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

Archive for the ‘Narendra Chanchal Solo Songs’ Category


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3887 Post No. : 14918

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Blog 10-Year Challenge (2009-19) – Song No. 14
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‘Bobby’ created almost a storm in 1973. This drama of puppy love, completely fresh faces (almost, Rishi Kapoor had already made his mark in the ‘child RK’ role in ‘Mera Naam Joker’ (1970)), and a love story aimed at an age bracket lower than college going young people – the lovers in this film are just transitioning from high school to college. In the early 1970s, the influence of the hippie movement and free love ideas from the west into the Indian society was still a compelling influence. And the provocative presentation, as is the wont of RK style, ensured that young people of all ages went to see this film multiple times in the theaters.

The story of RK – from ‘Mera Naam Joker’ (1970) to ‘Bobby’ (1973) is quite well known. ‘Mera Naam Joker’ was designed and produced by RK as his magum opus. He put his everything into that film, both the creativity and the finances – and lost out on the gamble at the box office. Many reasons can be analyzed as to why that happened. ‘Mera Naam Joker’ is a remarkable film, but then maybe RK went overboard in certain aspects. With the huge success of ‘Sangam’ (1964) behind him he gambled that the length of the film won’t be a deterrent to the audience. He called the wrong numbers on the dice. The film was a financial disaster for RK, in its first run. It broke him.

But his resilience to bounce back played out well. After a gap of three years, he came up with ‘Bobby’, and he had the audiences lapping it up, again and again. Some journalist even wrote that RK has extracted his revenge on the system, as well as the audiences, and got compensated many times over for the disaster of ‘Mera Naam Joker’.

‘Bobby’ was also a significant departure for RK banner in another way. The Shankar-Jaikishan duo of music directors had been rendered solo, by the untimely departure of Jaikishan in 1970. RK took a glaring decision to switch music directors, bringing to close an association that had lasted for more than two decades. Many industry observers commented that this was expected. Many others in the industry were shocked by this move. A move that essentially signaled the downturn of Shankar as an MD. He doggedly tried to keep the SJ banner alive but the zest and the verve was gone, forever. The numbers speak for themselves – in 1971, seventeen films were released with music by SJ. Of course, presumably, a fair share of the work on this set of seventeen would have been done while Jaikishan was still alive. The rest of the decade of 1970s tells a grim story. 1972 – 8 films; 1973 – 7 films; 1974 – 4 films; 1975 – 5 films; 1976 – none; 1977 – 2; 1978 – 1; 1979 – 2; 1980 -1. The magic sun of SJ was slowly fading away.

RK switched to Laxmi-Pyaare. From RK’s perspective, this was a correct strategic move. And the results are for everyone to see. Of course, no one can discount the uncanny ability of RK to inspire creation of absolutely wonderful music for his films. And yes, Laxmi-Pyaare delivered to his expectations. The songs of ‘Bobby’ were super hits in their time, and they continue to be in popular demand even now after almost four decades. I am sure I do not need to present the song list to make this point. 🙂

With ‘Bobby’, RK and Laxmi-Pyaare introduced a new and a very different sound to the world of Hindi film music. The name – Narendra Chanchal. A singer with a very expressive, a very deep baritone – a voice with a phenomenal range that rivaled even Mahendra Kapoor in rendering the higher octaves. It is quoted that RK had heard him sing at some religious function. He followed up with some more research, and then decided to bring in this voice for a Sufi-like song in the film.

I remember that the promotion and the publicity presentations for this film was quite low key. The film was introduced without much fanfare. Yes, the choice of moving from SJ to LP did become talk of the town, but nothing much more than that. And this new singer – Chanchal, got introduced to the public, just as is. Working with the expected fare of Lata, Shailendra Singh, Asha and Manna Da, the audiences would be taken by surprise as Chancal would appear in person on the screen, to present this song.

And the song was an immediate hit. Over the years, it has gained almost a cult status. In reasonable memory, this probably was the first Sufi-type song presented in such traditional Sufi garb, in a Hindi film. No, I am not trying to discount all the bhajans and songs of religious expression that came before this. But surely, this song introduced a completely new sound in the Hindi film music space. The genre – picking on the original writings of Bulle Shah, the famous Sufi poet from Punjab. And the voice – no, not choosing Rafi or Manna Dey to render this. Chanchal – a new voice, a new full throated sound, that you had to slightly reduce the volume on the radio or gramophone, as his singing came on.

