistants. One was Inderjeet Singh, who was the maternal Uncle (mamma) of today’s singer Daler Mehndi and the other was Pt Kishen who was Husnlal and Bhagatram’s nephew (sister’s son). These two assistants were working with S Mohinder till 1961, after which both died one after another.

S Mohinder was born on 24-2-1925 in a small town called Silanwali in Montgomery District of un-divided Punjab. His full name was Bakshi Mohinder Singh Sarna.  His father Sujan Singh Bakhshi was a sub-inspector in police. Soon the family moved to a comparatively larger city Lyallpur, where young Mohinder around 1935 came in contact with an accomplished Sikh religious vocalist Sant Sujan Singh. He honed his skills for several years in classical music in the tutelage of Sant Sujan Singh. Initially he wanted to be a singer. The family moved to Sheikhupura , close  to Nankana Sahib, the birth place of Guru Nanak and S Mohinder got his further training in classical music from legendry Sikh religious musician Bhai Samund Singh. Frequent transfers of his father kept the family on the move. Since S Mohinder’s education was suffering badly, durIng early forties, he was enrolled in Khalsa High School in village Kairon in Amritsar District.

In 1947, the rest of the family too moved to East Punjab in India. The love for classical music brought S Mohinder to Benares. After a couple of years of grooming in classical music in Benares, the Mecca of Indian classical music, S Mohinder, came to Bombay, the leading center of film industry. His first successful film was ‘Neeli’ (1950), which was musically a hit but not successful on the box office. S Mohinder took a regular job of music director with Filmistan Studios, which was churning out movies like factory. He composed music for Filmistan for half a decade. It was a great experience.

After a successful relationship as a music director with Filmistan Studios, S Mohinder composed music for Chandu Lal Shah’s (Ranjit Movietone) film ‘Zameen Ke Taare’ (1960). It became a hit. After that he composed the music for Wadia Brothers film ‘Reporter Raju’ (1962) and producer Roop K Shori’s film ‘Ek Ladki Saat Ladke’ (1961). He gave music for unreleased film ‘Do Dost’ also.

S Mohinder says that during the sixties, when only Hans Raj Behl and Sardul Singh Kwatra were in the field of composing music for Punjabi films, he also tried his hand at Punjab films. The response was good. His music for his first Punjabi film ‘Pardesi Dhola’ was a hit. After that he mainly devoted his attention on composing music for Punjabi films only. His music for ‘Chambe Di Kali’ also became a hit. Inderjit Hassanpuri, a friend of S Mohinder, made a Punjabi film ‘Daaj’ for which S Mohinder composed very emotional tunes. Later on during the late seventies S Mohinder composed music for some non-film Punjabi albums too and the singers included the best in the Punjabi music business, Surinder Kaur and Asa Singh Mastana. These private albums were also instant hits.

In 1960, S Mohinder composed music for the film ‘Mehlon Ke Khwaab’ produced by Madhubala. The film did quite well at the box office and its music became a hit. The untimely death of Madhubala in 1969, during the prime of her youth deeply saddened S Mohinder. He came to the conclusion that the field of composing music for Hindi films was getting a lot of new players and the melody was slowly yielding place to noisy heavy metal music. So he decided to go back to his roots and switch to composing music for Punjabi movies.

Ram Maheshwari and Panna Lal Maheshwari, originally from Amritsar, decided to make a movie in Punjabi based on Sikh religious sentiments. The film was titled ‘Nanak Naam Jahaaz Hai’. S Mohinder got the contract to compose the music. The story of the film required some scenes to be picturized in the Golden Temple. S Mohinder thought that the music for those scenes was a very sensitive subject and must be performed by the finest exponent of Sikh Religious classical music. So he requested Bhai Samund Singh to sing the Shabads. Bhai Samund Singh was also the mentor of S Mohinder during his early training in classical music. Initially Bhai Samund Singh hesitated, but eventually he agreed to sing for the movie. S Mohinder believes that what Bade Ghulam Ali Khan’s singing was to the great movie ‘Mughal e Azam’, the shabads sung by Bhai Samund Singh are to Punjabi film ‘Nanak Naam Jahaaz Hai’. As we all know film ‘Nanak Naam Jahaaz Hai’ has been an all time hit Punjabi movie. Its music was also as big a success.

