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

Archive for the ‘River song’ Category


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3677 Post No. : 14568

ASAD 10th Anniversary Celebrations – 20
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And now, continuing the saga of the 10th anniversary celebrations. 🙂

First off, thanks to Mahesh ji for announcement that “The last batsman is in”. Quite true, and well, almost. One reason (of the many excuses that I am going to converse about today 🙂 ), is that, quite truly, I was waiting for at least one more contribution to land in, before I announce the closure of celebrations. But as the events transpired, I realized that waiting for that article would probably be like waiting for Mr. Godot.

I refer to Ben Kayti, who has promised me that she will be sending in a write up, but then – well, days have just been following one after the other. In an earlier communication she mentioned that she was little down in health, and that she has a doctor’s appointment. And then – silence. One day, two days – messages on WhatsApp, emails, phone calls, voice mail remained unanswered. When no response came, I had no option but to press the panic button. I tried to contact three other people in the family. And finally, her daughter-in-law responded to my SOS. The family is out to a vacation – Glacier National Park in Montana, where no connectivity is available. The vacationers also include the other two members of the family who I was attempting to get in touch. So it was a relief to know that all was well, and also somewhat vexing that there was a communication gap that created some worries. I will return to this and tie up the loose end left here, and continue with the mainstream of celebration.

‘19’ seems to be a lucky number for me. Quite a few significant things in my life are connected with this number. And thus, not surprisingly, I get connected with this blog that celebrates its birthday on 19th July. And then, more, I was not planning it to be so – my (previous) post comes at 19th in the series. Ah yes, as Atul ji has mentioned often, there is a hand of providence with what goes on with this blog. And let me add one more very interesting ‘19’ phenomena. As per the statistics that the WordPress maintains, the date which has had the highest number of visitors on this blog (10,630) is also a 19 – 19th October, 2011.

On 14th January this year, the visitor’s ticker on our blog home page turned into an 8 digit number for the first time. We clocked in 10 millionth visitor that evening (IST) – and it translates to 1 crore, in domestic terminology. As I write to complete this article, the ticker has already gone past 10 million 6 hundred thousand, clocking in on average ~ 3,000 visitors per day in this year so far. I would like to give it a name today – this presence that ASAD makes on the worldwide web – it is the “ASAD Phenomena“. Nowhere else probably (once again, as far as I am aware) is there any such endeavour that combines the interests and the determination of such a like-minded team with such dedication, to sustain such a significant level of interest in the central theme of this blog. All I can say is – there are music lovers in this world, and then there are ‘music lovers’ in this world.

Looking back at my association, the date was 1st October 2010 when I clicked on the subscribe button for getting the RSS feed and became a regular reader-member of this blog. And guess, what is the first song feed that arrived into my mailbox next day (on 2nd October) – “Ham to tere dil ke bangley mein aanaa maangtaa”. Now that I read this song title, I wonder whether it was a message intended for me from Atul ji, or was it supposed to be from me to Atul ji. 😀 😀  Whichever way, I think it just worked out very famously. 🙂

My first step into lyrics contribution was published on 1st Feb, 2011 and it is the famous Suraiya song from ‘Bilwamangal’ (1954) – “Parwaanon Se Preet Seekh Len”. And then it just went on from there. The first post written by me appeared on 18th Feb, 2011, a song from the film ‘Gul e Bakaavali’ (1963) “Ye Kehdo Tumhe Hamse Kyaa Chaahiye”. Missed the 19th by just a day, although there is a post on the 19th Feb also, my second one. And then it just went on from there.

कुछ लगता नहीं के सात साल गुज़र गए। Seriously, it seems just like last week or last month. In that very year (2011), in the subsequent months, we had a spectacular event on the blog, something of the type that has not yet been repeated. An event that truly marks this blog to be a Phenomena. Starting on 28th June, 2011, the blog saw an unbroken series of articles on the great KL Saigal Sb, that lasted all the way up to 18th Sep, 2011. The last song of this unbroken series, posted on 18th Sep is “Baalam To Pe Sabar Padey” from the film ‘Parwaana’ (1947). I quote a brief paragraph from that write up here,

With this post, I have now published 61 posts on Saigal Saab’s songs. In one of the interim emails, Atul ji wrote to me that every day morning, he eagerly opens his mailbox to look for an email from me. And the eagerness and urgency was no less on my side. Some of the ghazals took anywhere from 3 to 6 hours to complete the write up, with the translations and commentary to my satisfaction. There have been nights when I have sent the write ups to Atul ji at 2 am, 3 am and even past 4 am. There have been occasions that (after having fallen asleep on my laptop) I got to complete the write up later in the morning; you can identify these days by noting the delay in posting the Saigal Saab song for the day.

What a heady time it was. That endeavour was really worth it. We enjoyed it immensely, and it came to a monumental conclusion of documenting and posting each and every one of the available Hindi / Urdu recordings made by the great singer. And truly, nothing comparable to that has again been attempted on the blog so far.

One more reason that I quote this above paragraph from the earlier write up. Something of this relates to the song in this post. I will return to it again, shortly. But yes, I am talking about the relentless tempo with which this blog continues to progress. The support and participative contributions from the entire team are without doubt the bulwark that provides the strength to the arms and shoulders of what this blog is. But then the definitive power of this entire effort is the unflagging dedication and persistence of the leadership from Atul ji, which is truly the backbone of this effort.  It is an accomplishment sans pareil anywhere in the annals of the history of blogging on the internet related to Hindi Film Music.

