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

Archive for the ‘S D Batish solo songs’ Category


This article is written by Arunkumar Deshmukh, 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 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 :

4802 Post No. : 16568

Today’s song is from the film Ladli-1949. This was one of the popular films of MD Anil Biswas in those times. He was still in his prime, but on the downward curve past his prime. By mid 50’s, films came at a snail’s pace to him and then in a few years he left Mumbai, shifted to New Delhi and his life took a 90 degree turn, personally and professionally.

Anil Biswas,the Bhishma Pitamaha of HFM, was a respected person in the industry.He started from the mid 30s and for the next 25 years or so,he created many everlasting gems in film songs. In Bombay, Playback was first started by him in the film Mahageet-1937. By the mid 50s his magic started waning and by 1960, he was almost gone from the industry. Initially he did 10-11 films with Sagar, then with Mehboob for National studios and then in Bombay talkies- where his name became immortal with the film Kismet-1943.

He married Ashalata in 1936. Along with her he started variety pictures and they produced films like Laadli-49,Laajawab-50 Badi bahu-51, Hamdard-53 and Bajuband-54. ( a less known fact is-Anil da had made a Guest appearance in the film Hamdard-53 as a barber.) He also acted in the film Mehman-53 (produced by Ashalata),as a Pujari and a song was shot on him.In both cases he did not get any payments. As a Producer he lost heavily, because Ashalata usurped all the money. Frustrated, he gave up everything and separated from her in 1954. By now, sweet links were established with singer Meena Kapoor-25 years younger to him, since 1948 itself. They got married with each other on 19-3-1957. The death of Brother in law and close friend Pannalal Ghosh in 1960 and younger brother Sunil in 1961 as well as his eldest son- Pradeep,broke his heart. He left Bombay and joined A.I.R. at Delhi on 1-3-1963,where he worked upto 27-6-1975. Later he was a consultant for Nehru University for a few years.

However,hardly anything is known about his eldest son Pradeep,anywhere. Here is some information,hitherto not known much,brought specially for our readers.
Pradeep was a very bright student and always topped in school and college. He passed his entrance exam and the interview,with flying colours for entry to NDA college at Poona,to join armed forces. He excelled even in NDA training.Not only was he very popular there but sang well too. He participated in the music Festival of Khadakwasla NDA and sang 3 songs,winning all prizes. He was also a NDA Topper.

Shri Gopinath Talwalkar,an A.I.R. Programmer at Delhi,used to interview the Toppers of NDA every year. That year Pradeep was the Topper, so he was interviewed. Though the interview was in Hindi, after the recording,Pradeep asked Talwalkar,in pure Marathi,whether his interview had been good. Talwalkar was shocked. Pradeep then explained that he was Anil Biswas’s son and he had learnt Marathi from his actress mother Ashalata. Pradeep knew Hindi,Marathi,English and Gujarati languages.

After completing his NDA training,he was posted as Flight cadet at Jodhpur. He was further promoted and became Pilot Officer in 1957. During one Training flight some altitude problems occurred and his plane crashed at Begumpet Airport, Hyderabad, killing Pradeep instantly. This happened in 1961.

This was also the time of crisis for Anil da. He was struggling to survive. Films were not coming to him. Since he married Meena Kapoor, Lata Mangeshkar-a fast close friend of Ashalata , had gone against him and Meena’s singing career was suppressed. He had already lost Pannalal Ghosh and Sunil-his brother and now Pradeep’s death devastated him and he was literally forced to seek employment with Delhi A.I.R., when the opportunity came. After retirement, till his death on 31-5-2003, he spent his life in total anonymity and recluse. So sad for a composer, who was once a fountain of enthusiasm and who was considered Mentor by leading contemporary composers like C.Ramchandra.