The runaway success of ‘Nanak Naam Jahaaz Hai’ ushered in an era of for making well meaning movies based on Sikh religious stories. S Mohinder composed the music for most of these Sikh religious movies.’Dukh Bhanjan Tera Naam’ (1974) featuring Shaminder Singh as the hero was the next film, it was also quite successful. Then came two more namely ‘Man Jeete Jag Jeet’ (1973) and ‘Paapi Tare Anek’ (1976). Both were successful at the box office. All these movies were made during the decade of seventies. S Mohinder also composed some of his most memorable music for these movies.

During the decade of nineteen seventies, S Mohinder composed music for some private albums also including some featuring Sikh devotional music and some featuring the folk music of Punjab. Legendry Punjabi singer Surinder Kaur was prominently featured on some of these albums. He gave music to 36 Hindi films, composing 243 songs. He also sang 3 songs in 3 films.

S Mohinder left India for the USA in October 1982, when he was at the peak of his career as a music composer. The last film featuring his music was named ‘Maula Jatt’, with Dara Singh in the male lead role. Even in US, he did lot of work in Music – like recording songs, running a music school etc. (Adapted, with thanks, from an article in apnaorg.com)

Today’s song is written by Tanvir Naqvi. Tanvir Naqvi (real name – Syed Khursheed Ali) was born on 16th February 1919, at Lahore. His father was a jaagirdar and elder brother was ADC to a nawab. Tanvir went to Persia, along with father, where he was educated in Urdu and Persian. From the age of 14 years, he started writing poetry and participated in various mushairas. He published a book of poetry, titled ‘Suhaane Sapne. By chance, AR Kardar read it and called Tanvir to Bombay to write for his film ‘Swami’ (1941), made by CIRCO Productions.

In his next film, ‘Nai Duniya’ (1942), Suraiya sang his song as her first song. His films ‘Anmol Ghadi’ (1946) and ‘Jugnu’ (1947) became hits and all his songs were appreciated much. He had earned a good name. However, after film ‘Parda’ (1949), he migrated to Pakistan. In 1954, K Asif invited him to India to write songs for his film ‘Mughal e Azam’, but by that time, Naushad had built his own team and he declined to take Tanvir Naqvi. From 1954 to 1959, Tanvir did many films. He also joined S Mohinder and wrote songs for his 7 films.

In 1959, Tanvir Naqvi shifted again to Pakistan, but this time for good. There also he wrote for many films, like ‘Koel’, ‘Jhoomar’, ‘Salma’, ‘Gulfam’, ‘Elaan’etc. He wrote also for Punjabi films. He had married Idaan – elder sister of actress singer Nurjehan. However, since he had no children from her, so he married again and had 2 children.  He died in Lahore on 1-11-1972. In India, he wrote 224 songs for 48 films. Some of his songs are popular even today.

The cast of the film consisted of Shakila, Mahipal, Heeralal, Gope, Yashodhara Katju, Randhir, Satish, Sheila Vaz, Helen, Cuckoo and others. All the usual actors for a C grade costume drama. I find that most main actors are the subject matters of many articles, but actors like Heeralal are left out. I reproduce below a brief biosketch of Heeralal that I have earlier posted for the song “Main Hoon Bhaiya Dim Timkar“.

Heeralal is a familiar face to every fan of vintage Bollywood as he played countless character parts, often as the villain, in literally hundreds of films both big and small. He was born Heeralal Thakur, on March 14, 1912 in Lahore (now part of Pakistan) and began his career in silent films with AR Kardar’s ‘Safdar Jung’ which was released in 1930. Incidentally, his second film, ‘Daughters of Today’, actually made it to movie theaters first, in 1929. He was under contract to United Players Corporation and made several silent pictures for them before making the transition to talkies and moving on to other studios for films like ‘Pavitra Ganga’ (1932), ‘Seeta’ (1934), and ‘Blood Feud’ (1935).