So, beyond September of 2011, although now done with all the available songs of Saigal Saab, the journey and the saga still continued. Century milestones came with their regularity, then the 5,000th song – “Hamen To Loot Liyaa Mil Ke Husn Waalon Ne” (dated 13th Nov, 2011), more centuries of artists and other interesting statistical achievements. Then on to the 10,000th song – “Phul Rahin Belariyaan Dolen” (dated 20th July,2014), an extraordinary song published first time anywhere on the net, a song of 1931 vintage posted; and the unprecedented organized effort wherein all regular members of the group contributed a post that contains an introduction of another member. And a memorable long afternoon spent by almost the entire group connected on email, as we all waited for the post to appear on the blog.

On and on, tirelessly, doggedly – getting to honky-tonk posts at the nos. 11111, 12345, 12357 . . .

Then we came to the post no. 13182 – “Aag Lagi Shola Uttha Shamma Pe Parwaana Gira”, on 22nd April last year. It was the mostest of the most momentous celebrations, the 10,000th post by dear Atul ji. It was a surprise for Atul ji; he was under the impression that his 10,000th milestone was already past. But that was not the case. The entire group got together and gave him a standing ovation that verily resounded across the internet.

The next big whopper for our blog came on 14th Jan earlier this year, and its celebration was covered in post no. 13921 “Bhalaai Duniya Ki Jo Subh O Shaam Karte Hain” – the visitor ticker on the blog had turned from nine million, nine hundred ninety nine thousand, nine hundred ninety nine to ten million, sometimes in the late evening of 14th Jan (IST). In desi parlance, we would say  निन्यावे लाख, निन्यावे हज़ार, नौ सौ निन्यावे से हम एक करोड़ पर पहुंचे। Once again, this was a major, major occasion for the blog, and the echoes reverberated once again around the globe – literally. 🙂

And now, greetings (balated) for the date of completing 10 years since this blog’s creation by Atul ji. The date is 19th July (and I am late, of course, as usual – I have a reputation to protect and uphold, you know 😀 ). As per the Wikipedia articles, celebrations calendars and other related details available online, the tenth anniversary is represented by tin or aluminum. The color of this anniversary is blue and / or silver. And the gift of this 10th celebration is diamonds. Whooo. . .

Note that 10 is another interesting number on our blog recently – 10,000th post on blog, 10,000th post by Atul ji, 10 millionth visitor on the blog, and now the 10th anniversary of the blog itself; the last three events listed happening within the period of past 16 months. You simply just cannot cease to keep celebrating on this blog. And the wonder of wonders is that we also continue to trace and share absolutely wonderful celebration songs to go along with the event. The patterns that we conjured up for the post nos. 11111, 12345 and 12357 are quite an interesting phenomena in as of themselves, with the ”hand of providence” playing its fair share in making them happen. 🙂 For those who may not be familiar with these stories, I suggest they should view these posts – they are really very interesting tales of happenstance and coincidence. 🙂  Just click on the post numbers in the sentence above.

So, connecting back to where we started off. Finally last night (IST), the much awaited call from Ben Kayti and Jagdish Bhai materialized. It was a great relief to hear their voices, and to be assured that all is well. The planned vacation had gone on very well, and quite “frigidly”, given that the vacation spot chosen was the Glacier National Park in Montana (USA). After returning from there earlier this week, they also had some guests visiting and so Khyati Ben was completely busy with family affairs. She has once again promised that she will write a post this coming week now. I decided not to wait any further and put up the 20th post in this series today. If and when her post comes along, it will be now at an auspicious ‘पायदान’ of 21. 🙂

Amongst others in the list of my ‘reasons’ (excuses) is of course that I was also in travel during some of this intervening period. In fact most of the early posts in the 10th anniversary series were actually posted while I was on the move. Getting back home, I almost immediately got busy with celebrations for Guru Purnima at my Guru ji’s place. There, the celebrations last for 5 / 6 days, starting from the Guru Purnima day and continuing till the ‘पंचमी’ in the month of ‘सावन’. So that occupied me for almost a whole week within which I was not able to accomplish much as far as the blog activities are concerned.

Another thing was the song selection. Till almost the last hours of posting my previous article – “Dil Chaahta Hai” – I had no idea what would be the songs I am going to write about. The first song I finally zeroed in was this one. Going by a set of very good celebration songs posted by other friends in the group, I was thinking – most of these songs are of recent origin. How about searching for a similar celebration cum group dance song from the earlier decades? After sifting through many possibilities, I picked up this song from the film ‘Tarang’ of 1952. First of, this song has four singers – Rafi Sb, Geeta Dutt, Shamshad Begum and Chitragupt himself. Secondly, the song (no video available) gives a feeling of a gypsy camp by the banks of a river, where a group dance cum song is being performed.

So actually, this song was originally planned to be the earlier post. But then, in random process, I bumped into the “Dil Chaahta Hai” song, and with some contemplative considerations, my planned post got converted into two posts. And good that it did. If I would have combined both these posts with one song – well. . . 🙂

So here is a fabulous celebration song which promises that the proceedings are going to last all night, and that all are invited. And the best part, this song starts with mentioning the word ‘सावन’.