By 1949, the Indian film industry had reasonably stabilised having gone through the rigours of the war period and total shake up of the industry due to the Partition blues. 1949 was the best year in the Golden Era of HFM. There were so many films offering evergreen, out of this world songs, that the audience did not know which film to see and which song to hear. The sale of records registered a Record of Sales in 1949. 157 films were made in 1949. Barring the figure of 181 films in 1947 ( we know the reasons), 1949 produced the maximum films from 1931 to 1984 – a period of 50++ years. What’s more, almost every alternate film gave superb songs. Nearly every Music Director of Hindi films was present in 1949, with his film.

This was also a transition period, when older composers were giving way to newer ones. Additionally, the competition between Naushad and C Ramchandra for the Number One position was at its peak. Though CR is my favourite composer, during the period 47 to 49, it was all the way Naushad who was the undisputed Numero Uno as far as quality and number of hit films were concerned.

In this period Naushad’s strike rate of Hit films was more than double, compared to C R, percentage wise. Naushad had 8 Hits from his 9 films in the period 1947 to 1949. For the same period, CR had only 4 Hits in his 18 films.

The year 1949 had absolutely heavenly showers of Musical Films. Some of such films were Andaz, Badi Behan, Barsaat, Bazaar, Dulari, Jeet, Apna Desh, Chandni Raat, Chaar Din, Sunehre Din, Shayar, Dillagi, Ek thi ladki, Kaneez, Laadli, Lahore, Mahal, Namoona, Patanga etc etc. The year 1949 also witnessed the introduction of A and U Censor certificates, the establishment of Films Division, the start of Navketan productions of Anand brothers and a few other landmarks in Hindi film industry.

Today’s song is an excellent song but rarely heard and not so popular for reasons difficult to fathom. It’s singer was Shiv Dayal aka S.D. Batish. I have a lot of respect for S D Batish,who did a marvellous job of promoting Indian Music in the UK and USA. He is one of those rare people who left the film world, but continued serving the Music,by turning a corner in Life. Such people are few in this world. The monumental work he did for Indian Music in foreign lands is unparalleled. An important point is that he did not do this service to Music for his personal gains. For his sustenance,he had opened a Restaurant in Santa Cruz,California,which was providing him enough for a comfortable living in the USA.

Born December 14, 1914, in Patiala, India, Shiv Dayal Batish abandoned a career in the nascent telephone industry to study devotional song, folk drama, and Indian classical music under his guru Hakim Chandan Ram Charan. In 1934, he relocated to Bombay to try his hand at acting, but roles proved scarce and he returned to Patiala two years later, renewing his focus on music. By 1936 Batish was regularly appearing on All India Radio and recording his first sessions for His Master’s Voice. The film industry nevertheless retained its allure for him, and in 1939 he returned to Bombay, working for a spell under broadcasting legend Z.A. Bokhari. After earning his first film work as an assistant musical director in 1942, Batish later graduated to full-fledged Bollywood musical director, in the years to follow working with playback singer greats including Asha Bhosle, Lata Mangeshkar, and Mohammed Rafi.

Batish also moonlighted as a playback singer in 70 films, singing 115 songs, among them 1944’s Daasi and 1948’s Barsaat ki Raat, before relocating to Britain in 1964. After accepting a position with the BBC Immigration Unit, Batish became a regular in British radio and television, most notably composing “Nai Zindagi Naya Jivan,” the theme song to the Beeb’s classic South Asian series Apna Hi Ghar Samajhiye (“Make Yourself at Home”). He also returned to his roots as a live musician, performing Indian folk and classical music on the vichitra veena, a long-necked fretless flute. In 1965 Batish was summoned by percussionist Keshav Sathe to record the Indian-inspired incidental music for the Beatles’ second feature film, Help! — the experience also proved the beginning of his lifelong friendship with Beatle George Harrison, who later hired Batish to teach his then-wife Patti Boyd the stringed dilruba.