Some of his notable fantasy, sci-fi and horror films include ‘Khooni Jaadugar’ (1939), ‘Arabian Nights’ (1946), ‘Mehbooba’ (1954), ‘Hatimtai Ki Beti’ (1955), ‘Roop Basant’ (1955), ‘Sakhi Hatim’ (1955), ‘Shah Behram’ (1955), ‘Indra Sabha’ (1956), ‘Shaan e Hatim’ (1958), ‘Dr. Z’  (1959), ‘Dr. Shaitan’ (1960),  ‘Jadoo Mahal’ (1962), ‘Flying Man’ (1965), ‘Gumnaam’ (1965), ‘Sindbad, Alibaba and Alladin’ (1965), ‘Love And Murder’ (1966), ‘Sheba And Hercules’ (1967), and ‘Alibaba’ (1976). Hiralal worked continuously until his death on June 27, 1982.

He had worked in 203 films. His first film was ‘Pavitra Ganga’ (1932) and last film was ‘Kaalia’ (1981).

Today’s song is actually a very sweet song and had been a popular song in its time. This is a duet of Lata and GM Durrani. The mukhda says – “Ae Saarbaan, Saarbaan. . .”. The word saarbaan means actually ‘camel handler’, but in Persian language it also means the caravaan leader. I liked this song very much. In fact, many of the songs composed by S Mohinder are very good, but somehow he never became an A grade composer.

 

Song – Ae Saarbaan Saarbaan, Kis Raah Ka Raahi Hai Tu (Kaarwaan) (1956) Singer – Lata Mangeshkar, GM Durrani, Lyrics – Tanveer Naqvi, MD – S Mohinder

Lyrics

ae saarbaan saarbaan
ae saarbaan saarbaan

kis raah ka raahi hai tu
hai tujhko kiski justju
hogi teri manzil kahaan
ae saarbaan saarbaan
ae saarbaan saarbaan

teri meri manzil nahin
manzil hai manzil ka nishaan
ae jaan e jaan jaan e jaan
ae jaan e jaan jaan e jaan

mujhko ko bhi apne saath le. . .
de haath mera haath le
de haath mera haath le
mushkil bahut hain raaste
aasaan hain mere waste
aasaan hain mere waste
raste ki sab dushwaariaan
ae saarbaan saarbaan
ae saarbaan saarbaan
ae jaan e jaan jaan e jaan
ae jaan e jaan jaan e jaan

gar tujhko khud pe hai yakeen. . .
mushkil koi mushkil nahin
mushkil koi mushkil nahin
ghat’ta rahega har khatar
kat’ta rahega ye safar
kat’ta rahega ye safar
badhta rahega kaarwaan
ae saarbaan saarbaan
ae jaan e jaan jaan e jaan

badh kar na thehren phir kadam. . .
ye shauk ka dastoor hai
ye shauk ka dastoor hai
teri mohabbat ke liye
sab kuchh mujhe manzoor hai
sab kuchh mujhe manzoor hai
le chal mujhe chaahe jahaan
ae saarbaan saarbaan
ae saarbaan saarbaan
ae jaan e jaan jaan e jaan
ae jaan e jaan jaan e jaan

ae saarbaan saarbaan
ae saarbaan saarbaan

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

ए सारबाँ सारबाँ
ए सारबाँ सारबाँ

किस राह का राही है तू
है तुझको किसकी जुस्तजू
होगी तेरी मंज़िल कहाँ
ए सारबाँ सारबाँ
ए सारबाँ सारबाँ

तेरी मेरी मंज़िल नहीं
मंज़िल है मंज़िल का निशां
ए जान ए जान जान ए जान
ए जान ए जान जान ए जान