RK’s uncanny ability to present a song on the screen in a manner that the emotions of the players on screen will grab the emotions in the audience’s mind and heart, and pull the strings, almost viciously. The two young lovers are at a precipice of near break-up. Just recently into their romance, a jarring note of an unexplained misunderstanding tears them apart, oh so cruelly. The young man follows the lady, as she joins a school trip to get away from him. He tries to approach her; she is cold and nonchalant, and the ever chivalrous bystanders give a good beating to the young man. The lady is still silent. And so is the young man, just looking at her imploringly, asking for a chance to explain. The conversation is not entertained. The hearts are pining and wreathing with tears. But the stand-off remains. Explanations are not allowed. The silent gazes of pain, the eyes telling beseeching stories of pleadings. But no, the words are not permitted.

And then, this deep throated sound from a singer sitting in a group of porters, rises to block out and mask all the other sounds in the camp. A voice that delivers the message, the words that the young man is trying to articulate, but is not able to. Those words are compellingly brought out in this loud rustic voice of a folk singer, singing by the campfire, playing on a daff (‘डफ’) in his hand. The memories go back to ‘Jis Desh Mein Ganga Behti Hai’ (1960). There also, the protagonist plays the daff, when an important message, and the right words are to be delivered.

Over the years, Chanchal did sing, maybe a dozen, or maybe a score more songs in Hindi films. And then he quietly exited and went back to his forte – the world of popular religious bhajans. His success in that field is simply phenomenal, and for everyone to see. Just that he could not jell well with the systems of the tinsel town Mayanagri.
[Author’s Note: After little more research on the internet, we find that the total number of songs sung by Narendra Chancal in Hindi films is about 35.  Nahm ji has pointed out in comments another wonderful solo – “Kabhi Gham Se Dil Lagaaya” from film ‘Daaku’ (1975). Other superb solos by him are:
“Meri Zindagi Tumhare Pyaar Pe Kurbaan” – from ‘Jeevan Sangram’ (1974)
“Loot Liya Sansaar” – from ‘Fauji’ (1976)
“Yaar Di Chaukhat Kaaba Kaashi” – from ‘Ram Bharose’ (1977)
“Do Ghut Pila De Saaqiya” – from ‘Kaala Suraj’ (1986)
“Tut Gayi Je Yaari” – from ‘Ramkali’ (1986)
The other songs are duets, group songs, and of course religious bhajans.]

Ten years back, this day, the output on the blog was nothing short of phenomenal. On 10th March, 2009, a total of 12 songs were posted. Atul ji was quite in the pink, and on the roll, during those initial weeks and months of this blog. 12 songs mean that 12 films got represented that day. And ‘Bobby’ made its debut on that day, with the song – “Main Shaayar To Nahin”.

Over the past decade, nine of those films have been yippeee’d, and three remain. As I checked the list, I was somberly surprised that a film like ‘Bobby’, with one superlative song after another, had not yet been yippeee’d here. And mind you, the songs pending are not lightweights. Each one of them is a popular super hit, all by itself.

Quick round up review of credits – the words of this song are adapted and redrafted by Rajkavi Inderjeet Singh Tulsi, based on an original song by Bulle Shah. The music – Laxmi-Pyaare. Singing voice – Narendra Chanchal. On screen, the singer himself is performing the song, carrying the messages between the two young lovers, Rishi Kapoor and Dimple Kapadia, who are not communicating, except through the eyes. And the words of this song so powerfully express the unsaid emotions between them.

If you have ever been in love, this song is for you. And yes, if you have ever been in love, this film is for you.