In 1969 Batish assembled wife Shanta Devi, daughter Vijay Laxmi and sons Ashwin Kumar and Ravi Kumar to record North Indian Folk and Classical Music, which for decades remained the lone Indian release to appear on the seminal folk label Topic Records. A year later, the family emigrated to the U.S., settling in northern California and founding a restaurant, the Santa Cruz-based Krishna Café. Although the restaurant business remained Batish’s primary focus for the remainder of his life, he continued playing live and also cut the occasional LP, most notably 1980s Raga Todi, 1985’s Om Shanti Meditation on Dilruba and 1997’s The 72 Carnatic Melakhartas.

He founded “Batish Institute of Music and Fine arts” in California and wrote about 12 books on Indian Classical music,like Ragopaedia,Raga Channels,Rasik Raga lakshan Manjiri etc. He had also founded Batish Recording Co.

He died at age 91 on July 29, 2006.

His singing on AIR drew the attention of an older cousin, Pandit Amarnath, who was an accomplished musician in the Punjabi film industry in Lahore. Amarnath gave Batish the opportunity to sing a song – Pagdi Sambhal Jatta – he had composed for the film Gawandi (1942). The song became a hit, making Batish popular. But, all told, the experience was bittersweet. Ashwin says his father did not relish acting in the movie: the frequent takes, the blinding light from mirrors used as reflectors unnerved him.

As Amarnath’s assistant, Batish learned various aspects of music direction: rehearsing with singers, synchronising instruments and working with an orchestra. These learnings opened yet another opportunity for him. He was invited to Bombay by the Marathi writer and film impresario Keshav Prahlad Atre (Acharya Atre) to compose music for the film Paayaachi Daasi. But, in the end, credit was given to Annasaheb Mainkar.

After the Partition in 1947, the year Amarnath died, Batish moved back to Bombay, this time not to try his luck as an actor, but as a singer and composer. Several prominent music directors of the day employed him for their movies – Anil Biswas for Laadli, Husnlal-Bhagatram for Sawan Bhado, Hamari Manzil, and Surajmukhi; Ghulam Mohammad for Kundan; Roshan for Barsat ki Raat and Taksal; and Madan Mohan for Ada and Railway Platform. Some of his more notable songs were sung with Geeta Dutt in films he provided music himself, such as Betaab and Bahu Beti. He was associated with films in Hindi and gave music to 20 films, composing 154 songs, as S.D.Batish,Master Ramesh and Nirmal Kumar. Some of his songs were famous.

Batish, whose musical oeuvre has been described as an “amalgam of classical music and Punjabi folk and popular styles” composed for 20 films, including Har Jeet, Tipu Sultan and Toofan. For two films, he composed under the name Nirmal Kumar – a moniker that Lata Mangeshkar had given him for luck, according to Ashwin.

By this time, Batish had grown disenchanted with the Hindi film world. Ashwin recalls that his father needed a steady income to sustain his young family, but payments were erratic and delayed. Irked by this, Batish worked for a while to set up an artistes’ union to give them a platform to air their grievances and demands. Then the family decided to go to England.

Shanta Devi, like Batish early in his career, had been an artist with the All India Radio at one time. To raise money for the air tickets, the family sold its land in Bombay’s Santa Cruz neighbourhood – now worth a fortune, Ashwin says. Its new home was on Birchington Road, a residential area in London’s West Hampstead.

The move to the US, as with the one to England, was a family decision. Shanta Devi’s initiative led to the Batish India House (at first called the Sri Krishna Café), a restaurant on Santa Cruz’s Mission Street that served Indian food while music was played by members of the Batish family. “I would serve food and then jump on stage to play music,” remembered Ashwin, who like his father plays several instruments, including the sitar and tabla.

The restaurant was featured often in the local paper, The Santa Cruz Sentinel, and ran till 1985, before music became the all-absorbing act, and SD Batish embarked on the “project of a lifetime”. His wish to collate, annotate, and set in writing every known detail of the Hindustani (the Ragopedia compendia) and Carnatic musical systems coincided with Ashwin’s discovery of Gopher, an early internet protocol that enabled files to be recorded, uploaded and distributed easily. It was a project envisioned after their visits to the library of the University of Berkeley yielded barely a few books on Indian music, and mostly on the Carnatic tradition. What was an inspiration for Batish to explain every raga became a boon not merely for music aficionados but also for his students who were familiar only with English.