मुझको भी अपने साथ ले॰ ॰ ॰
दे हाथ मेरा हाथ ले
दे हाथ मेरा हाथ ले
मुश्किल बहुत हैं रास्ते
आसाँ है मेरे वास्ते
आसाँ है मेरे वास्ते
रस्ते की सब दुश्वारीयाँ
ए सारबाँ सारबाँ
ए सारबाँ सारबाँ
ए जान ए जान जान ए जान
ए जान ए जान जान ए जान

गर तुझको खुद पे है यकीं॰ ॰ ॰
मुश्किल कोई मुश्किल नहीं
मुश्किल कोई मुश्किल नहीं
घटता रहेगा हर ख़तर
कटता रहेगा हर सफर
कटता रहेगा हर सफर
बढ़ता रहेगा कारवां
ए सारबाँ सारबाँ
ए जान ए जान जान ए जान

बढ़ कर ना ठहरें फिर कदम॰ ॰ ॰
ये शौक का दस्तूर है
ये शौक का दस्तूर है
तेरी मोहब्बत के लिए
सब कुछ मुझे मंजूर है
सब कुछ मुझे मंजूर है
ले चल मुझे चाहे जहां
ए सारबाँ सारबाँ
ए सारबाँ सारबाँ
ए जान ए जान जान ए जान
ए जान ए जान जान ए जान

ए सारबाँ सारबाँ
ए सारबाँ सारबाँ

 


This article is written by Arunkumar Deshmukh, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3979 Post No. : 15065

Today’s song is from film ‘Aaj Ki Baat’ (1955).

In one of his earliest posts, Atul ji had said that the Indian people like to talk about 3 things – politics, films and cricket. How true it was. . . till Whatsapp and Facebook became an obsession for most people in India. Now you see different, sometimes even strange topics being discussed with taste. Additionally, there are wise people to give you free doses of a variety of knowledge. In all this crowd, sometimes one finds even a few intelligent posts too !

Recently, I saw a video by National Geographic. It showed how a mother bear saves her wayward baby bear, from almost certain clutches of a hungry lion. Motherly love or love for children is a common factor among animals and humans. While animals try to protect their babies from enemies, starvation and life threatening situations, human parents try to provide the goodies of life and a paying career line to their children.

Film people are no different in this. Almost every successful star wishes that his children join this line and be famous and successful. However, they forget that in their own case they had struggled hard to earn their place in the life and more importantly they forget that talents are not necessarily hereditary !

When I chose today’s Talat song from film ‘Aaj Ki Baat’, I realised that this was the launching film for Ajit Chitnis – son of ace actress Leela Chitnis. Unfortunately, the film career of Ajit Chitnis never took off beyond his first and the only film. Actually, Ajit was a qualified commercial pilot, but he could not get a job in any air line. Consequently, he became a victim of alcoholism and was spoiled further. To help him settle in life, his mother-Leela Chitnis tried to bring him in film line. When she noticed her contemporary, Shobhana Samarth produced a film ‘Hamari Beti’ (1950), to launch her daughter Nutan, Leela too decided to produce a film to launch one of her two sons as an actor. She chose Ajit as he was elder and needed help. Manvendra (Leela used to call him as ‘Meena’) was not launched ceremoniously, but later he acted in 4 films in side roles. In his last film,’Ramu To Deewana Hai’ (1980) he even shared the credits with his mother. The history of most star sons in films is not very encouraging. In fact, success and failure ratio may be 10 to 90 percent in success and failures.

It is said that ‘No tree can grow under a Banyan tree’. This is absolutely true and applicable in film industry. Except in cases like the Kapoor family, i.e. Raj, Shammi and Shashi,who made their bright careers despite the shadow of their father and other brothers, we find that many of the sons, daughters, brothers or sisters of many popular and famous film stars were failures and never made it big in Hindi cinema.