So let me now take just a couple of more minutes to link in ‘सावन’ (saawan) with this celebration. You are going to love this. After having posted all the posts received from the group, and with Atul ji’s post also in place, I started to get individual messages from members of this group, asking me about the delay as to why my post was not coming in. And me, I was without an answer; what to tell – that I have not yet identified the song even? Well, as part of this set of messages, I get this fond message from Atul ji himself on 26th or maybe 27th July, wherein he prodded me to publish my post on the 28th. Reason, he explained, was that 28th July this year is the start of the month of ‘सावन’. And back, in 2008, when this blog got initiated, the date 19th July was also the start of of the month of ‘सावन’. I was really wonderstruck. I had never made this wonderful connect before. Wow, this blog is born in the month of ‘सावन’ – ‘सावन – मन भावन’, and not just the month, on the first of the month. Now this is really auspicious. I can go on now connecting many more things, along with this connect. . .  but maybe not. Goodness, there are hundreds of songs in Hindi films that have the word ‘सावन’ in the mukhda. So I will move on by saying that this blog is blessed – for it is born in this auspicious month, showering sprinkles of delightful music in drizzles of melodious songs, one after the other. Oh sure, yes, this blog is a ‘सावन’ born. 🙂 Without any doubts. I am glad Atul ji highlighted this point to me, and that now we know what songs to post in the future, when the blog’s birthday comes along. 🙂

Coming back to this film and this song. I got the set of songs of this film from my collector friend. This film has some very wondrous songs, ten in all, eight of which are penned by IC Kapoor, and one each by DN Madhok and Ram Murti. This song is written by Ram Murti. The music composition is by Chitragupt, who has also lent his voice to two of the songs in this film, including this one. The blog already carries 5 songs from this film, and I promise you, the best of the songs are still to come. Just like this song today. It is such a joie de vivre expression of gaiety and celebration. The tempo is so sweet and so infective, that you will be swaying with the beat. When I heard this song for the first time, well, quite a while back now, I was simply bowled over by it. And even now, having heard it so often, whenever I play it again, I simply am not able to get over it.

नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ॰ ॰ ॰

Just listen to this song, and I assure you that at the end of the play, you will feel so un-satiated that you will be playing it again and again.

In some ways, this song also expresses my connect with the blog. Earlier in this article, I had mentioned a quote from the earlier posted last article in the KL Saigal series. So that is the connect here. Practically all my work for this blog happens in the dead of the night and in the wee hours of the morning. This is also mentioned in the quoted paragraph above. Even beyond the Saigal Sb series, my mode of working on the tasks related to this blog has not changed. All the posts that you see getting on to the blog at 7 am and 9 am – all these posts have been worked on and completed the previous night at times like 2 am and 3 am. 🙂

A very happy 10th birthday to ASAD; a ton of congratulations to Atul ji, and all the dear friends and co-passengers on this musical bandwagon. The saga continues. . .

नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ॰ ॰ ॰

 

Song – Nadiya Kinaare Mora Dera, Mashaal Jaley Saari Ratiyaan (Tarang) (1952) Singer – Mohammed Rafi, Geeta Dutt, Shamshad Begum, Chitragupt, Lyrics – Ram Murti, MD – Chitragupt
Chorus

Lyrics

saawan barse
kaari re badariya
phaagun rang ki phuhaar
ho oo
nainan mein mora
baanka re saanwariya

mann mein saanwariya ka pyaar. . .

. . . mashaal jaley saari ratiyaan
hoye nadiya kinaare mora dera
ho oo
nadiya kinaare mora dera
mashaal jaley saari ratiyaan
saari ratiyaan ho saari ratiyaan
saari ratiyaan
hoye nadiya kinaare mora dera
nadiya kinaare mora dera
mashaal jaley saari ratiyaan
ho oo main bhi karunga kabhi phera
main bhi karunga kabhi phera
mashaal jaley saari ratiyaan
hoye
nadiya kinaare mora dera
haa. . .
nadiya kinaare mora dera
mashaal jaley saari ratiyaan

jaise ganga mein lehre lehariya
waise lehre gori tori chunariya
ae ji dekho kahin neha lagaa ke
bhool jaiyo na mori dagariya
oo oo dil mein hai tera basera
dil mein hai tera basera
mashaal jaley saari ratiyaan
hoye
nadiya kinaare mora dera
haa hhaaa
nadiya kinaare mora dera
mashaal jaley saari ratiyaan

chanda se mil mil ke
khele ratiyaan
ho khele ratiyaan
chanda se mil mil ke
khele ratiyaan
bagiya mein khele bahaar
daar galey bainyaan
sajan sang khelun
balam sang khelun
daar galey bainyaan
sajan sang khelun
main albeli naar
ho oo kabhun na hovey savera
kabhun na hovey savera
mashaal jaley saari ratiyaan
hoye
nadiya kinaare mora dera
arre waah waah
nadiya kinaare mora dera
mashaal jaley saari ratiyaan
oye
nadiya kinaare mora dera
ha..an
nadiya kinaare mora dera
mashaal jaley saari ratiyaan