He regularly performed with his children, Ashwin and daughter Meena, and lived long enough to see his grandchildren, Keshav and Mohini, grow into musicians. ( Thanks to obituary and bio byJason Ankeny and an article by Anu kumar in scroll.in dated 24-6-2021, along with muVyz, HFGK, Wiki and my notes. All excerpts are adapted ).

Today’s song is the 8th song from this film to be posted here. I like this song very much, I hope you too will like it.


Song- Kisi rangeen duniya mein na kya kya zindagi dekhi (Laadli)(1949) singer-S D Batish, Lyrics-Chandrashekhar Pandey, MD-Anil Biswas

Lyrics

kisi rangeen duniya mein
na kya kya zindagi dekhi
rulaa de gham ko bhi ek baar
aisi zindagi dekhi
kisi rangeen duniya mein
na roti pet ko
kapde na tan ko
ghar na rahne ko
na roti pet ko
kapde na tan ko
ghar na rahne ko
magar kehlaate hain insaan
aisi zindagi dekhi
rulaa de gham ko bhi ek baar

luti duniya kisi ki
ee ee ee ee ee ee
luti duniya kisi ki
par wo sotey bhool kar rona
kafan laaun kahaan se haaaaye
kafan laaun kahaan se haaye
aisi zindagi dekhi
rulaa de gham ko bhi ek baar

umar baali phati dhoti
idhar kheenche udhar kheenche
umar baali phati dhoti
idhar kheenche udhar kheenche
jawaani bhookh donon se
sataayi zindagi dekhi
rulaa de gham ko bhi ek baar

Tadapte bhookh se bachche
padi beemaar hai beevi
Tadapte bhookh se bachche
padi beemaar hai beevi
padi beemaar hai beevi
na kuchh paayaa aa aa
na kuchh paaya
to rassi se
lalakti zindagi dekhi
kisi rangeen duniya mein


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 :

4429 Post No. : 15855

“Betaab”(1952) was produced and directed by Harbans for Susheel Pictures, Bombay. The movie had Ashok Kumar, Naseem, Motilal, Kamal Kumar, Murad, Mirza Musharraf, Tiwari, Kamal, Nazeer Kashmiri, Agha Mirza, Afghan Sandow, S Kamal, Parvati devi, Meera Aarti etc.

“Betaab”(1952) had thirteen songs in it. Two songs have been covered so far.

Here is the third song from the movie. This song is sung by S D Batish. Bharat Vyas is the lyricist. Music is composed by S D Batish.

Going by the mukhda “binti karat hoon main tori maa” and going by the fact that it is penned by Bharat Vyas, some people may belieb=ve that it is a bhajan. Not al all. This song is a comedy song where a person is requesting his mother to get him married as soon as possible. He has no demands, no bars, no qualifications in mind for the prospective bride. The most openminded bridegroom ever !

The hilarious lyrics contains words that are considered politically incorrect now a adys but they raised no eyebrows those days. In any case it is a comedy song and it should be treated as such.

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


Song-Binti karat hoon main tori maa (Betaab)(1952) Singer-S D Batish, Lyrics-Bharat Vyas, MD-S D Batish

