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

Posts Tagged ‘1948


This article is written by Avinash Scrapwala, 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 :

4511 Post No. : 16057 Movie Count :

4389

Today 23rd November’2020 is ninetieth birth anniversary of singer Geeta Dutt (born on 23rd November’1930).

She passed away on 20th July 1972 at the age of forty-one only. Reading her life story stirs the heart even today, and the Hindi Film Industry and Hindi Film Music will always feel sad for losing her so early.

Geeta Dutt was one of the legendary singers of yesteryears and sang many for Hindi film, Bengali films. Also, she sang many non-filmy Hindi and Bengali songs.

I will not go into her detailed biography or whatever has been written about her on this blog earlier. And, also, I will not mention her songs which are my favorite and those I like very much. That will be a long list. Today I would only like to pay my tributes to her with a song from an unreleased movie ‘Hamraaz’.

This movie is said to be made somewhere in between ‘1941-1950’.

I had come across songs of this movie in 2014 and had then shared fours songs from this movie to our editors then. At that time the year of this movie was mentioned as ‘1950’ on some links and ‘1940’ on others so it was not clear.

However, somehow the movie remains still to be launched on the blog in the ‘rush’ of other priorities.

When I had initially shared the songs from this movie, I was not having its detailed information, but now with the help of HFGK Vol-II (1941-1950) we can have this brief about this movie.

HFGK Vol-II 91941-1950) lists this movie as ‘Un-released’ movie of ‘1941-1950’.

On page number 607 – Appendix-1 Movie number 1214 this movie is mentioned as presented by ‘Rahnuma Pictures’.
However, its star cast and director is not mentioned. Music director is mentioned as Shankar Lal.
Lyricist names are mentioned as Shyam Hindi and Kamran Momin.
The list mentions total eight songs in this movie.

S. No Song Title Lyricist
01 Ga re manwaa gaa Shyam Hindi
02 Ghoonghat mein sharmaaye dulhaniya Kamran Momin
03 Baat kuchh aisi wah hamse kah gaye Shyam Hindi
4 Cham cham chamken taare Shyam Hindi
05 In do matwaale nainon mein
06 Aabaad hai saraa jahaan Shyam Hindi
07 Khushi chaaron taraf chhaayi Shyam Hindi
08 Aa jaa papeehe geet sunaa re Kamran Momin

Some links of the songs shared earlier are fortunately available but for one song that I shared the link is no longer available now.

As mentioned above today we will listen to a song sung by Geeta Dutt, written by Kamran Momin and composed by Shankar Lal.

With this song the movie ‘Hamraaz (UR)-1941-1950 makes its debut on the blog and joins its ‘ham-naam’ ‘Hamraaz-1968’ 😊 on the blog.

Remembering Geeta Dutt. Let us now listen to the song of today…


Song-Aa jaa papeehe geet suna de (Hamraaz)(UR)(1948) Singer-Geeta Dutt, Lyrics-Kamran Momin, MD-Shankar Lal

Lyrics

aa ja aa aa aa
aa jaa
aa ja aa aa aa
aa jaa
aa ja papeehe
geet sunaa re
ro ro birhan rain guzaare
aa ja aa
aa ja aa aa aa
aa jaa

yaad kisi ki jab aa jaaye
yaad kisi ki jab aa jaaye
hook uthhe man tadpaa jaaye
hook uthhe man tadpaa jaaye
neer bahaaye nain bechaare
aa ja aa
aa ja aa aa aa
aa jaa

saajan bairee saara zamaana
saajan bairee saara zamaana
aise mein tum bhool na jaana
aise mein tum bhool na jaana
thhaame jigar ginti hoon sitaare
aa ja aa
aa ja aa aa aa
aa jaa

jeewan naiyya dagmag dole
jeewan naiyya dagmag dole …

——————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————–
आ जा आ आ आ
आ जा
आ जा आ आ आ
आ जा
आ जा पपीहे
गीत सुना दे
रो रो बिरहन रैन गुज़ारे
आ जा आ
आ जा आ आ आ
आ जा

याद किसी की जब आ जाए
याद किसी की जब आ जाए
हूक उठे मन तडपा जाए
हूक उठे मन तडपा जाए
नीर बहाए नैन बेचारे
आ जा
आ जा आ आ आ
आ जा

साजन बैरी सारा ज़माना
साजन बैरी सारा ज़माना
ऐसे में तुम भूल न जाना
ऐसे में तुम भूल न जाना
थामे जिगर गिनती हूँ सितारे
आ जा आ
आ जा आ आ आ
आ जा

जीवन नैय्या डगमग डोले
जीवन नैय्या डगमग डोले …


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

Blog Day :

4494 Post No. : 16022

Today’s song is from the film Shri Rambhakta Hanuman-1948.

Looking back, I find that my last post was on Muslim films in India, in which I had discussed the situation rather in details. And now this post immediately on Hindu Mythology !
May sound somewhat strange, but not to me. From childhood, I developed a religious mindset, but my father ensured to impress on me that Religion is strictly a personal matter and one must decide how much importance one should give to Religion in one’s life. I have followed this principle till today and I treat all religions with the same reverence. Excess or exhibition of Religion publicly – unnecessarily – is anathema to me and I feel it must be avoided. This is my opinion.

Film Shri Rambhakta Hanuman-48 was the first of the Mythological films Homi Wadia’s Basant Pictures had made. Due to the extraordinary success of religious films from Prakash Pictures, suddenly there was a spurt in making Mythological films. Though Prakash Pictures made hit films like Bharat Milap-42 and Ram Rajya-43, in their films, the entire focus was on Shri Ram and Seeta Mai. They did not give any importance to Hanuman in their films. When I checked the credits of these two films yesterday, I found that Hanuman’s name was not there in the credits and we do not know who did that role ! Sensing this as an opportunity, the business minded Wadia made a film on Hanuman as the central character.

From the day films started getting made in India, in the silent film era, the Religious and Mythological stories were used to make films. The simple reason was Indian audience was well versed in such stories from Puranas, Ramayan or Mahabharat, from generations, all over the country. This was a common thread between various states of India. Thus, even when Talkie films started, initially, many such films were made in almost all languages. Actually, such Mythological films were a guarantee to recover the invested money and a handsome profit too !

When the influence of social films increased in the 40’s decade, religious films were made less, but it is worth noting that the most popular Religious Films ever, like Ramrajya, Bharat Milap and Har Har Mahadev etc were made during this period only.

The Best and the Golden period for Religious films was the 50’s decade- 1951 to 1960. In these 10 years, as many as 124 Religious and Mythological films were made. This works out to an average of ONE film EVERY MONTH for 10 continuous years. later on, however, making of such films tapered consistently and nowadays, Religious and Mythological stories can only be seen on the Home Television.

What is the difference between Religious and Mythological films ? Are they the same ? No, there is a difference. Films based on stories from Puranas ( which is a mix of imagination and History in symbolic way) are Mythological Films. Examples are ‘ Ganga Maiyya’ or ” Ram Hanuman Yuddha ” or ” Ram Rajya ” etc. Films based on Bhakti or Upasana , involving Historical stories, persons or happenings are Religious films. Examples are ” Shri Chaitanya Mahaprabhu”, ” Sant Tukaram” or ‘ Mahatma Kabeer’ etc.