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Hindi script lyrics (Provided by Sudhir)
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सावन बरसे
कारी रे बदरिया
फागुन रस की फुहार
हो ओ
नैनन में मोरा
बांका रे साँवरिया
मन में साँवरिया का प्यार॰ ॰ ॰

॰ ॰ ॰ मशाल जले सारी रतियाँ
होय नदिया किनारे मोरा डेरा
हो ओ
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ
सारी रतियाँ हो सारी रतियाँ
सारी रतियाँ
होय नदिया किनारे मोरा डेरा
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ
हो ओ मैं भी करूंगा कभी फेरा
मैं भी करूंगा कभी फेरा
मशाल जले सारी रतियाँ
होय
नदिया किनारे मोरा डेरा
हा॰ ॰ ॰
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ

जैसे गंगा में लहरे लहरिया
वैसे लहरे गोरी तोरी चुनरिया
ए जी देखो कहीं नेहा लगा के
भूल जइयो ना मोरी डगरिया
ओ ओ दिल में है तेरा बसेरा
दिल में है तेरा बसेरा
मशाल जले सारी रतियाँ
नदिया किनारे मोरा डेरा
हा ह्हा
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ

चंदा से मिलके
खेले रतियाँ
हो खेले रतियाँ
चंदा से मिलके
खेले रतियाँ
बगिया में खेले बहार
डा गले बइन्या
सजन संग खेलूँ
बलम संग खेलूँ
डा गले बइन्या
सजन संग खेलूँ
मैं अलबेली नार
हो ओ कबहूँ ना होवे सवेरा
कबहूँ ना होवे सवेरा
मशाल जले सारी रतियाँ
होय
नदिया किनारे मोरा डेरा
अरे वाह वाह
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ
ओय
नदिया किनारे मोरा डेरा
हाँ॰ ॰ ॰
नदिया किनारे मोरा डेरा
मशाल जले सारी रतियाँ

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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3526 Post No. : 14163

Pandit Narayan Prasad ‘Betaab’ (1872-1945), Agha Hashr Kashmiri (1879-1935) and Pandit Radhe Shyam Katha Vaachak (1890-1963) are regarded as a troika of Parsi theatre. They were the most popular among the playwrights of their time. Their works took the Parsi theatre to the zenith of its glory. This is well recognised in most of the literature on the history of Indian theatres. While Betaab and Radhe Shyam have been credited for popularising plays in Hindi, Agha Hashr Kashmiri had done the pioneering work in Urdu drama.

However, all the three playwrights switched over to Hindustani in the peak of their careers in theatres for easy understanding as they found larger audience for such plays than before. Probably, this might be the one of the reasons as to why in the era of talkies, most of the films were made in Hindustani instead of pure Hindi or Urdu. In fact, in the initial period, talkie films were an extension of Parsi theatre dramas.

I have already covered in our blog, the life sketches of Pandit Narayan Prasad ‘Betaab’ in Abroo Ki Kamaanon Mein and of Agha Hashr Kashmiri in Yaad Mein Teri Jahaan Ko Bhoolta Jaata Hoon Main. In today’s post, I propose to cover the biography of Pandit Radhe Shyam Katha Vaachak, which is very interesting.

Pandit Radhe Shyam Katha Vaachak (25/11/1890 – 26/08/1963) was born in Bareilly in a poor Brahmin family. His father, Pandit Bankelal was a good singer and used to sing in Ram Lila. From the childhood, Radhe Shyam used to accompany his father to Ram Lila. At the age of 8, Radhe Shyam learnt playing harmonium from his father and started singing during Ram Lila along with his father.  Most of the time, Ramayan and other mythological stories were sung. Growing up in this environment made the young Radhe Shyam to pursue the vocation of Katha Vaachak (story-teller).

Though Radhe Shyam seems to have left the school before completing his primary level, he was well versed with Urdu, Awadhi and Brijbhasha besides Hindi . By the age of 12, Radhe Shyam started composing poems and also performing as a Katha Vaachak. Simultaneously, he learnt music from Ustad Rahat Ali Khan.

By the turn of the 20th Century, theatre companies in India had made their presence felt, mostly in urban and semi-urban centres. The Parsi theatres played an important role in staging dramas all over India. The New Alfred Theatrical Company of Bombay (now Mumbai) used to visit Bareilly every year  to stage their popular plays. The themes of the plays were mostly historical and mythological stories though some time social and political issues were also covered in the plays. Radhe Shyam was exposed to these types of  plays as his father usually took him to watch the plays staged by The New Alfred Theatrical Company.

Meanwhile, Radhe Shyam’s performance as a Katha Vaachak and his father’s singing drew attention of Pandit Motilal Nehru who was looking for a Ramayan singer to entertain his ailing wife. Both father and son spent over a month in Pandit Motilal Nehru’s residence, Anand Bhawan in Allahabad singing the story of Ramayan. With this kind of accreditation, Radhe Shyam started performing as  Katha Vaachak at various places in North India.

Around 1910, Radhe Shyam’s career as story-teller took a turn when he got interested in theatre. The inspiration for this change came from the play ’Khoobsoorat Bala’ written by Agha Hashr Kashmiri and directed by Soharabji Ogra. He liked the play so much that he decided to become a playwright. An opportunity came to him when The New Albert Company of Punjab came to Bareilly and visited Radhe Shyam’s house to enlist his services for revising the script of their play ‘Ramayan’. While staging this play in the royal palace, the Maharaja of Jaipur had found faults and his secretary had recommended Radhe Shyam’s name  for the revision.