Lyrics

binti suno o o o o
mori
maa
maa
binti karat hoon main tori maa
binti karat hoon
binti karat hoon
binti karat hoon main tori maa
tu shaadi kara de
shaadi kara de
shaadi kara de mori ma

agle phaagan tak jo mujhko
nahin milegi biwi
to saanch kahoon bhagwaan kasam
mujhe ho jaayegi t b
chaahe kaani ho
ya andhi ho
wo looli ho
ya langdi ho
chaahe goongi ho ya bahri ho
chaahe goongi ho ya bahri ho
wo kaali ho ya gori ma
tu shaadi kara de
shaadi kara de
shaadi kara de
mori shaadi shaadi shaadi
mori shaadi shadi shadi
mori shaadi shadi shadi
o mori shaadi shaadi shaadi
mori shaadi shaadi shaadi
mori shaadi shaadi shaadi
shaadi

jaat paat ki fikar na karna
jo kuchh bhi ho naam
des bides kahin ki bhi ho
humen byaah te kaam
punjaaban ho
bangaalan ho
gujaraatan ho
maarwaadan ho
madraasan ho
maaraathan ho
madraasan ho
maaraathan ho
wo kahin ki bhi ho chhori ma
tu shaadi kara de shaadi kara de
shaadi kara de
mori shaadi shaadi shaadi
mori shaadi shadi shadi
mori shaadi shadi shadi
o mori shaadi shaadi shaadi
mori shaadi shaadi shaadi
mori shaadi shaadi shaadi
shaadi


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 : 3493 Post No. : 14034

The box office successes of ‘Chaudhvin Ka Chaand’ (1960) and ‘Taj Mahal’ (1963) were mainly attributed to musical bonanzas they offered to the cinegoers in general. In that process, the captain of the ships, i.e., the director of the films who had an important role in making the films the box office success was largely ignored. In those days, like many, I identified the first film with Guru Dutt and the music director Ravi. In case of ‘Taj Mahal’ (1963), I identified the film with the musical and lyrical feasts of Roshan and Sahir Ludhianvi. I was not aware at that time that these two successful films were directed by M Sadiq.

After few years when I did come to know of M Sadiq, I thought of him as a new upcoming director who specialised in directing Muslim social and historical films. This was borne out of the facts that his subsequent two films were ‘Bahu Begum’ (1967) and ‘Noor Jahan’ (1967). How wrong I was!

Last year, while doing a research on producer-director  AR Kardar, I became aware of the fact that M Sadiq (10/03/1910 – 03/10/1971) started his filmy career as early as 1932 as screen-play writer for Punjabi film, ‘Heer Ranjha’ (1932) which was a debut film for AR Kardar as the director of a talkie film.

After 1932, there appears to be a big gap in his filmy career if I go by his filmography. However, browsing through many pages of various ‘Filmindia’ issues gives me an indication that M Sadiq assisted AR Kardar all through 1932 to 1942 in his various directorial ventures, in various capacity – story/screen-play/dialogue writer, editor in addition to being one of his regular Assistant Directors.

By 1942, M Sadiq had become one of the two key assistants to AR Kardar along with SU Sunny. (SU Sunny later directed films like ‘Udan Khatola’ (1955), ‘Kohinoor’ (1960) and ‘Paalki’ (1966)). Baburao Patel, Editor of ‘Filmindia’ magazine had described them as ‘the left hand and the right hand of AR Kardar’ without identifying as to who was left hand and who was the right hand. He had also nicknamed them as ‘little Kardars’.

When AR Kardar set up his film production company, Kardar Productions in 1942 with his maiden film ‘Sharda’ (1942) as a producer-director, he gave an additional responsibility to M Sadiq as the film editor. In his next film, ’Namaste’ (1943),  AR Kardar entrusted  M Sadiq and SU Sunny to jointly direct the film. Kardar’s ‘Jeewan’ (1944) appears to be the first film which M Sadiq directed independently. However, this film did not do well on the box office. In the same year, Jaimini Dewan Productions gave him the opportunity to direct ‘Rattan’ (1944). The film became a box office bonanza for its producer. However, the credit for the success of the film was mainly given to the musical scores by Naushad.