Don’t be surprised by seeing the Music Director’s name in the cast. Yes he is the same person. Tripathi was not an occasional actor, but a regular one. As a Music Director, Tripathi gave music to 107 films, composing 863 songs therein. He was an All rounder. He was a story writer, composer, Producer, Director and an Actor. He even sang 13 songs in 7 films, in his early career. Tripathi directed 18 films and acted in as many as 83 films !

Though his music was good, he remained branded as a Mythological, Religious, costume and fantasy film composer. Rarely he got any social film as a MD. Even as a Director he directed only 5 Social films. His role as Hanuman in Mythological films was popular. In films where Mahipal was doing Ram’s role, Tripathi used to be the Hanuman. These were mostly Wadia films. Prakash Pictures also produced Mythological films, their films never gave importance to Hanuman. Some unknown actor was used for that role. Basant Pictures gave importance to Hanuman and Tripathi was fixed for it.

Wadia’s action, costume and fantasy films were very popular in the Middle East and Pakistan. When they made ” Rambhakta Hanuman”- in 1948, they had a problem. Partition had taken place and Pakistan was a New Muslim country. Wadia’s were worried if this Mythological film would be received well there. The major role of Hanuman was done by S N Tripathi. How to export this Hindu religious film in Muslim countries like Pakistan and the Middle East, was a major problem. A simple trick solved this problem. Wadias changed the title of this film copy for Export and it was named ” Udta Bandar ” (उडता बंदर ). With this new title the film became a Hit in that Territory !

Now coming to God Hanuman….Lord Hanuman is a Hindu god and divine vanara companion of the god Rama. Lord Hanuman is one of the central characters of the Hindu epic Ramayana. He is an ardent devotee of Rama and one of the chiranjeevis. He is also mentioned in several other texts, such as the epic Mahabharata and the various Puranas. Lord Hanuman is also the son of the wind-god Vayu, who in several stories played a direct role in Lord Hanuman’s birth.

Evidence of devotional worship to Lord Hanuman is largely absent in these texts, as well as in most archaeological sites. According to Indologists , the theological significance of Lord Hanuman and devotional dedication to him emerged about 1,000 years after the composition of the Ramayana, in the 2nd millennium. After the arrival of Islamic rule in the Indian subcontinent Bhakti movement saints such as Samarth Ramdas have positioned Hanuman as a symbol of nationalism and resistance to persecution. In the modern era, his iconography and temples have been increasingly common. He is viewed as the ideal combination of “strength, heroic initiative and assertive excellence” and “loving, emotional devotion to his personal god Rama”, as Shakti and Bhakti. In later literature, he is sometimes portrayed as the patron god of martial arts such as wrestling and acrobatics, as well as activities such as meditation and diligent scholarship. He symbolizes the human excellence of inner self-control, faith, and service to a cause, hidden behind the first impressions of a being who looks like an Ape-Man Vanara.

The meaning or origin of the word “Hanuman” is unclear. One interpretation of “Hanuman” is “one having a disfigured jaw”. This version is supported by a Puranic legend wherein infant Hanuman mistakes the Sun for a fruit, heroically attempts to reach it, and is wounded in the jaw for his attempt.

Linguistic variations of “Hanuman” include Hanumat, Anuman (Tamil), Hanumantha (Kannada), Hanumanthudu (Telugu). Other names include:Anjaneya, Anjaniputra, Kesari Nandan, Vayuputra, Bajrangbali, Sankat Mochan, Maruti, Kapishwara, Ramdoot etc etc.

In Valmiki’s Ramayana, estimated to have been composed before or in about the 3rd century BCE, Hanuman is an important, creative character as a simian helper and messenger for Rama. The character evolved over time, reflecting regional cultural values. It is, however, in the late medieval era that his profile evolves into more central role and dominance as the exemplary spiritual devotee, particularly with the popular vernacular text Ramcharitmanas by Tulsidas . According to scholars , during a period of religious turmoil and Islamic rule of the Indian subcontinent, the Bhakti movement and devotionalism-oriented Bhakti yoga had emerged as a major trend in Hindu culture by the 16th-century, and the Ramcharit Manas presented Rama as a Vishnu avatar, supreme being and a personal god worthy of devotion, with Hanuman as the ideal loving devotee with legendary courage, strength and powers.

During this era, Hanuman evolved and emerged as the ideal combination of shakti and bhakti. Stories and folk traditions in and after the 17th century, began to reformulate and present Hanuman as a divine being, as a descendant of deities, and as an avatar of Shiva. He emerged as a champion of those religiously persecuted, expressing resistance, a yogi, an inspiration for martial artists and warriors, a character with less fur and increasingly human, symbolizing cherished virtues and internal values, and worthy of devotion in his own right. As Hindu monks morphed into soldiers, they often named their organizations after Hanuman. This evolution of Hanuman’s character, his religious status, and his cultural role as well as his iconography, continued through the colonial era and into post-colonial times.

According to Hindu legends, Hanuman was born to mother Anjana and father Kesari. Hanuman is also called the son of the deity Vayu (Wind god) because of legends associated with Vayu’s role in Hanuman’s birth. One story mentioned in Eknath’s Bhavartha Ramayana states that when Anjana was worshiping Vayu, the King Dasharatha of Ayodhya was also performing the ritual of Putrakameshti yagna in order to have children. As a result, he received some sacred pudding (payasam) to be shared by his three wives, leading to the births of Rama, Lakshmana, Bharata and Shatrughna. By divine ordinance, a kite snatched a fragment of that pudding and dropped it while flying over the forest where Anjana was engaged in worship. Vayu, the Hindu deity of the wind, delivered the falling pudding to the outstretched hands of Anjana, who consumed it, leading to the birth of Hanuman.

The Ramayana locates the birthplace of Hanuman in Kishkindha. Anjaneri Anjanadri (Near Hampi) in Gangavathi Taluk Koppal District, Karnataka is one of a number of places that claim to be the location of Kishkindha. ( Collated from information from the book ” The primer of Hinduism” by Dr. D.S.Sarma, pub.1922 and wiki, with thanks.)

I have seen this film many times. I liked the bhajans in this film. Trick scenes, yes, of course. But one thing…trick scenes in Shri Krishna’s films abound, but in Ram kathas, they are minimal. This is because Ram was depicted and behaved as an ordinary mortal, establishing righteousness, and upholding religion. He was a Model human being and thus called Maryada Purushottam. Whereas Krishna taught us how to act Tit for Tat with wicked persons. His principle was, lying or cheating for the right cause is OK. Krishna’s teachings seem more relevant in today’s times.