We know cases like Suneil Anand, Nasir Khan, Tony Walker, Naina Sahu, Meera Joglekar, Ajit Chitnis, Rajendranath, Narendranath, Anoop Kumar, Mallika, Khursheed Jr., Simple Kapadiya, Shivangi Kolhapure,  Preeti Ganguly and many more. In spite of having all the backing of the famous family member, these and such many others just did not make it, because Talents are not always hereditary !

They all were given a fair opportunity to display their talent on the screen , but unfortunately despite their honest effort  their skill could not come out  & the viewers were left unimpressed . They were selected by big banners and well experienced directors were there to guide them. But  their talent remained hidden inside them and with their nonexistent artistry they disappointed their mentors. Non-actor Sohan Kapila was in the romantic lead of Filmistan’s ‘Babar’, which was released in 1960. This film was directed by Hemen Gupta, the distinguished director, who earlier had directed ‘Anand Matth’ (1952) for Filmistan. The film, also had the winning combination of Sahir and Roshan.  Dependable character actor Gajanan Jagirdar played the role of the great Mughal Emperor Babar . But the movie flopped, as the new hero failed pathetically to register  any emotion on his face. A big jolt for Seth Tola Ram Jalaan, who was already facing financial problems. Mr. Kapila appeared in 2-3 movies in inconsequential roles and disappeared from scene for ever. His daughter Padmini Kapila also pursued a career in films, but could not achieve much success .

There were many other actors like him, who got a chance to appear opposite illustrious heroines, unfortunately their effort did not make any impact on the cine loving public. Watching their miserable performance on the screen, no film maker came forward to sign them.  Out of sight is out of mind, it was matter of time when public as well as film industry forgot them.

‘Malhaar’, as the name suggests, is a musical film produced by the great singer Mukesh in 1951 . It had story by veteran actor SK Prem and its evergreen music was composed by Roshan. The movie had new comers Arjun and Shammi (Nargis Rabaadi). Arjun did get another chance in ‘Daku Ki Ladki’ (1954) to please the viewers with his emoting before the camera, but could not succeed and it was end of his career.

Rattan Chopra, the lucky boy was selected for films, among hundreds of aspirants. Mohan Kumar had suffered a huge set back when ‘Aman’ flopped. He  took the newcomer for ‘Mom Ki Gudia’ (1972) opposite Tanuja, with great hopes.  Unfortunately, the film failed to dispel the gloom and sank to the rock bottom. Acting was not his cup of tea, Rattan Chopra understood and wisely opted out of the race of stardom.

Director Amarnath introduced new comer Vijay Kumar in his 1954 offering ‘Alif Laila’ opposite Nimmi and Asha Mathur.  Sohan Kapila and Vijay Kumar had impressive physique, but had no clue about acting. The movie had lilting music by Shyam Sunder, which was his last contribution towards film industry. Helen for the first time got a chance to perform solo in the movie and for many decades she remained on top. But for Vijay Kumar it was his first & last chance.

Another non actor Premendra was introduced by old timer Vijay Bhatt in ‘Holi Aayee Re’ (1970), which was directed by his younger sibling Harsukh Bhatt.  It was pathetic to watch Premendra unsuccessfully trying to show case his imaginary ability in the field of acting .The movie flopped phenomenally and a huge investment made by Bhatt Brothers went up in a cloud of smoke.

There were some more like Pratibha Sinha, Archan Gupta, Jayant Gupta, Ashok Sharma,  Nusrat Kardar, Rajeev Kapoor, Manish Kumar, Navin Chandra, Aroop Kumar, Prashant, Shalini, Kaycee Mehra, Vikram, Shekhar Suman, Deepak Kumar, Ajay, Som Dutt and many more. Among them, some film names which I remember off hand are Deepak Kumar in ‘Aabroo’ (1968), ‘Ajay’ in ‘Wapas’ (1969), Som Dutt in ‘Mann Ka Meet’ (1968), Vikram in ‘Julie’ (1975), Rajeev Kapoor in ‘Raam Teri Ganga Maili (1985), Shekhar Suman in ‘Utsav’ (1984), Kaycee Mehra in ‘Chhabilee’ (1960) and Mem Didi (1961), Prashant in ‘Sehra’ (1963), Ashok Sharma in ‘Hamari Yaad Aayegi’ (1961), Ajit Chitnis in ‘Aaj Ki Baat’ (1955), Nusrat Kardar in ‘Dard’ (1947), Manish in ‘Saraswati Chandra’ (1968), Rajiv in ‘Nayi Umar Ki Nayi Fasal’ (1965), Aroop Kumar in ‘Bezubaan’ (1962) etc. There could be more such examples. Readers can give their comments.