After a month’s work, The New Albert staged the revised ‘Ramayan’ for which Radhe Shyam was given the additional responsibility of directing the play in place of Abdul Rehman Kabuli who was an actor in the play.  Master Nisaar played the role of Seeta. The play became successful and Radhe Shyam’s name became well known in the theatre circle.

Some of Radhe Shyam’s famous and hit Hindi/Hindustani plays were ‘Veer Abhimanyu’ (1916), ‘Shravan Kumar’ (1916), ‘Parivartan’ (1925), ‘Shri Krishnavtaar’ (1926), ‘Rukmini Mangal’ (1927), ‘Ishwar Bhakti’ (1928), and ‘Draupadi Swaymvar’ (1929). He also wrote an Urdu play ‘Mashriqui Hoor’ (1926). Most of his plays were staged by The New Alfred Theatrical Company. He became New Alfred’s full time employee as a playwright. During his theatre days, Pandit Radhe Shyam continued to perform as Katha Vaachak. In fact, he  used to devote time for the theatre works only when he was free from his main vocation.

However, due to his frequent bout of illness, Pandit Radhe Shyam’s long stint with New Alfred ended in August 1930 when he resigned from the Company. After recovery from his illness, Pandit Radhe Shyam got the offer from Maadan Theatres (of Calcutta (now Kolkatta)) to write dialogues and songs from their second talkie film ‘Shankutala’ (1931). The film was directed by JJ Maadan who wanted as many songs in this film, as in their first talkie film ‘Shirin Farhad’ (1931).  Pandit Radhe Shyam had to work the long hours for writing the songs which were picturised on the same day as he completed each song of the

Being a puritan in nature Pandit Radhe Shyam could not adjust to the working environment in the theatre and film studios, in which actors were smoking and drinking. In 1933, Pandit Radhe Shyam left Calcutta for Bareilly. Though offers were coming to him from the film production companies, he selected very few films such as ‘Shri Sataynarayan’ (1935) ‘Khudai Khidmatgar’ (1937), ‘Usha Haran’ (1940, as story and screen-play writer), ‘Jhansi Ki Raani’ (1952) and ‘Krishna Sudama’  (1957). He took all  these assignments when he was on private visits to Bombay.

In 1940, Pandit Radhe Shyam decided to stop earning money and to devote most of his time as Katha Vaachak free of cost. He became the disciple of Pandit Madan Mohan Malviya in pursuit of his social activities including Ganga Mahasabha. He toured the entire north India to propagate the use of Hindi. After the death of his elder son in October 1947 and of his wife sometime in 1957 Pandit Radhe Shyam fully devoted his time to the reading of Holy Scriptures and performing as a Katha Vaachak.

Pandit Radhe Shyam left for the heavenly abode on 26th August 1963 in Bareilly leaving his legacy in Radhe Shyam Ramayan and a dozens of his popular dramas.

Sometime in 1920s, Pandit Radhe Shyam Katha Vaachak,  wrote the epic poem ‘Ramayan’ for the masses in the simple language (in Hindustani). He wrote the epic poem in 24 parts and got published in his own printing press set up for this purpose in 1939. To make the print copies of his version of Ramayan affordable to the masses, he fixed a nominal price of  Re.1/-. The Radhe Shyam Ramayan as it is known today became so popular that almost all Ramlilas were staged based on his Ramayan in the Hindi belt.  In Ramanand Sagar’s TV serial ‘Ramayan’ telecast during 1987-88, one of the sources mentioned in the credit title was Radhe Syham Ramayan. Later on. with his involvement in propagating Hindi, Pandit Radhe Shyam converted the language from Hindustani to pure Hindi.

In 1947, Pandit Radhe Shyam thought of producing a film based on his Ramayan, titled ‘Ram Janm’. He had roped in his close friends Prithviraj Kapoor and Chandramohan for the main roles who had agreed to work free of cost  for him. First, the film was to be shot in the studios of Kolhapur/Poona. The cost worked out much higher than the budget. On the suggestion of some of his well-wishers, he decided to produce the film in a Calcutta studio where the cost would have worked out within his budget. A financier from Calcutta was found and Rameshwar Sharma was taken as the director.

Before, the film’s shooting could commence, Hindu-Muslim riots broke out in Bengal. After a few days, Pandit Radhe Shyam had to rush back to Bareilly to attend to his elder son who was seriously ill. He later died of illness. Around the same time, his film’s financier as well as the director, Rameshwar Sharma, also passed away. Ultimately, the film ‘Ram Janm’ was scrapped. Pandit Radhe Shyam’s wish to produce a film on Ramayan story remained unfulfilled.

Today’s generation may not know much about Pandit Radhe Shyam  Katha Vaachak of  his contributions to the Indian theatre. However, I am sure he is well known especially in the Hindi belt for his Radhe Shyam Ramayan through Ram Leela.

As mentioned earlier, Pandit Radhe Shyam  had decided in 1940 that he would stop working for money. So the films for which he worked as a dialogue writer/lyricist in 1940 and thereafter was free of charge to the producers.