Today’s song is the fourth song from this film to feature here. In the 50’s decade Rafi must have sung maximum Bhajans in his career. As per the book ” Rafinama ” by Isak Mujawar, Rafi started singing Bhakti Geet in films from the film “Bhakta Gopal Bhaiya”-1948. Same year he also sang Muslim Bhakti geet in film Rehnuma-48 under the baton of Dhumi Khan. However, how many Bhaktigeets he sang is not recorded anywhere. Anyway, enjoy this Bhajan…


Song-O jag ko basaanewaale mere mann ki kutiya basaao (Shriram Bhakt Hanuman)(1948) Singer-Rafi, MD-S N Tripathi

Lyrics

Ram Ram
ShreeRam Shree Ram
Ram ShreeRam
ShreeRam Ram Ram

o jag ke basaaane waale
o jag ke basaaane waale
mere man ki kutiya basaao
o jyoti jagaane waale
mere man ka deep jalaao
o jag ke basaaane waale
mere man ki kutiya basaao
Ram Ram bhaj Ram Ram
Ram Ram bhaj Ram Ram

Jab chhodi ratan nagariya
Jab chhodi ratan nagariya
kya bhaayegi ye kutiya
Jab chhodi ratan nagariya
kya bhaayegi ye kutiya
ravi shashi chamkaane waale
ravi shashi chamkaane waale
ye jugnu bhi chamkaao
o jag ke basaaane waale
mere man ki kutiya basaao
Ram Ram bhaj Ram Ram
bhaj Ram Ram bhaj Ram Ram

o roop salone shyaamal
tum pawan tumhi ho baadal
tum pawan tumhi ho baadal
o roop salone shyaamal
tum pawan tumhi ho baadal
tum pawan tumhi ho baadal
saagar lahraane waale
saagar lahraane waale
man gaagar mein aa jaao
o jag ke basaaane waale
mere man ki kutiya basaao
Ram Ram bhaj Ram Ram
bhaj Ram Ram

tum raho mere nainan mein
tum raho mere nainan mein
main pada rahoon charanan mein
tum raho mere nainan mein
main pada rahoon charanan mein
maaya phailaane waale
maaya phailaane waale
maaya se mujhe bachaao
o jag ke basaaane waale
mere man ki kutiya basaao
Ram Ram bhaj Ram Ram
bhaj Ram Ram
bhaj Ram Ram
bhaj Ram Ram
bhaj Ram Ram
bhaj Ram Ram
bhaj Ram Ram
bhaj Ram Raaam


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

Blog Day : 4468 Post No. : 15960

After a long gap, in which I discussed songs and films of the 1950’s for a few months, I am now returning to the decade of the 1940’s. I discussed songs from 25 films of the 1950’s with the last post coinciding with completion of my 8 years of writing posts on this popular Blog.

Today’s song is from a less known- rather an unknown- film, Adalat-1948. It was the first film with this title. This title was lated used by the more famous film Adalat-1958 and also in Adalat -1976.

This film was produced by Mangal Pictures. It was directed by Vasant Joglekar and the music was provided by Datta Davjekar, for songs written by Mahipal and Narendra Sharma. Yes, he is the same Mahipal who became a regular feature in 131 Hindi Stunt, Action, Costume, Historical and Mythological films. Incidentally, Adalat-48 was Mahipal’s last film as a Lyricist.

The cast of the film was Baburao Pendharkar (brother of Bhalji Pendharkar),Salvi, Jog, Madgulkar, Jaysingh, Saroj Borkar, Sudha Apte, Nalini Dhere, Shalini and Rajan (Jawale). The cast, MD, Director all singers except Mohd.Rafi were Marathi people. Most of them are unknown to Hindi audiences.

Jaysingh was the son of director Bhalji Pendharkar, from his first wife. From his second wife(Miss Leela aka Leela Chandragiri) he got another son Prabhakar. Combining the names of these two sons, Bhalji named his new studio “Jayprabha” at Kolhapur. During the riots against the Bramhins, after the murder of Gandhi, this studio was burnt, because Bhalji Pendharkar was a Brahmin. The studio was rebuilt. It was later purchased by Lata Mangeshkar,only to get embroiled in court cases with the Maharashtra Government, for a long time.

Actor Rajan (Jawle) was a Marathi actor. He is the person who lived with and looked after actress Hansa Wadkar in her later bad days in her life, till she died. Actress Nalini Dhere was a Marathi actress but had done few Hindi films like Nagad Narayan-43 etc. In Hindi film industry, at some or the other times, there were as many as 8 Nalini’s operating as actresses and singers – Nalini Tarkhad, Nalini Jaywant, Nalini Nagpurkar, Nalini Gupte, Nalini Dhere, Nalini Saraf (who became Seema Deo-wife of actor Ramesh Deo), Nalini Chonkar and Nalini Korgaonkar (singer-Jail Yatra-47).

Another actor Madgulkar was a great personality in Marathi literary field. Gajanan Digambar Madguḷkar (1 October 1919 – 14 December 1977) was a Marathi poet, lyricist, writer and actor. He was born in village Shetphal, Atpadi Taluka, Sangli district in Maharashtra. His family hailed from village Madgule in the same Taluka.

He is popularly known in his home state of Maharashtra by just his initials as Ga Di Ma (गदिमा). He was awarded Sangeet Natak Akademi Award in 1951 and Padma Shri in 1969. He has written 157 screen plays and over 2000 songs in his career. He was called Adhunik Valmiki (the modern Valmiki) of the current era due to his composition of Geet Ramayan ( Ramayana in Songs) as the most notable work. 2019 was celebrated as his Birth Century year. Government of Maharashtra hosted various events and festivals to grace the occasion.

Madgulkar wrote poetry, short stories, novels, autobiographies and scripts, dialogues and lyrics for Marathi as well as Hindi movies. His poems have been adapted to a wide range of musical forms such as Sugam-Sangeet (light music), Bhawa-Geet (emotional songs), Bhakti-Geet (devotional songs), and Lawani (a genre of folk songs in Maharashtra). Madgulkar entered the world of movies in 1938 at Kolhāpur. He contributed to 157 Marathi and 25 Hindi movies. He was also an artist. He loved to draw nature scenes. Special mention must be made for the films, Jeewan Jyoti-53-S/play and dialogues, Toofan aur Diya-56- story, and Do aankhen barah haath-57-Story, S/play and dialogues.

A noteworthy fact about Madgulkar is that during his peak period in Marathi films, he created a World Record. He teamed up with Music Director Sudhir Phadke and director Raja Paranjape. Together, as a team, they gave a total of 11 Hit films,in a row in 18 years- from 1948 to 1966 … a record for a Team.

He had knowledge of 10 languages including Marathi, Hindi, English, Urdu, Bengali, Gujarati, Punjabi, Kannada, Tamil and Telugu.

Madgulkar was married to Vidya (Padma Patankar, Kolhapur) and they had 3 sons (Shridhar, Anand, Sharad Kumar) and 4 daughters (Varsha, Kalpalata, Deepa, Shubhada). The popular Marathi writer, Vyankatesh Madgulkar was his younger brother.

His home in Pune (‘Panchavati Bungalow’) has become a place of attraction for his fans.