 

Song – Beshaq Mandir Masjid Todo, Bulle Shaa Ye Kehta (Bobby) (1973) Singer – Narendra Chanchal, Lyrics – Inderjit Singh Tulsi, MD – Laxmikant Pyaarelal

Lyrics (Provided by Avinash Scrapwala)

beshaq mandir masjid dhaa de
bulle shah..aa ye kehta..aa

beshaq mandir masjid todo
bulle shah..aa ye kehta..aa
par pyaar bharaa dil
kabhi na todo..o..o
is dil mein..ae dilbar rehta

jis palde mein tuley mohabbat. . .
jis palde mein tuley mohabbat
us mein chaandi nahin tolnaa..aa
taubaa meri
naa dholna
main nahin bolna..aa
ho nahin bolna jaa
main nahin bolna jaa
o main nahin bolnaa jaa
dholna
main nahin bolnaa..aa
tauba meri
naa dholna
main nahin bolnaa..aa

aag te ishq baraabar dono..o
par paani aa..aag bujhaaye
aag te ishq baraabar dono
par paani aag bujhaaye
aashiq ke jab aansoo nikley..ae..ae
aur agan lag jaaye
tere saamne baithh ke rolaan..aa..aa..aa..aa..aa
ho tere saamne baithh ke rolaan
dil ka dukhdaa nahin pholna..aa..aa
dholnaa..aa
main nahin bolna..aa
ho nahin bolnaa jaa
main nahin bolnaa jaa..aa
ve main nahin bolna jaa
dholna
main nahin bolnaa..aa
tauba meri
naa dholna
main nahin bolnaa..aa

ve main nahin bolna..aa
o ve main nahin bolna..aa
ve main nahin bolna..aa..aa..aa..aa
ve main nahin bolna..aa
ve main nahin bolna..aa
dholna..aa
main nahin bolna
nahin bolna
ve main nahin bolna
nahin bolna aa
ve main nahin bolna aa
nahin bolna
ve main nahin bolna..aa..aa

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Hindi script lyrics (Provided by Avinash Scrapwala)
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बेशक मंदिर मस्जिद ढा दे
बुल्ले शाह॰॰आ ये कहता॰॰आ

बेशक मंदिर मस्जिद तोड़ो
बुल्ले शाह॰॰आ ये कहता॰॰आ
पर प्यार भरा दिल
कभी ना तोड़ो॰॰ओ॰॰ओ
इस दिल में॰॰ए दिलबर रहता
जिस पलड़े में तुले मोहब्बत॰ ॰ ॰
जिस पलड़े में तुले मोहब्बत
उसमे चांदी नहीं तोलना॰॰आ
तौबा मेरी
ना ढोलना
मैं नहीं बोलना॰॰आ
हो नहीं बोलना जा
मैं नहीं बोलना जा
ओ मैं नहीं बोलना जा
ढोलना
मैं नहीं बोलना॰॰आ
तौबा मेरी
ना ढोलना
मैं नहीं बोलना॰॰आ

आग ते इश्क बराबर दोनों॰॰ओ
पर पानी आ॰॰आग बुझाए
आग ते इश्क बराबर दोनों
पर पानी आग बुझाए
आशिक के जब आंसू निकले॰॰ए॰॰ए
और अगन लग जाए
तेरे सामने बैठ के रोलां॰॰आ॰॰आ॰॰आ॰॰आ॰॰आ
हो तेरे सामने बैठ के रोलां
दिल का दुखड़ा नहीं फोलना॰॰आ॰॰आ
ढोलना॰॰आ
मैं नहीं बोलना॰॰आ
हो नहीं बोलना जा
मैं नहीं बोलना जा॰॰आ
वे मैं नहीं बोलना जा
ढोलना
मैं नहीं बोलना॰॰आ
तौबा मेरी
ना ढोलना
मैं नहीं बोलना॰॰आ

वे मैं नहीं बोलना॰॰आ
ओ वे मैं नहीं बोलना॰॰आ
वे मैं नहीं बोलना॰॰आ॰॰आ॰॰आ॰॰आ
वे मैं नहीं बोलना॰॰आ
वे मैं नहीं बोलना॰॰आ
ढोलना॰॰आ
मैं नहीं बोलना
नहीं बोलना
वे मैं नहीं बोलना
नहीं बोलना॰॰आ
वे मैं नहीं बोलना॰॰आ
नहीं बोलना
वे मैं नहीं बोलना॰॰आ॰॰आ

 

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15300 song posts by now.

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

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