One of Pandit Radhe Shyam’s earliest films in Bombay was ‘Khudai Khidmatgar’ (1937). The film was produced under the banner of Bharat Lakshmi Pictures and was directed by Vithaldas Panchotia. The star cast included Mazhar Khan, Sarla Devi, Vithaldas Panchotia, Khalil Ahmed,  JN Dar (Kashmiri), Shayam Sunder, Rampiyari, Radha Rani, Fida Hussain, Nand Kishore, Vilayat Hussain etc. The film had 10 songs, out of which this one is written by Pandit Radhe Shyam. As for the remaining nine, the Geet Kosh lists the lyricist name as Tanveer. However, some online sources credit the songwriting of these 9 songs to Aarzoo Lakhnavi. The songs were set to music by Nagar Das Nayak.

I am presenting the first song ‘Ye Suna Hai Maine Jaadu Hai Rajaji Ke Pad Pankaj Mein’ written by Pandit Radhe Shyam. The complete song is of the duration of more than 6 minutes, and it is published on two sides of the 78 rpm record no. N 16020.

It is in the fitness of thing that this song has been sung by Fida Hussain who was discovered by none other than Pandit Radhe Shyam in 1918 as actor-singer for female roles for plays staged by The New Alfred Theatrical Company.  An autobiography of  Fida Hussain was written by Pratibha Agrawal under the title  ‘My 50 Years in Parsi Theatre’ (1986) on the basis of a series of interviews with him. Since this article has already become too long, I will not add the life sketch of Fida Hussain. One important note about him – in 1939 he donned the title role of Narsi Mehta in the play ‘Narsi Mehta’. The play became a hugely popular hit and it ran for over 1000 nights. Because of this, Fida Hussain was honoured with the title ‘Narsi’ which he proudly used as suffix to his name as  Fida Hussain ‘Narsi’.

The song under discussion is one episode taken from Radhe Shyam Ki Ramayan and it has been rendered as katha vaachan (story-telling). It describes the episode from the initial days of banwaas when Lord Ramchandra, Seeta and Lakshman were required to cross the river Ganga. The boatman recognising Lord Ram said that he would like to wash Lord Ram’s feet before he allowed Him to step on to his boat as he had heard that with the dust of His feet, a statue made of stone turned into a woman. So he does not want his wooden boat turned into many women. With his meagre earnings as a boatman, he does not have enough to take care of them. Pleased with the innocence of the boatman, Lord Ram permitted him to wash His feet.

After washing Lord Ram’s feet, the boatman ferried them across the Ganga river. As they alighted, Seeta Maata handed over Her ring to Lord Ram to pass on to the boatman as the payment for ferry as they had no money to offer. The boatman refused to accept the ring. He then explained to Lord Rama that people from the same profession do not take the payment for the services rendered to each other. A labourer would not accept payment from another labourer and a boatman would not accept payment from another boatman.

Lord Ram responded that He and the boatman were not in the same profession. To which, the boatman further explained that both of them did the same service. The boatman ferried people from one shore to another and Lord Ram ferried people across the ocean of this world (bhavsaagar) during the journey of life. The boatman further said that if Lord Ram did not want to feel obligated to him, He can pay His debt by taking the boatman across the ocean of world.

Since Fida Hussain acted in this film, it is apparent that the song was picturised on him. Incidentally, the role of Fida Hussain in the film was that of a Hindu Commander to the Muslim King.

With this song, ‘Khudai Khidmatgar’ (1937) makes its debut on our blog.

[Author’s Note: Acknowledgements: The bio sketch of Pandit Radheshyam Kathavaachak is based on the English translation of his autobiography ‘Mera Natak Kaal’ (1957), incorporated in the book, ‘Stages of Life – Indian Theatre Autobiographies’ (2011) by Kathryn Hansen; plus inputs from a couple of articles on him which appeared in Hindi/English newspapers.]


Song – Ye Suna Hai Maine Jaadu Hai Raja Ji Ke Pad Pankaj Mein (Khudai Khidmatgaar) (1937) Singer – Master Fida Hussain, Lyrics – Radheyshyam Kathaavaacha, MD – Nagar Das Nayak
Unidentified Male Voice

Lyrics

kevat yun kehne lagaa..aa
zara sakuch ke saath
kehni to hai baat par
kahi na jaati naath
 
ye suna hai maine jaadoo hai
raja ji ke pad pankaj mein
raja ji ke pad pankaj mein
pathhar mein jaan daalne ki
hai shakti mahaan charan raj mein
 
jo hai so. . .
ramji ki ichchaa se phir kya hua
 
nahi jab tak charan loon pakhaar
chadhaaun na raja
chaahe roothho karo chaahe pyaar
chadhaaun na raja
 
rahe jo bhed to howe mujhe aadi ganga
tumhaare mere hain dono ke agaadi ganga
ghule jab tak na mann ka vikaar
chadhaaun na raja
 
jo hai so phir kyaa hua?
 