According to what Leela Chitnis wrote in her autobiography, ‘Chanderi Duniyet’ (‘चंदेरी दुनियेत’), during the period 1952-53 she was in a very bad financial position. Her health had worsened due to a wrong operation and then a corrective surgery. Valuable time and all money was lost in this. To come out of this situation, she planned to produce a film launching Ajit. As the luck would have it, the film started in 1953, but took 2 years to complete. The rights were sold to a distribution company. They released the film first in Punjab, where it flopped miserably. Then it was not released anywhere at all and went into the cans forever. This was a great shock to Chitnis family.

The film had 8 songs. 2 songs are already discussed here. This is the 3rd song, sung by Talat Mehmood. Written by Raj Baldev Raj, it was composed by the ‘Gentleman Maestro’ – Snehal Bhatkar.

White full shirt, ironed white Pyjama, spectacles with big powerful lenses and the trademark white Gandhi Topi. He could easily be mistaken for a ‘Pandharpur Warkari‘ (a regular pilgrim to Pandharpur) or a member of a ‘Bhajani Mandali’ or simply a middle class ‘Marathi Manoos’. Such was the appearance of one of Hindi filmdom’s talented yet not so famous, music maestro VASUDEV GANGARAM BHATKAR or Snehal Bhatkar as we all love to know him.

In Hindi film music field, there were some talented composers like Ghulam Mohd, Mohd Shafi, Iqbal Qureshi, Daan Singh, C Arjun, Ramlal, Sardar Malik, Ajit Merchant, Jamaal Sen, Dattaram, Ganesh, Snehal Bhatkar etc., who could never reach the peaks of their careers. They really deserved this, but luck did not favour them. Big Banners never approached them and the losers were the lovers of music in India. They did not know, perhaps, how to sell their art. May be, they never wanted to enslave the music to gain name and fame, instead they preferred to settle for service to the music!

Bhatkar was one such composer. ‘Simple living and high thinking’ – never worked in this mayanagari, but he had no regrets. Till the end he was contented with whatever God gave him, whatever name and success he achieved. He was born into a family and grew in such atmosphere which was surrounded by traditional devotional music all around. In the lower middle class, the people had their entertainments in singing bhajans and doing keertans in temples en masse.

He was born on 17-7-1919. Vasudev G. Bhatkar knew at least 100 Bhajans by heart by the time he was in his 10th class. He was invited to sing in Ganesh Melas and other celebrations and soon became a well known name in the locality. Because of his singing and skills in playing harmonium and other instruments, he got a job in HMV in Bombay. Here he used to give accompaniment on harmonium to renowned classical singers. At the same time, taking cognizance of his singing skills, many Marathi bhavgeets and bhajans were recorded by HMV in those days. Some of them are popular in Maharashtra even today.

All the while, Bhatkar was looking for opportunity to compose in films. Sudhir Phadke, who too served in HMV and recorded some songs from 1943 to 1945, joined hands with Bhatkar and made a pair – Vasudev-Sudhir. They got a film of Baburao Painter ‘Rukmini Swayamvar’ in 1946 for music direction. The problem was due to his service in HMV, he could not openly work outside, hence he only gave his name as Vasudev. After this film the pair separated and Phadke went to give music to films like ‘Gokul’, ‘Aagey Badho’ etc. Due to financial constraints Bhatkar was unable to leave the job also.