From 1946 through 1950, M Sadiq directed 8 films which included ‘Shaam Savera’ (1946), ‘Daak Bangla’ (1947), ‘Kaajal’ (1948), ‘Chaar Din’ (1949) and ‘Sabak’ (1950), the last mentioned film was his first home production under the name of Sadiq Productions. In the 1950s, he directed 11 films, mostly his home productions like ‘Saiyaan’ (1951), ‘Shabaab’ (1954), ‘Musafirkhana’ (1955), “Chhoo Mantar’ (1956), ‘Mai Baap’ (1957), ‘Duniya Rang Rangeeli’ (1957) and ‘Khota Paisa’ (1958).

However, many of his home production films did not fare well on the box office. When Guru Dutt started ‘Chaudhvin Ka Chaand’ (1960), being a Muslim social film, he wanted the film to be directed by a Muslim director who was well versed in Lucknowi etiquette. Those days, M Sadiq had a lot of financial difficulties and Guru Dutt wanted to help him (as mentioned in Nasreen Munni Kabir’s documentary ‘In Search of Guru Dutt’).

‘Chaudhvin Ka Chaand’ (1960) was a box office hit film. However, the credit for the success of the film went mainly to the musical scores of Ravi with the lyrics of Shakeel Badayuni. In Hindi film industry, a director working for a producer who also happens to be an ace director would remain in his shadow. For, the people will always have a doubt whether the ace director was a ‘shadow director’ of his own film. The song sequences in the film as Abrar Alvi puts it “. . .bear the stamp of Guru Dutt. . .” (Source: ‘Ten Years with Guru Dutt’). This kind of aspersions were also made in the case of  Radhu Karmakar who directed RK Films’ ‘Jis Desh Mein Ganga Behti Hai’ (1960) and of Abrar Alvi himself who directed Guru Dutt’s ‘Sahib Bibi Aur Ghulam’ (1962).

In spite of the success of ‘Chaudhavin Ka Chaand’ (1960), M Sadiq did not get offers for directing the films until ‘Taj Mahal’ (1963). Once again the success of this film did not help him in his career as in this case also, the credit for the success of the film was mainly shared by its super hit songs composed by  Roshan on the lyrics of Sahir Ludhianvi.

I feel that  it was unfortunate that the film industry did not recognise the contribution of M Sadiq in the success of  films like ‘Rattan’ (1944), ‘Shabaab’ (1954), ‘Chadhavin Kaa Chaand’ (1960) and ‘Taj Mahal’ (1963). I have seen all these films and I feel that M Sadiq had done a wonderful job as a director. Guru Dutt was indeed a master craftsman in picurisation of songs. He may have done the song picturisation himself in ‘Chaudhavin Ka Chaand’ (1960).

In my view, M Sadiq was not a novice in picturisation of song sequence in the films. Having experience of directing films for 20 years at the time when he directed ‘Taj Mahal’ (1963), I do not think that he would not have done justice to the song sequences of ‘Chaudhvin Kaa Chaand’ (1960). Just note how beautiful was his picturisation of the song Paaon Chhoo Lene Do Phoolon Ko Inaayat Hogi. It is a difficult situational song where Pradeep Kumar’s open romantic proposal has to be  met with a restrained modesty of the heroine Bina Rai. In this song, the director has also to make the sequence of picturisation interesting with an added handicap of the expressionless Pradeep Kumar. Nonetheless, the director had succeeded at least for me as it is one of those songs where I like to watch and listen on the video clip rather than listening on the mp3 clip.

Again, after the success of ‘Taj Mahal’ (1963), M Sadiq had to wait for another 4 years to get the directorial assignments of ‘Bahu Begum’ (1967) and ‘Noor Jahan’ (1967). Unfortunately, both these films, despite good musical scores, did not fare well at the box office. Sometime in 1970, M Sadiq migrated to Pakistan and directed the film ‘Baharon Phool Barsaao’ (1972) under his own banner, Sadiq Productions. In a couple of Pakistani articles on the migration of film artists, it has been mentioned that M Sadiq came to Pakistan on an assignment to make ‘Bahaaron Phool Barsaao’ (1972). However, when the film was more than half way through, he left for the heavenly abode on 03/10/1971 in Lahore.