In Hindi film industry, there were many name alikes. Some of them caused serious problems of ‘Same Name Confusion”. Artistes of the same name was a common phenomenon in early cinema i.e. the 30s and the 40s. Then it diminished slowly. This matter was not only common in actors, but in other categories also. As far as Music Directors are concerned, there were so many “Datta”s as MDs. Some of them at the same time and few causing the SNC syndrome too ! There were K.Datta, N.Datta, Narayan Dutta, D C. Dutta, Dattaram and Datta Davjekar. Each one contributed to HFM to his ability.

One of these music director’s name will be written in Golden Ink, in the History of HFM. That name is DATTA DAVJEKAR. This is because he helped an all time Legend LATA MANGESHKAR, by giving her the opportunity to sing her First PlayBack Hindi song in one of his films-“Aap ki sewa mein-1947.

Dattatreya Shankar Davjekar (Born on 15-11-1915 – died 19 September 2007), better known as Datta Davjekar or Datta Daujeker , was a veteran music composer mainly associated with Marathi and Hindi movies. He studied upto Matriculation in Nutan Marathi Vidyalay.

He started working from 1931 composing songs in Melas and later in Saraswati Cinetone. Assisted Sureshbabu Mane for film ” Nandkumar’-1937. Later he assisted Govindrao tembe in Natraj company. He was called to Bombay to record all Hindi and Marathi songs for film Savangadi in marathi and Saathi in Hindi in 1938. he first gave music to ‘Municipality’ made by Brilliant Pictures.

Datta Davjekar’s father Baburao used to play tabla for live folk musical plays as well as in Urdu plays. He used to work in Arya Subodh natak Mandali. He played Pakhawaz also.

Davjekar learned how to play tabla and harmonium and thus developed an interest in music. He also started composing songs. Later, he was invited by the famous star Shanta Apte to perform on her shows. Davjekar performed at places as far off as Allahabad and Lahore.

Davjekar assisted C. Ramachandra and Chitragupta for a while. His first break came in 1941 with a Marathi film called Municipality. It was followed by Sarkari Pahune in 1942. One of the film’s songs Naache Sangeet Natwar was a big hit. Davjekar went on to work with big names in Marathi cinema, like Raja Paranjape, Gajanan Jagirdar, Master Vinayak, Dinkar Patil, Datta Dharmadhikari, Rajdutt and Raja Thakur. In 1945, he joined HMV and composed several popular marathi Bhavgeet songs,writing them himself, like ‘Tuj swapni pahile’ and ‘ kuni bai gungunle’ etc. he was known as ‘ DD ‘.

His famous films include Rangalyaa Raatri Ashyaa, Paathlaag, Pahu Re Kitni Vaat, Thoraataanchi Kamlaa, Padchaaya, Chimanrao Gundyabhau, Pedgaonche Shahane, Juna Te Sona, Sant Vahate Krishna Mai, Sukhaachi Sawali, Viasakh Vanwaa and Yashoda. His last film release was Pahaate Punyechi in 1992. His non-film song “Sainik Ho Tumchyaa Saathi” (translation: For you, oh Soldiers) was a big hit and its sales proceeds went to the Armed Forces.

In a career spanning fiftytwo years, Davjekar composed music in several languages for sixty films, twelve plays and several documentaries. He learnt German music for composing music for the play Thank you, Mr Glad. He is credited for giving a break to many singers who became extremely popular over a period of time, including the Mangeshkar siblings, Lata Mangeshkar, Asha Bhosale and Usha Mangeshkar as well as others such as Anuradha Paudwal.

The film Maazhe Baal, released in 1943, was Davjekar’s first Marathi film with Lata Mangeshkar. He went on to introduce her to Hindi films with his song Paa Laagoo Kar Jori Re for the film Aap Ki Sewa Mein (1947).

Davjekar did four more Hindi films, Vasant Joglekar’s Adalat-48, Jeet Kiski-52,Premnath’s English-Hindi bilingual, Prisoner of Golconda-53, in which Sudha Malhotra sang, and Bal Shivaji-56 . He used to accompany Lata Mangeshkar on her foreign trips for music programmes as the chief arranger. He won Five awards for his music to Marathi films.In 1995 he was given “Lata Mangeshkar ” award, by Maharashtra Government.

On 19 September 2007 Davjekar died of a heart attack at his residence in Andheri, Mumbai.

An Obituary in One India dated 20th September 2007 says…

Family sources said Davjekar died of heart attack at his Andheri residence late last night. The funeral took place at the Oshiwara crematorium this morning and was attended by family, friends and admirers.

Condoling the death of Mr Davjekar, Lata Mangeshkar recollected that the late music composer had given her the first opportunity in playback singing in his movie “Aap Ki Seva Mein”. “Just like his music, he was a sweet human being,” Mangeshkar said.

His non-film song “Sainik Ho Tumchyaa Saathi” was a superhit and its sales proceeds went to the Armed Forces. Datta Davjekar also composed music for twelve plays including “Thank You Mr Glad” for which he learnt German music. In a career spanning more than six decades, he scored music for nearly 60 films. (Based on information from Wiki, One India, and Marathi Chitrapat Sangeetkar kosh, with thanks.)

I have not seen this film Adalat-48, but I know that this film was about a love marriage which went to the courts and ended happily. Today’s song is the 4th song on this Blog. It is a Rafi solo song. The prelude music and the tune suspiciously remind me of some songs, which I am not able to pinpoint right now. Maybe you will….


Song-Kyun bichhad gaye (Adaalat)(1948) Singer-Rafi, Lyrics-Mahipal, MD-Datta Davjekar

Lyrics

kyun bichhad gaye
kyun bichhad gaye
kyun bichhad gaye jeevansaathhi
bichhad gaye jeevansaathi
bichhad gaye
sang sang dole
sang hans bole
sang sang dole
sang hans bole
ban ban vaati ee ee
kyun bichhad gaye
kyun bichhad gaye

janam janam ka saath hamaara
janam janam ka
aa aa aa aa aa aa
janam janam ka saath hamaara
aa aa aa aa
kyun chhoda kyun bichhad gaye
man ke pankh laga kar naina
man ke pankh laga kar naina
khoj mein teri ud gaye ae
khoj mein teri ud gaye
kyun bichhad gaye
kyun bichhad gaye jeevansaathi
bichhad gaye jeevansaathi
bichhad gaye
sang sang dole
sang hans bole
ban ban vaati ee ee
kyun bichhad gaye
kyun bichhad gaye

Seeta
Seeta
Seeta
tum kahaan ho

ro ro ban parwat se poochha aa aa aa
ro ro ban parwat se poochha
neel gagan ko ghan ko poochhaa
ghan ko poochha
neel gagan ko ghan ko poochhaa
maun khade jad chetan royen
maun khade jad chetan royen
Siya bin saare vyathhit bhaye
Siya bin saare vyathhit bhaye
kyun bichhad gaye
kyun bichhad gaye


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 :

4457 Post No. : 15935

“Gopinath”(1948) was produced by Brij Kishore Agrawal and directed by Mahesh Kaul for Shanti Lok Chitra Production, Bombay. The movie had Raj Kapoor, Tripti Mitra, Nand Kishore, Latika, Sachin Ghosh, Anwari Bai, Feroz, Niranjan Tiwari, Mahesh Kaul, Randhir, Baby Zubeida etc in it.

This “social” movie had nine songs in it that were penned by three lyricists namely Soordas, Meerabai and Rammurty Chaturvedi. Two of the three “lyricists”, viz Soordas, Meerabai lived hundreds of years ago and their creations could be used without any need to pay any royalties to their descendants.

Three songs have been covered in the past.

Here is the fourth song from “Gopinath”(1948) to appear in the blog. This song is sung by Shamshad Begam. Rammurthy Chaturvedi is the lyricist. Music is composed by Ninu Majumdar.

Audio as well as video of the song is available. The video has the word Latika printed over it. I wonder if that tells us the name of the lady lip syncing the song. One can see a very young Raj Kapoor playing the patron of the lady.

Video

Audio

Song-Bahutero samjhaaya ree laakhan baar(Gopinath)(1948) Singer-Shamshad Begam, Lyrics-Rammurty Chaturvedi, MD-Ninu Majumdar

Lyrics

aa aa aa aa aa
aa aa aa aaaa
aa aa aa aa
aa
bahutero samajhaayo ree laakhan baar
bahutero samajhaayo ree laakhan baar
ho laakhan baar
ho laakhan baar
laakhan baar
bahutero samajhaayo ree laakhan baar
bahutero samajhaayo ree laakhan baar

laakh kahi mori ee ee
laakh kahi mori
ek nahin maani
ek nahin maani
ek nahin maani
laakh kahi mori ek nahin maani
samajh samajh pachhataayo ree laakhan baar
samajh samajh pachhataayo ree
samajh pachhtaayo ree
samajh pachhtaayo ree
laakhan baar
bahutero
bahutero samajhaayo ree laakhan baar
bahutero samajhaayo ree laakhan baar
ho laakhan baar
ho laakhan baar
laakhan baar


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 :

4434 Post No. : 15869

“Adalat” (1948) was directed by Vasant Joglekar for Mangal Pictures Production, Bombay. The movie had Baburao Pendharkar, Shalini Devi, Jog Madgulkar, Sudha Apte, Saroj Borkar etc in it.

The movie had nine songs in it. Two song has been covered in the past.

Here is the third song from “Adalat” (1948) to appear in the blog. This song is sung by Rafi. Mahipal (later known as an actor) is the lyricist. Music is composed by Datta Davjekar. I must say the lyrics of Mahipal are quite impressive in this melancholic song.

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


Song-Kismat to dekho (Adalat)(1948) Singer-Rafi, Lyrics-Mahipal, MD-Datta Davjekar

Lyrics

aa aa aa
aa aa aa
aa aa aa
kismat to dekho
humsafar r r r
kismat to dekho
humsafar
chaar kadam chale nahin
chaar kadam chale nahin
is tarah juda huye
ke aaj tak mile nahin
aaj tak mile nahin
kismat to dekho

dil ne to ki dua bahut
lekin na aa saki bahaa aa aar
phool ummeedon ke mere
khilaaye bhi khile nahin
khilaaye bhi khile nahin
kismat to dekho

dil ne to chaaha thha ki ab
kahde apna maajra aa aa aaa
ulfat ne si diye ke lab
hilaaye bhi hile nahin
hilaaye bhi hile nahin
kismat to dekho

raushan thhi jinse ae ye zameen een een
raushan tha jinse aasmaan aa aa aa aa
yoon gul huye mere charaag
aa aa aa aa aa aa aa
jalaaye bhi jale nahin
jalaaye bhi jale nahin
kismat to dekho humsafar
chaar kadam chale nahin
is tarah juda huye
ke aaj tak mile nahin
kismat to dekho


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 :

4381 Post No. : 15727

“Chanda Ki Chaandni” (1948) was directed by S S Vasan for Gemini Combines. The movie had M. K. Radha, Yashodhara Katju, Sundari Bai, V. N. Janki, H. Krishnamurthy, Ranjan, L. Narayan Rao, S. Pillai, T. R. Rajkumari etc in it.

Four songs from this movie have been discussed in the past.

Here is the fifth song from this movie. This “expression of love” genre of song is sung by Geeta Dutt. D N Madhok is the lyricist. Music is composed by Gyan Dutt.

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


Song-O Jaadugar kaahe tihaar gali aaye (Chanda Ki Chaandni)(1948) Singer-Geeta Dutt, Lyrics- D N Madhok, MD-Gyan Dutt

Lyrics

o jaadugar kaahe tihaar gali aaye
o jaadugar kaahe tihaar gali aaye
tum chup ho
main bhi chup hoon
tum chup ho
main bhi chup hoon
pyaar khada muskaaye
o jaadugar kaahe tihaar gali aaye
o jaadugar kaahe tihaar gali aaye

dil mein sau sau baat hamaare
ik aaye ik jaaye
dil mein sau sau baat hamaare
ik aaye ik jaaye
dil ki baat boojh lo baalam
hamse kahi na jaaye
dil ki baat boojh lo baalam
hamse kahi na jaaye
o jaadugar kaahe tihaar gali aaye
o jaadugar kaahe tihaar gali aaye

aao sabhi jee bhar ke baaten kar len
dilon ki jholi ee saajan bhar len
aao sabhi jee bhar ke baaten kar len
dilon ki jholi ee saajan bhar len
dil apne dhadkan ki lay se
dil apne dhadkan ki lay se
ghadi ghadi ye gaaye
o jaadugar haan haan
o jaadugar kaahe tihaar gali aaye
tum chup ho
main bhi chup hoon
tum chup ho
main bhi chup hoon
pyaar khada muskaaye
o jaadugar haan haan
o jaadugar kaahe tihaar gali aaye
o jaadugar kaahe tihaar gali aaye


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

Blog Day :

4366 Post No. : 15695 Movie Count :

4326

Today’s song is a very rare song from an obscure film-Parbat ki Rani-1948. The film was made by Leela Chitra Mandir, owned by the heroine of the film-Leela Pawar. The lyricist and director of this film was A.Karim and the Music Composer was Master Ibrahim. He gave music to only 2 films and his only one song is available. It is uploaded by Shri Girdharilal Vishwakarma ji, who kindly tells us about who are the singers too. HFGK does not mention any singers.

When filmmaking, especially the Talkie films started, there were some reputed and well known companies who produced films. In the few initial years, the films were sold and seen only based on who had made them. These companies had that much respect in India.Companies like Imperial, Ranjit, Sharda, krishna,Madon, Sarswati, Prabhat, New Theatres, Bombay Talkies etc had their own studios, own set of actors, directors, Music Directors and Technical staff. They employed good to very good people in different departments. These companies produced films, keeping in view the profile of their audiences. Who were they ? They were the educated middle class, well to do people doing service, the small and big businessmen, women of households and generally the upper crest and the affluent section of the society.