In 1941, Bhatkar had come to know Kidar Sharma while recording songs for his film ‘Chitralekha’, which he was making for Ranjit Studios. Sharma had just come from Calcutta, to establish himself in Bombay. He had a knack of identifying talents. He gave chance to Bhatkar first to sing some songs with Leela Sawant in his film ‘Kaliyan’ (1944). After ‘Rukmini Swayamvar’, Kidar Sharma gave him his first break as independent composer in his ‘Neel Kamal’ in 1947. For this film, Bhatkar used the name  B Vasudev. Kidar Sharma had launched Raj Kapoor and Madhubala in adult roles as the lead pari in this film. It also launched Bhatkar, albeit in a pseudo-name. In the subsequent years Bhatkar used different names for different films-

  • ‘Suhaag Raat’ (1948) – as Snehal
  • ‘Sant Tukaram’ (1948) – as VG Bhatkar (he sang 6 songs also)
  • ‘Thes’ (1949) – as Snehal
  • ‘Sati Ahilya’ (1949) – as VG Bhatkar
  • ‘Pagle’ (1950) – as VG Bhatkar

After completing ‘Thes’ and ‘Sati Ahilya’, Bhatkar resigned from HMV.

He and Kidar Sharma were very good friends. Kidar gave him ‘Neki Aur Badi’ in 1949. He started the work. Meanwhile, Kidar Sharma met Roshan Nagrath in some musical event. Sharma was terribly impressed with Roshan and wanted to give him a break in his film. At that point of time, Kidar had just started work on ‘Neki Aur Badi’. He had a heart to heart talk with Bhatkar and Bhatkar gladly left the film for Roshan. Thus Roshan got his break with this film. Roshan never forgot Bhatkar’s magnanimity in his life and always respected Bhatkar.

In return Kidar Sharma gave ‘Hamari Beti’ (1950) to Bhatkar.  As he was a free bird now, Bhatkar started using the name Snehal Bhatkar from this film onward. Snehal was the short form of Snehalata, his daughter. Snehal Bhatkar did many Marathi films and recorded many bhajans in Marathi, which are ever popular. He did 27 films in Hindi and 12 films in Marathi. Out of 27 Hindi films, 9 were made by Kidar Sharma.

The song which made Mubarak Begum and Bhatkar famous in India was “Kabhi Tanhayion Mein, Hamari Yaad Aayegi” from the film ‘Hamari Yaad Aayegi’ (1961). (This film was was originally named ‘Jawaan Muhabbat’). Actually this song was to be done by Lata Mangeshkar. Lata had already recorded two songs for this film. Due to her extremely busy schedule she was unable to do this song, so she suggested the name of Asha Bhosle. However, already upset over Lata’s refusal, Kidar Sharma opted for Mubarak Begum and the rest is history-as they say. She made a gold of this song with her special voice.

After 1960, the musical scene in India was undergoing drastic changes and there was no space for composers like Bhatkar, who used minimum orchestra and dwelt upon melody. His films came after long intervals. Even Kidar Sharma left him after ‘Fariyad’ (1964) (only to return in ‘Pehla Kadam’ in 1980). Finally Bhatkar did his last film ‘Sehme Huye Sitaare’ in 1994, which featured his son Ramesh Bhatkar-who was already a popular hero in Marathi film, stage and TV. This obscure film did nothing good to Bhatkar.

After retirement Bhatkar devoted his time for children’s welfare and his original love – bhajan mandali singing.

Snehal or Vasudev Gangaram Bhatkar, together with cousin Devji Bhatkar and Panchambuwa Pandurang Shivalkar, was the founder member of ‘Vishwambhar Prasadik Bhajan Mandal’ in Dadar. It is still in operation after 50 years, with new set of singers. Bhatkar was very kind hearted. Every year, during Ganapati festival he used to visit his ancestral village ‘Bhate’ in Ratnagiri district and participate in singing bhajans.

Lata, Talat and Mukesh were his favourite singers. Talat, though has not sung many songs for him, his song “Zindagi Kis Mod Pe Laayee Hamein” from ‘Diwali Ki Raat’ (1956) was very popular. When rehearsals for this song were being done, Bhatkar had used only tabla and sitar for the practice session. The producer who chanced upon this rehearsal was so much impressed with this that he insisted recording the song only with minimum instruments. So, this song has only tabla, Sitar and another instrument for accompaniment.

Though there were many melodious songs composed by Bhatkar like, Khusro’s “Lakhi Baabul More Kaahe Ko Deeni Bides” sung soulfully by Mukesh in ‘Suhag Raat’ (1948); “Ro’oge Pachhtaoge” by Mukesh and Rajkumari in ‘Thes’ (1949); Lata’s “Chanda Tumko Laaj Na Ayee” from ‘Bhola Shankar’ (1951); Suman Kalyanpur’s “Haal e Dil Un Ko Sunaana Tha” from ‘Fariyaad’ (1964), except Kidar sharma no other big banner producer opted for Snehal Bhatkar. May be, his compositions were not so simple for common man to hum or sing, although they were quality songs.

Inspite of several melodious songs Bhatkar was never counted among the 1st line composers. Kidar Sharma also returned to him in 1980, but by that time Snehal Bhatkar was already on a descending track.

Snehal Bhatkar, a talented but not much applauded music director died peacefully on 29-5-2007 at his Dadar home.

Here is the song by Talat Mehmood from film Aaj ki baat-1955.

(My thanks to Shri MN Sardana ji for his post in ‘Voh Din Yaad Karo’ on Facebook, from which some information has been used herein.)

Song – Pyaar Ki Nazron Se Un Ko Dekhta Jaata Hai Dil (Aaj Ki Baat) (1955) Singer – Talat Mehmood, Lyrics – Raj Baldev Raj, MD – Snehal Bhatkar

Lyrics

aaaaaa aaaaaa
aaaa aaaaa aaaaaa
aaaaaa aaaaaa aaaaaaa
aaaa aaaa aaaa aaaaaa

pyaar ki nazron se un ko
dekhta jaata hai dil
pyaar ki nazron ki nazron se un ko
dekhta jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

kya hua mujhko
hai mere dil ki dhadkan tez tez
kya hua mujhko
hai mere dil ki dhadkan tez tez
thaamna mujhko ke seene se
uda jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

aaye hain wo zindagi
aaye hain wo zindagi
kadmon mein un ke daal de
kadmon mein un ke daal de
dil ko samjhaati hain nazren
mujhko samjhaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

ho gai shaayad mohabbat
ho gayi un se mujhe
ho gai shaayad mohabbat
ho gayi un se mujhe
jab khayaal aata hai un ka
khud behal jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

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

आsssss आsssss
आsss आssss आsssss
आsssss आsssss आssssss
आsss आsss आsss आsssss

प्यार की नज़रों से उनको
देखता जाता है दिल
प्यार की नज़रों से उनको
देखता जाता है दिल
बात उनके सामने कहने से
घबराता है दिल

क्या हुआ मुझको
है मेरे दिल की धड़कन तेज़ तेज़
क्या हुआ मुझको
है मेरे दिल की धड़कन तेज़ तेज़
थामना मुझको के सीने से
उड़ा जाता है दिल
बात उनके सामने कहने से
घबराता है दिल

आए हैं वो ज़िंदगी
आए हैं वो ज़िंदगी
कदमों में उनके डाल दे
कदमों में उनके डाल दे
दिल को समझाती हैं नज़रें
मुझको समझाता है दिल
बात उनके सामने कहने से
घबराता है दिल

हो गई शायद मोहब्बत
हो गई उनसे मुझे
हो गई शायद मोहब्बत
हो गई उनसे मुझे
जब खयाल आता है उनका
खुद बहल जाता है दिल
बात उनके सामने कहने से
घबराता है दिल


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 ELEVEN years. This blog has over 15700 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15715

Number of movies covered in the blog

Movies with all their songs covered =1211
Total Number of movies covered =4326

Total visits so far

  • 13,605,547 hits

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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