Today, I am presenting a multiple version song, “Meri Mitti Ki Duniya Niraali. . . Jahaan Bhagwaan Basen’ from the film ‘Shaam Savera’ (1946) which makes a debut on our blog today. The film was directed by M Sadiq. The star cast included Swarnalata, Wasti, Sulochana Chatterjee, Rafiq Ghaznavi, Badri Prasad, Pratima Devi  etc.

I became aware of this song only a few days back when I heard it in the voice of SD Batish. I immediately fell in love with the song for its rendition and the lyrics. In fact, its first verse led me to minutely grasp the subsequent part of the lyrics. As I was planning to present the song for the blog, somewhere I got confused with the film ‘Subah Shaam’ (1944) which has already made a debut on the blog. Since this film is not in the verge of attaining the status of a ‘yippied’ film, I felt that there was no urgency in presenting the song.

Yesterday, I heard this song once again. But this time, it was in the voice of Rafiq Ghaznavi. After checking on the website, it transpired that it was a multiple version song. It was at this stage I realised that the song in reference was from ‘Shaam Savera’ (1946) which is yet to make a debut on the Blog.

In my 3 decades of trekking in the Himalayas for soaking in the nature, I had always felt that there is Godliness in the nature – “jahaan bhagwan base”.


Song – Meri Mitti Ki Duniya Niraali (Shaam Savera) (1946) Singer – Rafiq Ghazanvi, Lyrics – [Unattributed] , MD – Pt Amarnath
SD Batish

Lyrics

meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
phoolon se rang churaayaa aa
kaanton se dard main laayaa
komalta pankhadiyon se
belon mein pyaar basaayaa
main hoon sundar ban kaa maali
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
hirnon ne aankhen de deen
moron ne naach sikhaayaa aa
hirnon ne aankhen de deen
moron ne naach sikhaayaa
mad bhari koyal ki koo koo
pi pi papihaa ne gayaa
ban ke panchhi phiroon daali daali
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
guru’on kaa saath jahaan hai
pariyon kaa naach jahaan hai
sundar taanon kaa raseelaa
prem kaa geet jahaan hai
main ne jaadoo ki nagri basaa li ee
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen

SD Batish Version 
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
ho jahaan chaandni raaten
pyaar-o-muhabbat ki ghaaten
sundar sunehraa jeewan ho
kyun na ho pyaar ki baaten
tu ne ganga ki nadiyaa bahaa li
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen
 
jeewan mein thhaa jo andheraa
kiranon ne kiyaa saveraa aa
jeewan mein thhaa jo andheraa
kiranon ne kiyaa saveraa aa
khilaa kamal hai suhaanaa
swarg banaa ghar teraa
tu ne preet nagariyaa basaa li ee
ho o o o o
o o
jahaan bhagwaan basen
jahaan bhagwaan basen
meri mitti ki duniyaa niraali ee
ho o o o o
o o
jahaan bhagwaan basen

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

स्वर: रफ़ीक़ ग़ज़न्वी

मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

फूलों से रंग चुराया
काँटों से दर्द मैं लाया
कोमलता पंखड़ियों से
बेलों में प्यार बसाया
मैं हूँ सुंदर बन का माली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

हिरणों ने आंखें दे दीं
मोरों ने नाच सिखाया
मद भरी कोयल की कू कू
पी पी पपीहा ने गाया
बन के पंछी फिरूँ डाली डाली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

गुरुओं का साथ जहां है
परियों का नाच जहां है
सुंदर तानों का रसीला
प्रेम का गीत जहां है
मैंने जादू की नगरी बसा ली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
====================

स्वर: शिव दयाल बातिश 

मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

हों जहां चाँदनी रातें
प्यार ओ मोहब्बत की घातें
सुंदर सुनहरा जीवन हो
क्यों ना हों प्यार की बातें
तूने गंगा की नदिया बहा ली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें

जीवन में था जो अंधेरा
किरणों ने किया सवेरा
जीवन में था जो अंधेरा
किरणों ने किया सवेरा
खिला कमाल है सुहाना
स्वर्ग बना घर तेरा
तू ने प्रीत नगरिया बसा ली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें
जहां भगवान बसें
मेरी मिट्टी की दुनिया निराली
हो ओ ओ ओ
ओ ओ
जहां भगवान बसें


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.