tab shri ramchandra ji ne kaha
kaho tumhaara jaaye yadi
sanshay isi prakaar
to hum bhi taiyyaar hain
lo ye charan pakhaar
 
unn charon kaa mal kyaa dhoya
dhoya kevat ne mal apna
kar liya janm janmaantar tak
us kevat ne ujawwal apna
jo charan anekon tap kar ke
muniyon ko drishti na aaate hain
kyaa taajjub hai kevat dwaara
is prakaar dhoye jaate hain
 
yun hi naavik kar chuka
jab apna uddhaar
jaa pahunchi nauka udhar
ganga ji ke paar
jaa pahunchi nauka udhar
ganga ji ke paar
jaa pahunchi nauka udhar
ganga ji ke paar
 
kevat ne udhar bida maangi
teenon ko sheesh nawaa kar ke
teenon ko sheesh nawaa kar ke
bhagwaan us samay mann hi mann
rah gaye zara sakucha kar ke
 
apne swami ki sakuchaahat
jis samay nihaari seeta ne
jis samay nihaari seeta ne
ungli se apni mani mundri
us samay utaari seeta ne
 
seeta ki mundri lage ae
dene seeta nath
tabhi kahaa mallaah ne
wahin nawaa kar maath
 
mazdoori to main ne apni
hey nath peshkar le li hai
aur wo bhi apni muhn maangi
apna jee bhar kar le li hai
chuk gayi mazoori jab  meri
to raha aap par bhaar nahi
uddhaar ho gaya jab mera
to kaudi rahi udhaar nahi
 
main ganga ghaat kaa maanjhi hoon
tum bhavsaagar ke kevat ho
main is dhaara ke teer pe hoon
aur tum us dariya ke tat ho
 
mazdoor kahin mazdooron ko
mazdoori dete hain bhaiyya
mallaah kahin mallaahon se
mallaahi lete hain bhaiyya
 
apne ko rini samajhte ho to
rin tum wahin chukaa dena
apne ko rini samajhte ho to
rin tum wahin chukaa dena
maine hai tumko paar kiya
tum mujhko paar lagaa dena
maine hai tumko paar kiya
tum mujhko paar lagaa dena
 
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
केवट यूं कहने लगा
ज़रा सकुच के साथ
कहनी तो है बात पर
कही ना जाती नाथ

ये सुना है मैंने जादू है
राजा जी के पद पंकज में
राजा जी के पद पंकज में
पत्थर में जान डालने की
है शक्ति महान चरण राज में

जो हैं सो॰॰॰
रामजी की इच्छा से फिर क्या हुआ

नहीं जब तक चरण लूँ पखार
चढ़ाऊँ ना राजा
चाहे रूठो करो चाहे प्यार
चढ़ाऊँ ना राजा

रहे जो भेद तो होवे मुझे आड़ी गंगा
तुम्हारे मेरे है दोनों के अगाड़ी गंगा
घुले जब तक ना मन का विकार
चढ़ाऊँ ना राजा

जो है सो फिर क्या हुआ

तब श्री रामचंद्रा जी ने कहा
कहो तुम्हारा जाये यदि
संशय इसी प्रकार
तो हम भी तैयार हैं
लो ये चरण पखार

उन चरणों का मल क्या धोया
धोया केवट ने मल अपना
कर लिया जन्म जन्मांतर तक
उस केवट ने उज्ज्वल अपना
जो चरण अनेकों तप कर के
मुनियों की दृष्टि ना आते हैं
क्या ताज्जुब है केवट द्वारा
इस प्रकार धोये जाते हैं

यूं ही नाविक कर चुका
जब अपना उद्धार
जा पहुंची नौका उधर
गंगा जी के पार
जा पहुंची नौका उधर
गंगा जी के पार
जा पहुंची नौका उधर
गंगा जी के पार

केवट ने उधर बिदा मांगी
तीनों को शीश नवा कर के
तीनों को शीश नवा कर के
भगवान उस समय मन ही मन
रह गए ज़रा सकुचा कर के

अपने स्वामी की सकुचाहट
जिस समय निहारी सीता ने
जिस समय निहारी सीता ने
उंगली से अपनी मणि मुद्रि
उस समय उतारी सीता ने

सीता की मुंदरी लगे
देने सीता नाथ
तभी कहा मल्लाह ने
वहीं नवा कर माथ

मजदूरी तो मैंने अपनी
हे नाथ पेशकर ले ली है
और वो भी अपनी मुंह मांगी
अपना जी भर कर ले ली है
चूक गई मजूरी जब मेरी
तो रहा आप पर भार नहीं
उद्धार हो गया जब मेरा
तो कौड़ी रही उधार नहीं

मैं गंगा घाट का मांझी हूँ
तुम भवसागर के केवट हो
मैं इस धारा के तीर पे हूँ
तुम उस दरिया के तट हो

मजदूर कहीं मजदूरों को
मजदूरी देते हैं भैया
मल्लाह कहीं मल्लाहों से
मल्लाही लेते हैं भैया

अपने को ऋणी समझते हो तो
ऋण तुम वहीं चुका देना
अपने को ऋणी समझते हो तो
ऋण तुम वहीं चुका देना
मैंने है तुमको पार किया
तुम मुझको पार लगा देना
मैंने है तुमको पार किया
तुम मुझको पार लगा देना


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 : 3473 Post No. : 13947

“Amaanush”(1975) was produced and directed by Shakti Samanta for Shakti Productions, Bombay. The movie, based on a Bangla story by Shaktipada Rajguru, was made in Hindi as well as Bangla with the same actors. The movie had Uttam Kumar, Sharmila Tagore, Anil Chatterjee, Prema Narayan, Utpal Dutt, Abhi Bhattacharya, Manmohan, Asit Sen, Manik Dutt, Tarun Ghosh, Amol Sen, Subrotho Mahapatra, S N Bannerjee, Rajni Gupta, Probir Roy etc in it. The movie was a critically acclaimed as well as popular movie. The Bangla version of the movie is in fact counted as a classic in the annals of Bangla movies.

“Amaanush” (1975) had si songs in it. Five of these songs have been covered in the blog.

Follwing are these songs covered earlier:

Song Title

Post No.

Post Date

Dil aisa kisi ne mera toda 5144 11-Dec-11
Kal ke apne na jaane kyun ho gaye aaj paraaye 5176 22-Dec-11
Na poochho koi hamen zehar kyun pea liya 5211 28-Dec-11
Gham ki dawa to pyaar hai 12808 13-Jan-17
Tere gaalon ko choomoon jhumka ban ke 13941 19-Jan-18

Here is the sixth and final song from “Amaanush”(1975) to appear in the blog. This song is a movie opening song that plays in the background as credits roll on. The song is sung by Shyamal Mitra, the music director himself, much like how S D Burman would sing a movie opening songs in “Guide”(1965) and “Amar Prem”(1971). Incidentally, “Amar Prem”(1971) too was produced and directed by Shakti Samanta.

Indeewar is the lyricist.

With this song, “Amaanush”(1975) joins the list of movies that have all their songs covered in the blog.


Song-Nadiyaa mein lahren naachen (Amaanush)(1975) Singer-Shyamal Mitra, Lyrics-Indeewar, MD-Shyamal Mitra

Lyrics

nadiya mein aen aen hey
lahren naachen aen hey
lahron pe naache naiya aa aa
kiske ishaaron pe duniya naache
koi na jaane bhaiya
koi na jaane bhaiya
kiske ishaaron pe duniya naache
koi na jaane bhaiya
koi na jaane bhaiya

naach rahe hum kathputli se
koi humko nachaaye
naach rahe hum kathputli se
koi humko nachaaye
jiske haath mein dor hamaari
wahi nazar nahin aaye
jeewan naiya leke chali hai
jeewan naiya leke chali hai
jaane kahaan purwaiya
koi na jaane bhaiya

o o o o ho
o o o o o o

jaane kahaan se aate hain sab
jaane kahaan jaate hain
jaane kahaan se aate hain sab
jaane kahaan jaate hain
raah mein jode na mein tode
bade ajab naate hain
baadal hai kis dulhan ka aanchal
kirnon mein kiski chhaiya
koi na jaane bhaiya
nadiya mein ae ae hey
lahren naache hey
lahron pe naache naiya aa aa aa


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 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.

Sajjaad Hussain – a name that invokes a feeling of rare and precious stones. Treasures that are scarce, and extremely hard to come by. Treasures that are small in numbers to start with anyway. And treasures that are extremely valuable, like diamonds of unusual and endearing qualities. Diamonds imbued with qualities that invoke surprise in how the emotions blend with the words, that blend into the music, that is breathtaking at times. Treasures always number very few. Songs composed by Sajjaad Sb are such precious treasures, discoveries of the remaining few of which is always a titillating celebration for the aficionados.
Read more on this topic…


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.

“Do Bhai”(1961) was directed by Vishram Bedekar for All India Pictures. The movie had Abhi Bhattacharya, Shakila, Anil Kumar, Helen, Sulochana, Daisy Irani, Manorama, Rajan Haksar, Indira Bansal, Durga Khote, Om Prakash etc in it.
Read more on this topic…


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.

“Dil”(1946) was directed by S F Hasnain for Fazlli brothers, Bombay.. The movie had Noorjahaan, Abdul Latif, Baby Zubaida, Amina, A M Khan, Kamal, Geeta Bose, Ghory, Bhudo Advani, Anwari, Razi, Anees etc in it. etc in it.
Read more on this topic…


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.

“Surang”(1953) was produced and directed by V Shantaram for Rajkamal kala Mandir. The movie had Ulhas, Shashikala, Vinod Kumar, K. Date, Vikas, Sheila Ramani, Chandrashekhar, Joginder etc in it.
Read more on this topic…


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.

“Rajhath”(1956) was produced and directed by Sohrab Modi for Minerva Movietone. The movie had Sohrab Modi, Pradeep Kumar, Madhubala, Murad, Ulhas, Kammo etc in it.
Read more on this topic…


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 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.

Songs to Tickle Your Memory – 28
– – – – – – – – – – – – – – – – – –

It was a dark and stormy night.

OK, okay, I am just making it up.  It was not a dark and stormy night.  Delhi is well lighted in the nights these days, so it is hard to come by a dark night unless it is a power failure on a moonless night.  Plus being the month of November, and the onset of winters, no storms are likely.  Ah but how I wish I could start the story with this line. 😉
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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Sohni Mahiwal” (1946) was directed by Ishwarlal and Ravindra Jaikar for Jayant Desai Productions, Bombay. The movie had Ishwarlal, Begam Para, Mubarak, Dixit, Revashankar, Saeed ahmad, Dharpure, Bibibai, Shobha, Nafees Begam, Kesarbai etc in it.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14752

Number of movies covered in the blog

Movies with all their songs covered =1150
Total Number of movies covered =4034

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