The question came up as to what about the entertainment of the lower middle class,poor people, servants of the rich and their families, the daily earners and generally the poor class, who could not afford tickets of the posh theatres and those who hesitated to to join the white collared audience, for seeing the social films ? For them new types of films came up.Films which were cheap to make, cheap to distribute and cheap to exhibit in old theatres or theatres located in the older parts of the towns. To make the film cheap, everything about it had to be cheap, like unknown or new actors, less known composers and directors less or no expenses on settings etc etc.

Yet, the films had to appeal to the poor people. These people liked stories about Kings and Queens, injustice taken revenge of, where the poor becomes the king, stories in which the Hero has extraordinary physical powers to deal with villains and beautiful girls dancing and singing. These stories are identified with their dreams. So, film makers made such films, using Folk tales and adapted Arabian Night stories. The audience did not bother about the Histrionic capabilities of the actors or the quality of music, what they wanted to see was fighting, stunts and the daring hero winning the damsel , that all. All that they wanted to see was the Hero bashing the bad men and taking away the girl of his choice, Hero helping and fighting for the poor and punishing the wicked rich.They wanted fun, fights and few damsels. That’s all. And then, such films were made for them. This was the beginning of ‘ C ‘ grade films !

Initially, these action films were crude, but as the time went by, the films became polished and got some prestige and respect when the big film companies, like Ranjit, Mohan, Imperial, Madon and later Wadia Movietone started producing these type of films.Actors like Billimoria brothers, Jal merchant, Fearless Nadia, Radha Rani, Boman Shroff etc. brought some prestige to these films. Later on such films were done by Dara Singh, Azad etc.

Everything about C grade films was weird- from theatres to the audience. Even their Titles were strange, for example…Khooni Khanzar, Dagabaj Doctor, Shaitaan ka paash, Char chakram, Daku Rani Talwarwali, Jaadu ka dandaa, Zinda Laash, Revolver Rani, Sindbad-Alladin-Alibaba, Flying man, Fighter Sheela, Khooni Darinda, Tarzan aur Jadugar, Tarzan aur Jadui Chiraag, Golden Gang, Murde ki jaan khatare mein, Jadui putli etc.

The actors in such films,besides the main actors were…Bajar Battu, Phoolkumari, Maruti pehelwan, Bataata, Mitthoo Miyaan, Fatty Prasad, Boken Chattu, Minu the Mystic, Manchi Tuthi, Gareeb Raja, Kurbaan Jaoon, Pandit Dukhi, Vilayatu, Loveji Lavangiya, Adam Sandow, Sandow Safar, Dunlop, Chic Chak and a very strange name CHEMIST ! This name is found in 5-6 films. Many such names appeared.

Stunt films were made more attractive by including wild animals and regular animals like Horse, Dog, cat, parrot, Lion, Tiger, Elephants etc. In some films there were Hyenas and pythons too.

From 1935 onwards stunt films ,including Nadia’s,had a Horse named ‘Punjab ka Beta”, a Dog named ‘Tiger’, and a motor car named ‘ Rolls Royce ki beti’.

After Wadia brothers split and Homi started his Basant pictures, Nadia joined him and another set of animals like, Rajpoot(Horse), Moti(Dog) and Austin ki bachhi(a motor car) were included. In addition there was a Motorcycle called ‘Runnio’ as well.

Film critics and those who wrote in glossy magazines ignored these films, but a certain portion of Indian audience was a firm supporter of such films. Master Vithal, Master Bhagwan, Baburao pehelwan, John Cavas, kamran etc were their Heroes. Usually the Music Directors and Directors of these films were unknown and those available on minimum fees were always hired.

The Music Director of this film was also one such person – Master Ibrahim, who did only 2 films as MD. In the 50s and the 60s decade, there used to be a programme on Radio Ceylon, titled “Saaz aur Awaz”, at 7 am everyday. In this programme, film songs on different Musical Instruments were played-like Van Shipley on Guitar, Bismilla Khan on Shehnayi,Master Ibrahim on Clarinet. After this programme, there was ” Ek hi filmon ke geet” and at 7.30 the evergreen “Purane filmon ke geet” was scheduled.

For many years, I used to wonder as to who this Master Ibrahim was. I had read about Van Shipley and others, but information on Master Ibrahim was not seen anywhere. Finally, when my friend Javed Hamid ji from Delhi, sent me his book copies, published in Hindi, I found an article on Ibrahim, in one of his books,” Hindi cinema ke sadabahar Sangeetkar “.

His name was Ibrahim Rehmat Ali ( or E.R.Ali or Master Ajmeri, on some Record labels). He was born in 1915 at Ajmer and by his 11th year itself, he achieved expertise in playing a difficult musical instrument like Clarinet. he also learnt classical music from Banne khan, Jere khan and Dinkar Rao. From 1934 to 1936, he worked in Ranjit Movietone’s Music department. Then he joined All India Radio, for the next 6 years. In 1942, he joined H.M.V. and served there for the next 25 years.

In these 25 years, Master Ibrahim played his Clarinet in more than 6000 songs, recorded at HMV. He was also the Pioneer in presenting film songs on Musical Instruments. Even during his service. A.I.R. Bombay used to arrange his Clarinet Mehfil every month. He used to present different Raagas on Clarinet as per time of the day or night.

He gave music to only two films. Both were C grade,in the 40s decade. These films were Parbat Ki Rani-1948 and Bigde Dil-1949. He worked as assistant to many Music Directors like Ghulam Hyder, V K Naidu, Shyam Sundar, Fateh Ali Khan, Gulshan Sufi and Firoz Nizami.

He played not just the Clarinet, but also played Xylophone, Vibraphone, Alto saxophone, Supranophone and a few others. After his film songs on Clarinet became popular, different artistes like Van Shipley on Hawaiian Guitar, Enoch Daniels, Goodi Seervai, Hazara Singhand Sunil Ganguly on Piano Accordion and Brian Silas on Piano also became famous and popular, with their performances.

Master Ibrahim died on 20th September 1980, due to a Heart attack. The work of preserving his music on CDs started by HMV from 2015 and so far 4 CDs are published. His contribution in songs of films like Mughal E Azam, C.I.D., Mere Mehboob, Basant Bahar, Madhumati, Maya, Goonj uthi Shehnayi etc is remembered even today. Every year Radio Ceylon celebrates his death anniversary on 20th September by playing only his records.

He had 3 sons, who all are in the Music industry. They are experts in Vibraphone. Its use is very frequent in films nowadays. ( I thank Javed Hamid ji for his article in his book ” Hindi Cinema ke Sadabahar Sangeetkar” हिंदी सिनेमा के सदाबहार संगीतकार ).

The film’s director and lyricist was an all rounder. He acted in 3 films. From the film Aaj ki Duniya-40 to Mehbooba-1965, he wrote songs for 20 films. He directed 13 films. First film was Kalakar-42 and the last film was Mehbooba-65. He also gave music to 5 films. The films were kashmir ki kali-46, Toofani Tirandaz-47, Atom Bomb-47, Maya mahal-49 and Dhumketu-49.

I do not find today’s song very good, but then it is wrong to conclude anything with just one song. This song is important, because this is the only song of Master Ibrahim as a MD that is available. With this song film Parbat ki Rani-48 makes its Debut on the Blog.


Song-Badi bekal hai mere dil ki tamanna sajna tere liye (Parbat Ki Raani)(1948) Singers- Mohantara Talpade,Yashwant Bhatt, Lyricist- A Kareem, MD- Master Ibrahim
Both

Lyrics

Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
hardam seene mein teri yaad hai
hardam seene mein teri yaad hai
duniya ummeedon ki aabaad hai
duniya ummeedon ki aabaad hai
tujhko jo dekha
huye raushan meri aankhon ke diye
sajni tere liye
sajni tere liye

Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye
aaoge tum to main chhup jaaungi
aaoge tum to main chhup jaaungi
dhoondhoge haath nahin aaungi
dhoondhoge haath nahin aaungi
tumko sataaungi bahut tumne mujhpe zulm kiye
sajna tere liye
sajni tere liye
Badi bekal hai mere dil ki tamanna aa aa
sajna tere liye
sajna tere liye

apna waada na kabhi bhoolnaa
apna waada na kabhi bhoolnaa

dil ki dhadkan pe sada jhoolnaa
dil ki dhadkan pe sada jhoolnaa
jab tak jeewan hai rahenge hum tum sang priye
sajni tere liye
sajni tere liye

Badi bekal hai mere dil ki tamanna aa
sajni tere liye
sajna tere liye
Badi bekal hai mere dil ki tamanna aa
sajni tere liye
sajna tere liye


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

Blog Day:

4348 Post No. : 15661

We remember Nightingale of Punjab on her remembrance day today.

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

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

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

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

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

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

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

An interesting table of her songs with different singers follows.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lyrics (Provided by Sudhir)

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

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

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

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

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

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

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

 


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4302 Post No. : 15567 Movie Count :

4285

Recently, I came across a very rare song from an unreleased film ‘Rustom Aur Sohrab’ (1940s). The song was uploaded on video sharing platform by Giridharilal Vishwakarma sometime in 2018. Despite an extensive search on the website, I could not get details about the film such as producer, director, actors etc. Probably, this film may have been one among many films that had become the victims of partition in 1947.

The title of the film indicates that it was based on the legendary poem of the same name by the 10th century Persian poet, Firdausi which was a part of his epic, ‘Shahnameh’. I had some exposure to Firdausi in our History classes while covering the Persian Empire. I had also watched the ‘Rustom Sohrab’ (1963) on Doordarshan sometime in the 1980s. But I do not remember details of the story.

Just to recapitulate the details of the story as depicted in the film, a few days back, I watched the full film ‘Rustom Sohrab’ (1963) on VCD and in the process, I enjoyed Sajjad Hussain’s gems which have been well picturised. The surprise from watching the film was that after many years, I realised that the story of Rustom-Sohrab had some similarities with that of a story in a Yakshagana play in Kannada titled ‘Babruvahan Kaalaga’ (Babruvahan’s Battle) which I had watched during my childhood in the late 1950s. Of course. what ever may be the similarities, they are co-incidental.

During my childhood, I used to accompany our family to watch the artists performing Yakshagana which were generally held in the Cosmopolitan Sports Club ground in Matunga, Mumbai. Since it was staged in Kannada, I had difficulties in understanding the poetic renditions and dialogues. But I used to enjoy the dances, the costumes of the artists and the rhythm of ‘Chendu’ – a type of percussion. I can say that during my childhood, I have seen more numbers of Yakshagana performances than the films. A few of my relatives were also pursuing their hobby as Yakshagana artists. Because of this, I had easy access to their make-up and rehearsal rooms when Yakshagana plays were being staged.

Before I come back to the main subject, I need to explain what is Yakshagana Baylata (I guess, the word ‘baylata’ may have been derived from English word ‘Ballet). It is a dance drama, combining the poetic singing by a singer, called ‘Bhagvatar’ accompanied by music with artists dancing with expressions and gestures and thereafter delivering dialogues. The Yakshagana plays are mostly based on the stories from Ramayan and Mahabharat. This form of folk theatre is popular in the west coast of Karnataka from where it originated about 500 years back.

In the story in the Yakshagana play, ‘Babruvahan Kaalaga’ (Babruvahan’s Battle), there is a battle between Arjun and his son, Babruvahan. In the story of ‘Rustom Sohrab’ (1963), there is a battle between Rustom and his son, Sohrab. In both these stories, father and son are not aware of their relations until the battle comes to an end. Let me set out in details some similarities in the story of Arujun-Babruvahan battle versus Rustom-Sohrab battle.

While Pandavas were in exile, Arjun wandered into the kingdom of Manipura and paid a visit to the king who had a beautiful daughter, Chitrangada. During his stay, Arjun fell in love with her and asked the king for his daughter’s hand. King agreed on one condition that the son born after his marriage with Chitrangada would be the future king of Manipura. Arjun agreed and the marriage was solemnised. When Chitrangada was carrying Babruvahan in her womb, Arjun had to leave Manipura. In the intervening period, Arjun had no occasion to visit his wife Chitrangada and the son Babruvahan. Later, Babruvahan succeeded his grandfather as the king of Manipura.

In Rustom-Sohrab story, Rustom, a confident of the king of Iran, on a visit to Samangan, a neighbouring kingdom, rescues the chariot of Princess Tehminia and her entourage from a huge fallen tree by removing the tree by his sheer strength out of her way. The Princess is impressed. Before she could expressed her love for him, Rustom rides on his horse and moves back to Iran. To entice Rustom to come back to her, she arranges stealing of Rustom’s favourite horse. As expected, Rustom comes to Samangan, the Princes kingdom in search of his horse and meets her who reveals the truth behind stealing of his horse. Rustom likes the Princess. Both get married. In the meanwhile, trouble is brewing in Iran and Rustom must go back to Iran to save the kingdom. He leaves the Princess who is carrying Sohrab in her womb. Before leaving for Iran, Rustom gives the Princes a metal armlet with Rustom’s family logo with the instructions that she should put on the arm of their yet to be born offspring. She gives birth to Sohrab who over a period of time becomes as great a warrior as his father.

The trigger for Arjun-Babruvahan battle is the capture by king Babruvahan of the horse as a part of Ashwamedh Yagna. Arjun as the protector must get the horse released by defeating Babruvahan. In the battle, King Babruvahan defeats the army of Arjun and kills him with an arrow which was given to him by Ganga as a boon. When Babruvahan comes to know that Arjun was his father and by his act, he has made his mother widow, he tries to kill himself. But his step-mother Uloopi, using Nagamani (magical stone) as sanjivani, revives Arjun. So, this is a happy ending of father-son dual.

While in Rustom-Sohrab battle, just like in Arjun-Babruvahan battle, Rustom and Sohrab were unaware of their relations as father and son at the time of their fight. It is only when Rustom fatally injures Sohrab during the fight, and sees the armlet on the arm of Sohrab, he comes to know that he had fatally injured his own son and he repents. Sohrab dies in the arms of his father, Rustom. Thus, the story has a tragic end.

In both the stories, the killing of father by Babruvahan and killing of son by Rustom is to avenge the killings of the son of King Afsayed of Turanak by Rustom and killing of Bhishma, the son of Ganga by Arjun in Kurukshetra war. For instance, after the son of King Afsayed of Turanak is killed by Rustom while rescuing the King of Iran from their captivity in Turanak, Afsayed takes a vow that he would kill Rustom’s son. In the process, he comes to know that Sohrab is the son of Rustom. Having failed to kill Sohrab because he is as strong a warrior as his father, he lures him to fight Rustom on behalf of the Kingdom of Turanak so that in the fight, Sohrab will get killed by Rustom. In the case of Arjun, it is an arrow given as a boon by Ganga to Babruvahan to kill Arjun to avenge his killing of her son, Bhishma by deceit.

It is also interesting to note that in both the stories, a horse is captured albeit for different reasons.

‘Rustom Aur Sohrab’ the unreleased film of the 1940s had 6 songs. I am presenting the first song from the film ‘jo qaail-e-mahr-o-wafaa hi na ho’ which is sung by Nazira Begum. The name of the lyricist is not known. The song is set to music by Master Mohan which, I guess, is the same person as Mohan Junior who was the music director for film ‘Ajamil (1948) and ‘Dana Paani’ (1953). There was a music director, Master Mohan who has composed music for films during 1931-36.

The song is written in a ghazal format with high sounding Urdu words. From the wordings of the ghazal, I feel that this song fits well in a situation in the film equivalent to the situation of the song “ye kaisi ajab daastan ho gayi hai” in the film ‘Rustom Sohrab’ (1963).

Audio Clip:

Song-Jo qaail e mehr o wafaai na ho (Rustom Aur Sohrab)(1948) Singer-Nazira Begam, MD-Master Mohan

Lyrics

jo qaail-e-mahr-o-wafaai na ho
jo qaail-e-mahr-o-wafaai na ho
waade ka nibhaana kya jaane
waade ka nibhaana kya jaane
jo munkar-e-dard-ae-ulfat ho
jo munkar-e-dard-ae-ulfat ho
wo dil ka lagaana kya jaane
wo dil ka lagaana

kis tarah teer mohabbat ka
kis tarah teer mohobbat ka
pae wast(?) jigar mein hota hai
pae wast(?) jigar mein hota hai
iss raaz ko koi kya samajhe
iss raaz ko koi kya samajhe
ik dukh ko zamaana kya jaane
ik dukh ko zamaana kya jaane

ummeed kaa daaman chhoot gaya
ummeed kaa daaman chhoot gaya
aasaar bure hain furqat mein
aasaar bure hain furqat mein
ye aag lagaayi hai jisne
ye aag lagaayi hai jisne
wo isko bujhhaana kya jaane
wo isko bujhhaana

wo dil jo kabhi toota hi na ho
wo dil jo kabhi toota hi na ho
wo chot ki lajjat kya jaane
wo chot ki lajjat kya jaane
jis haath mein khanjar sajta ho
jis haath mein khanjar sajta ho
marham ka lagaana kya jaane
marham ka lagaana kya jaane
jo qaail-e-mahr-o-wafaai na ho
jo qaail-e-mahr-o-wafaai na ho
waade ka nibhaana kya jaane
waade ka nibhaana


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 : 4206 Post No. : 15398

“Khidki”(1948) was produced by P L Santoshi under the banner of Arvind And Anand Films, Bombay. This movie had Rehana, Jawahar Kaul, Mumtaz Ali, Radha Kishan, Tiwari, Ram Singh, Srinath, Baba Raja, Abbas Rizvi, Harun, Deshraj, Shanta Kunwar, Indira, Neelam, Mona, Kamal Rani, Usha, Chanchal Kumari, Kalpana, V H Desai, Leela Mishra etc in it.

The movie had ten songs in it. Nine songs from this movie have been discussed in the past. Here is the breakup of the songs from the movie that have been covered so far:
 

Song Movie Year Sono Post number Post date
Tere binaa soonaa soonaa man ka meraa aangnaa Khidki 1948 2517 7-June-2010
Qismat hamaare saath hai jalne waale jalaa karen Multiple version song Khidki 1948 5058 24-Nov-2011
Kya hai zamaana chaahta fifty fifty Khidki 1948 7424 29-Jan-2013
Jai bolo Mahatma Gandhi ki Khidki 1948 7426 30-Jan-2013
Badi badi paati likhwainyaan Khidki 1948 10642 5-Jan-15
Ae jee munh kyun chhupaana Khidki 1948 11134 16-May-15
Hamen bhi koi yaad karta Multiple version song Khidki 1948 15389 20-Jan-2020

As can be seen, it has taken almost a decade before all the songs of the movie could be covered. The songs covered this year were rare songs not easily available.

Here is the tenth and final song from “Khidki”(1948) to appear in the blog. HFGK mentions this song as sung by Mohantara Talpade. It would seem that most of the song is sung by chorus, though.

P L Santoshi is the lyricist. Music is composed by C Ramchandra.

The song, created more than seven decades ago is an inspirational song, and talks about women empowerment in an era when this concept was difficult to accept even in western countries, forget India. Kudos to the movie makers for coming up with such a song. Indeed, a nation cannot progress if its women do not come forward and participate actively in this act of nation building.

With this song, all the songs of “Khidki”(1948) are covered in the blog and this song joins the list of movies that have been YIPPEED in the blog.


Song-Ham Hind ki hain naariyaan jalti chingaariyaan(Khidki)(1948) Singer-Mohantara Talpade, Lyrics-P L Santoshi, MD-C Ramchandra

Lyrics

Ham Hind ki hain naariyaan
jalti chingaariyaan
samjhe na koi hamen phoolon ki kyaariyaan
Ham Hind ki hain naariyaan
jalti chingaariyaan
samjhe na koi hamen phoolon ki kyaariyaan
Ham Hind ki hain naariyaan

waqt jab wo aayega
ki apne pran tyaag do
waqt jab wo aayega
ki apne pran tyaag do
apne khoon se jagaao
bujhti hui aag ko
apne khoon se jagaao
bujhti hui aag ko
hum machal uthhengin
hum machal uthhengin
ek saathh banke aandhiyaan
hum machal uthhengin
ek saathh banke aandhiyaan
Ham Hind ki hain naariyaan
jalti chingaariyaan
samjhe na koi hamen phoolon ki kyaariyaan
Ham Hind ki hain naariyaan

purushon ke aage aage hum kadam badhaayenge
purushon ke aage aage hum kadam badhaayenge
hum kisi se kam nahin
hum kisi se kam nahin
ye dniya ko dikhaayenge
apni aan ke liye
apni shaan ke liye
denge kurbaaniyaan
denge kurbaaniyaan
Ham Hind ki hain naariyaan
jalti chingaariyaan
samjhe na koi hamen phoolon ki kyaariyaan
Ham Hind ki hain naariyaan


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 TWELVE years. This blog has over 16000 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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(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

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Movies with all their songs covered =1234
Total Number of movies covered =4388

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