“Amar Keertan”(1954) was a “bhakti pradhan” movie which was directed by K C Pandit for Punjab Film Corporation, Bombay. The movie had Asha Mathur, Shahu Modak, Naaz, Jayant, Rajendra, Seeta Bose, S Prakash, Prem Kumar, Sitaram, Maya Das, Hira Sawant, Kumkum, Lallan, Bansari, Neerja, Chaand Burque etc , with guest appearances by Ameeta Devi, Kamal Mehra and Madan Puri.
Read more on this topic…


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.

In my previous article on the song “Kat Gayi Waadon Mein“, I have talked about Mulkhraj Bhakri, writer, producer and lyricist from the Lahore film industry, who became one of the many victims of the country’s partition in 1947 . In Bombay (Mumbai), due to his hard work, he regained his position in the Hindi film industry. 

In this article, I propose to talk about one more victim of partition who was born with a silver spoon in a Gujarati family settled in Karachi and actively connected with the Lahore film industry in the 1940s. I am not talking about Dalsukh M Pancholi but director, Ravindra Dave who happened to be his nephew. Let me unfold Ravindra Dave’s story.
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.

“Aai Bahaar”(1946) was directed by Shankar Mehta for Ganga productions, Bombay. This obscure movie had Irshad, Ajmal, Om, Asha, Romesh, Bhaag Singh, Anant Bahri, Charlie, Roofi, shrimati Atta etc in it and these names ring on bells whatsoever.
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.

“Bhaijaan”(1945) was directed by S Khaleel for United Films, Bombay. The movie had Noorjahaan, Meena, Anees Khatoon, Karan Dewan, Kayam Ali, Ansari, Nazeer Kashmiri, Kamar, Laddan, Ajbela Begam, Suman 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.

“Toofaan”(1954) was directed by Ram Prakash for Starlight Pictures Production. The movie had Sajjan, Munawwar Sultana, Vijaylaxmi, Pran, Pratima Devi, Amarnath, Tiwari etc in it.
Read more on this topic…


“Baansuriya” (1949) was a Nigaristaan Films Production movie. It was directed by Ram Narayan Dave. The movie had Ram Singh, Geeta Bali, Om Prakash, Randhir, Kuldip, Sofia, Gulab, Uma Dutt, Shanti Madhok etc in it.
Read more on this topic…


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Most of of the present generation of music lovers may not remember Shiv Dayal Batish ( S D Batish), the classical musician, vocalist, playback singer and music director. During his filmy career in 40s and 50s, he composed music for 19 films (including 2 films with his pseudo name of Nirmal Kumar) and sang about 100 songs. His music compositions for Hindi films are generally labelled as Lahore style of Hindi film music which was used by Lahore based music directors like Pandit Amarnath, Pandit Govindram, Master Ghulam Haider, Shyam Sundar, Khurshid Anwar etc. S D Batish was the cousin of other Batish brothers – Pandit Amarnath, Husnlal and Bhagatram. It is said that originally, the family surname was ‘Vats’ ( or Wats) which became ‘Vatish’ and then to ‘Batish’.
Read more on this topic…


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 THIRTEEN years. This blog has over 16600 song posts by now.

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

Important Announcement

(© 2008 - 2021) 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

16615

Number of movies covered in the blog

Movies with all their songs covered =1280
Total Number of movies covered=4520

Total visits so far

  • 14,811,281 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,945 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: