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

Posts Tagged ‘Bulo C Rani


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 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 :

4099 Post No. : 15246

Today’s song is from a historical film ” Woh Zamana “-47.

In India, importance is rarely given to history and to historical personalities born and bred in the local soil. The so called ‘ Historical Films’ made here are mostly on Mughal Kings or other invaders like Sikander or Changez Khan etc, who can not be called the sons of soil. Many of them came from out of India, stayed here till they benefited and left when they finished looting India. True sons of India or locals like Marathas, Rajputs, Gujars or Sikhs have been rare cases of subject matters for Hindi films.

Films on Vikramaditya, Chandragupta, Shivaji, Rana Pratap and brave kings from other states like Gujarat, Rajasthan, Bengal, Orissa, the UP and the southern states like Andhra, Karnataka, Tamilnadu or Kerala have been rare and can be counted on fingers. Very sad state of affairs indeed. This was the result of wanton and systematic planning by the Britishers in their, about 200 years of rule, to teach a distorted history to last about 5 to 6 generations. This was to suppress any patriotic feelings to rise against them. Our generations learnt only about the valour and generosity of the British and the Mughal kings, thereby totally blacking out the true history of original sons of soil leaders and kings, which was the true Indian History.

For example, can you name one king from any of these Indian kingdoms ? Mauryas, Saatwahans, Guptas, Pandyas, Cholas, Pallavas, Chalukyas, or Ahoms ? Ask any average educated Indian to name the kings of Mughal period (only 250 years) 99 out of 100 will name them in the sequence – Babar, Humayun, Akbar, Jehangir, Shahjehan and Aurangzeb. That is how ill-informed almost everyone is about Indian kings and dynasties. The so called Historical films have not helped either.

I have not seen film “Woh Zamana”, but I know that this film was based on the stories of bravery of a king of Kathiawad and how he saved his kingdom from the invaders from the Middle East. Kathiawad was the main part of Saurashtra, which comprised the districts of Junagadh, Amreli, Bhavnagar, Botad, Jamnagar, Rajkot, Morbi, Surendra nagar, Somnath and Dwaraka. After India’s Independence, the Nawab of Junagadh wanted to merge with Pakistan, but his subjects revolted and Sardar Patel merged Junagadh into India. The Nawab migrated to Pakistan with his entourage.

Film “Woh Zamana” was made by Ranjit Movietone. The owner of Ranjit – Sardar Chandulal Shah was from Kathiawad and so had a special interest in this film. Chandulal was keen that the then well known actor singer of Kathiawad, Rati kumar Vyas should act and sing in this film. Rati kumar declined acting in Hindi, but sang 1 duet (with Mohantara) and 1 solo song in this film. This was his only Hindi film. His duet song is already discussed on the Blog.

The lyricist was Pt. Indra and MD was Bulo C Rani, who had joined Ranjit after his Guru Khemchand left it. The cast of the film was Khurshid junior, Altaf, lalita Pawar, S N Tripathi, Pt. Iqbal, Padma Banerjee, Joshi, Kabuli etc.etc.

Khurshid Jr. – the film’s Heroine – was the eldest daughter of Master Ali Baksh, Music Director and Iqbal Begum, film artiste and one time a famous and popular stage artist of Madon, Alfred and other Drama companies in the Eastern India. The family actually belonged to Sargodha in Punjab, but Khurshid was born in Bombay on 10-4-1930. Being born in a filmi family, the atmosphere was very conducive for Khurshid to join films.

After getting school education upto 12 years of age, she entered films. Her first film was Zameen-43 as a side Heroine. Then came Minerva’s Dr. Kumar-44 and Naghma E Sehra-45 – in which she was the Heroine of Master Vithal. Due to her good acting skill, there was no shortage of film offers. She had to add Jr. to her name , as there was a more famous actress singer Khurshid Bano, already in film line, in the same period.

Khurshid’s younger sisters Baby Meena (later Meena kumari) and Baby Madhuri Later actress Madhu- Mehmood’s wife) were also working in films. Khurshid Jr. married her handsome co-star Altaf. who did few films as a Hero but then shifted to side roles soon. After Partition, the couple considered shifting to Pakistan, but decided to stay here as her both sisters were here and doing better.

As long as Meena kumari was alive, they were comfortable, but after her demise, they became helpless and went down financially. They had to live in smaller tenement and roles also dwindled. Khurshid Jr. acted in 65 films. Her last film was Oh Bewafa-80. Altaf acted in just 21 films from Sipahi-41 to Pakiza-71. Even Khurshid had also acted in it.

One more name seems odd in the cast – Kabuli. Abdul Rehman Kabuli was from Afganistan. An expert stage artiste, he had his own Drama Company-Elphinston Theatre Company in Bombay. He sold the company, went to Calcutta and joined Madon Theatres/studios as an actor and director. He first acted in Shirin Farhad-31, Indrasabha-32,Guluru Zarina-32, Zahri saanp-33 etc etc, in all 39 films, both at Calcutta and Bombay, in the early era. Further he directed 12 films, starting with Shravan Kumar-32 up to Veer Bala-38. He wrote 55 songs in 6 films and sang 15 songs in 7 films. After Partition, he returned to his native country.

Today’s song is sung by Kathiawad’s well known actor singer Rati Kumar Vyas. He used to live in Ahmedabad, but was born in Gondal (Rajkot district) on 10-8-1921. Gondal was his maternal grandfather’s town. Due to his inclination towards singing, he was admitted in Vanita Ashram National School, by his father. He was also trained by Pt. Narayan rao Vyas and learnt Classical singing.

He worked as a Music Teacher in Bombay. He recorded his first song at A.I.R. Bombay on 7-2-1941 and got a fabulous amount of Rs. 5 as fees ! His record was brought out by Young India Record company. he acted and sang in several stage dramas. He got into Gujarati films too. His songs in film Allabeli (Good-Bye) were quite famous.

His role and songs in film Jogidas Khuman-48 and 62, both versions became popular and famous. He acted in films directed by Manhar Raskapoor. He was honoured by Delhi Gujarati Samaj and the Kaag Dhaam award also. Rati kumar Vyas died on 12-5-1991. ( Thanks for information, to shri Rajni kumar Pandya ji and Harish Raghuwanshi ji).

Today’s song is a typical Kathiawadi Folk Tune.


Song –Hey ae mulak Kathiyawad (Woh Zamaana)(1947) Singer – Rati Kumar Vyas, Lyricist – Pt. Indra, MD – Bulo C Rani

Lyrics

hey ae ae ae
ae ae ae ae
ae ae ae ae
ae ae ae
hey ae ae ae
ae ae ae ae
ae ae ae
ae ae ae de
ae de de
ae de de

ae mulak kathiawad
ae mulak kathiawad
dharti par doojo nahin
ae ae ae ae
jaise atal pahaaad
ae toote par na jhuke kabhi ee
ae jaise atal pahaad
ae toote par na jhuke kabhi ee
ae jagat raha gun gaaye
ae jagat raha gun gaaye
baghero ka raat din
hey ae ae ae
sheesh jaaye to jaaye
ae moonch rahe oonchi sada
dushman khele daanv
ae dushman khele daanv
peethh na dekhe mard ki
ae dushman khele daanv
peethh na dekhe mard ki
ae ae ae ae ??
haathhi ghaav
ae hans hans jhele soorma
ae jag mein miley na jod
ae jag mein miley na jod
maan ek kul teri kahi ee
hey ae ae ae ae
ae byaah adhoora chhod
ae mard jaaye rann mein lade
mulak kathiawaad
mulak kathiawaad
dharti par doojo nahin ee
hey ae ae jaise atal pahaad
ae toote par na jhuke kabhi

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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 : 4074 Post No. : 15212

“Nirmal”(1952) was produced by Revachand M Dembla and Biharilal C Pandit and directed by S Upendra for Shankar Theatres, Bombay. This movie had Poornima, Amarnath, Mirza Musharraf, Shanta Kunwar, Shaam Kumar, Habeeb, Leela Kumari, Cuckoo, Urwashi, Khushi Moolwaani, Sayyad ahmad, M Pahlaj, Peetaambar Setpal, Ajeet, Shaamlal etc in it.

The movie had eight songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Nirmal”(1952) to appear in the blog. This song is sung by Geeta Dutt. Moti B A is the lyricist. Music is composed by Bulo C rani.

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 this song.


Song-Bhanwra bada deewaana (Nirmal)(1952) Singer-Geeta Dutt, Lyrics-Moti B A, MD-Bulo C Rani

Lyrics

bhanwra bhanwra
bhanwra bada deewaana
loote kali kali ka rang
wo loote kali kali ka rang
wo loote kali kali ka rang
madhuban mein chhaayi hariyaali
kali khili hai daali daali
dekh kali ko mast ho gayi
bhanwre ki aankhen matwaali
bhanwra bada machalvi bada sayaana
do din ka hai pankh
wo loote kali kali ka rang
wo loote kali kali ka rang

khili huyi kaliyon par jaaye
lachke kha kar gul ko lagaaye
jiska ras pi daala uske
paas na jaaye aankh churaaye
bhanwra
ye hai kaala wo hai gori
komal komal ang
loote kali kali ka rang
wo loote kali kali ka rang

rang bhi kaala dil bhi kaala
ras pee kar udd jaane waala aa aa aa
rang bhi kaala dil bhi kaala
ras pee kar udd jaane waala aa aa aa
is se dil na lagaana o bholi
ye hai saath na dene waala
bhanwra
di leke ye daga karega
iske preet ka dhang
wo loote kali kali ka rang
wo loote kali kali ka rang


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 :

3864 Post No. : 14881 Movie Count :

4070

Today’s song is from a film Iqraar-42. The song is sung by Bulo C Rani, who became a Music Director himself in 1943. Music Director for this film was Khemchand Prakash. The film was directed by Manibhai Vyas. The 10 songs of the film were written by Pt. Indra and Munshi Dil. The cast of the film was, Madhuri, Motilal, Rama Shukul, Shanta Kashmiri,Bhagwandas, Tarabai, Bhoopat Rai and others.

Cut to….

———————————————
Place- Shanmukhanand Hall,Mumbai
Date 7-2-1999
Time- 7 p.m.
Programme- Felicitation to ‘ Stars from the Silent Era’
Organisers- ” Amrut” and ” Cine Society of Bombay ”

The entire hall was overcrowded. Not only all the seats were occupied,but people were standing wherever possible. Everybody wanted to see the Two STARS on the stage-Jairaj and Madhuri. Both were in their late 80s,but looked radiant and smiling. For Madhuri it was a surprise,that the organisers found her out after living in oblivion for over 50 years. She was simply overwhelmed with the people’s affection and love. For Jairaj,these things were not new. He has been around all the time.

Madhuri and Jairaj were a Popular pair in Silent film era. They worked as a lead pair in 3 films, one each in 1930-Rasili Rani, 1931-Warrior from the wild and 1932-My Hero. They came together after almost 70 years,on this stage.

Like many others, Madhuri too was an Anglo Indian. Her name was Beryl Claessen. She was born on 3-11-1913 at Delhi. Her father was a big officer in Government. Her initial schooling took place in Nainital. She learnt music too,because she wanted to become a Music Teacher. However that she never became,but on a visit to Bombay she was picked up by producer Indulal Yagnik and she started acting in silent films.

Many Heroines in those days were Anglo-Indians, Europeans or Jew girls. Since silent films did not require speaking Hindi or Urdu ( or any language,for that matter),these girls were preferred, as Indian audience loved their fair colour (Gori Mem). Additionally,these girls did not hesitate to give intimate scenes like kissing or doing stunts themselves. Most girls knew Horse riding, fencing and fighting.

In 1928,there was a Silent film Madhuri, but actress Sulochana(Ruby Myers) did this role and in 1932 there was a Talkie film Madhuri,in which also Sulochana only did the role. When Talkie films era began most of the Anglo Indian girls became jobless, since they could not speak Hindi/Urdu nor could they sing a song-the two requirements for actresses in Talkie films. However, a few intelligent and professional actresses learnt Hindi/Urdu language speaking. Madhuri and Sabita Devi (Irene Gasper) were two such clever girls who achieved proficiency in these matters.

Madhuri was very beautiful. After doing 17 silent films,she made her debut in Talike films with ‘ Pardesi Preetam’-1933. Jaswantlal Nandlal directed his first film here. Her Hero was Raja Sandow. She did many films for Ranjit under the direction of Jayant Desai. From 1933 to 1942,she acted in 26 films. They were (not in order) Kashmeera,Mitti ka Putla,Noor e watan,Secretary,Lehri lala,Rangeela Raja,Sitamgarh,Prithviputra,Thokar,Raj Ramni,Diwali,Matlabi Duniya,Toofani Toli,Shama parwana,College Girl,Nadira,Veer babruvahan,Zamin ka chaand,Ban ki chidia,Toofan Mail,mehmanSasural,shadi and Ikrar. By the way, Iqrar – 42 was Madhuri’s last film.

In 1941, Madhuri got married and retired from Film line. After this she simply disappeared for next 50 years without a trace,till the organisers of above programme located her.

This film was made by the film producing machine of the Industry- Ranjit Movietone. The huge set up of the studio, having a galaxy of stars on its roll, had at one time, as many as 300 persons on its pay roll. Most of the workers used to live in studio premises or around it. The Government had opened a Ration shop in the studio campus, for the benefit of their families.

I said it was a film machine, because at a time 5 to 6 films’ shootings took place on the 6 floors of the studio and films for future were planned at the same time. As per a News item published in Film India Magazine of November 1942, the studio had films ready for release…Gauri, Chhoti Maa, Bhakta Surdas, Dukh Sukh, Fariyad, Andhera and Iqrar. The films on floor were Tansen, Vish kanya, Sati Parvati, Kalidas, Shrawan kumar, Rakhi and Jaydev. Due to this continuous activity, the studio staff was always busy and one could hearthe musical rehearsals from near the Music Department.

Like all studios, Ranjit too had a system of employing Music Directors on monthly basis for long terms. In 1942, it was Khemchand Prakash. Hailing from Sujanghar in Rajasthan, Kemchand Prakash, born on 12-12-1907, was an accomplished Kathak dancer and a classical singer. The earthy music of Rajasthan flowed in his veins and helped him infuse irresistible charm into his compositions.

He learned Dhrupad *gaayaki* from his father Govardhan Prasad. He then went to Nepal and lived there for eight years under the patronage of the Maharaja. His career in films began when, on his return, he joined New Theatres (Calcutta) as an assistant to Timir Baran on a monthly salary of Rs.120. When he left New Theatres in 1939 he was drawing Rs. 500 p.m.

As Baran’s assistant he was said to have composed Saigal’s “baalam aaye baso more nam me.n” (in Raag Kafi) and “dukh ke ab bitat nahin” (Raag Des) in’Devdas.’ He even enacted a comic scene and sang a song “lo khaa lo madam khaanaa” in ‘Street Singer’ at the suggestion of the director, Phani Majumdar.

Khemchand migrated to Bombay with Prithviraj Kapoor and Kidar Sharma in search of independent assignments and joined Ranjit Movietone. Khemchand was employed by Ranjit Movietone from 1940 to 1945, in place of Gyan Dutt who was in Ranjit from 1937 to 1940 ( 15 films). Khemchand gave music to 20 films in 5 years period. When he left Ranjit, his friend Bulo C. Rani joined in his place. However ,by that time Ranjit was already going downhill due to financial difficulties caused by the gambling of Sardar Chandulal Shah. With ‘Meri Ankhen’ (1939) he proved himself as an independent composer. Followed ‘Pardesi’, ‘Shaadi’, and ‘Umeed’in 1941 which gave him a firm foothold in the Bombay industry.

One of the most popular songs composed by him during the early phase was sung by Khurshid: “pahele jo mohabbat se inakaar kiyaa hotaa.” “But Khurshid,” recalls Pandit Jagannath Prasad, a cousin and close associate of Khemchand, “was reluctant to sing the song.” And an angry Khemchand gave her the ultimatum: “Sing or get out.”

Unwilling to offend acomposer of Khemchand’s calibre, Khurshid finallygave in and rendered the song. Khurshid had her own reason for hisitating to sing the song, which was a recognizable rehash of Begum Akhtar’s famous ghazal,”deevaana bannana hai to.” She didn’t want to risk a comparison with the great Begum, for she was never really sure of her own calibre as a singer. Ironically, “pahele jo mohabbat” brought her unprecedented laurels!

Khemchand had more hits in 1942–like ‘Chandni’ and’ Khilauna.’ But it was ‘Tansen’ (1943), which sent hsi stock soaring. Based on the immortal singer’s life, ‘Tansen’ inspired Khemchand to come out with a veritable feast of light classical songs, which pleased both the connoisseur and the uninitiated. The film paired Saigal, who had been lured to Bombay by monetary considerations, with Khurshid. And Khemchand gave them a wide range of hummable songs to sing. “more baalaapan ke saathi” (Khurshid,Saigal), “dukhiyaa jiyaraa” and “baraso re” (Raag Megh Malhar–Khurshid), “ghata ghan ghor ghor” (Raag Sarang–Khurshid), “rumjhum rumjhum chaal tihaari”(Raag Shankara–Saigal), “diyaa jalaao” (Raag Deepak–Saigal) and “sapt suran teen graam” (Raag Hameer in Dhrupad–Saigal) were all brilliant compositions, which contributed in a big way to the film’s commercial suceess.

Khemchand’s sway over the Hindi film music scene continued unabated even after the influx of the robust Punjabi brand of music. He stuck steadfastly to classical and Rajasthani folk music and ghazals. His compositions in ‘Bharthari’ (“chandaa des piyaake jaa”–Amirbai), ‘Bhanwara’ (“ham apanaa unhebanaa na sake”–Saigal) and ‘Shahenshah Babar'(“mohabbat me.n saara jahaan jal rahaa hai”–Khurshid) became a rage.

Khemchand was in trouble when the Ranjit boss,Chandulal Shah, started disapproving of his association with outside producers. (Prakash Pictures’ ‘Samaj Ko Badal Dalo’ and Filmistan’s ‘Sindoor.’). The rift came to a head when Shah refused to let Khemchand use a raw voice for a song. “I don’t want an unknown voice in my film.” Shah told off Khemchand. And Khemchand walked out of Ranjit Movietone. The “unknown voice” was young Lata Mangeshkar’s! (Lata had been recommended to Khemchand by Anil Biswas, and he took an instant liking for her mellifluous voice.)

From Ranjit, Khemchand went to Bombay Talkies to score the music for ‘Ziddi.’ The success of the film vindicated his stand on Lata. Lata’s rendering of “chandaa re jaa re jaa re” based on a Rajasthani folk song “kaagaa re jaa re jaa re” was unanimously acclaimed.

‘Ziddi’ launched another eventful career–that of Kishore Kumar’s. In spite of his reputation as a ‘master yodeller’ and a singer of the frothy, light numbers, Kishore invariably excelled as a singer of sad songs. Khemchand Prakash was the first to discover this talent in Kishore. Besides the sad ‘Ziddi’ number (“marne ki duvaaye.n kyaa maangu”), he gave him another pathos-ridden song in ‘Rimjhim’ (jag mag jag mag kartaa nikalaa chaand poonam ka pyaara”).

A line in the song–“meri chaandani bichhad gayi mere ghar mein huaa andhiyaara”–proved ominously prophetic a fortnight after he’d composed the song, when his wife died, which made him a sad, lonely man, and perhaps accounted for the pathos recurring in his later compositions.

Nevertheless, Khemchand wore the facade of a ready-witted jovial person. He had an incorrigible weakness for good food and liquor. In his while dhoti and silk kurta, he was often mistaken for a rich Marwari, while he actually led a frugal existence. At Ranjit Novietone, Khemchand was paid Rs. 100 p.m. When he composed music for his last film at Bombay Talkies, he drew a salary of Rs.1,500. Producers for whom he freelanced seldom paid him his dues in spite of making the best use of his exceptional talent. Once, to collect the two thousand rupees Kishore Sahu owed him, he told the producer-director that he needed the money desperately to perform the last rites of his grandmother. When lyricist Bharat Vyas heard of this ‘bereavement’, he went to Khemchand to offer his condolences. The composer smiled wryly and said, “My grandmother is 90 and fit as a fiddle. I have been ‘killing’ her again and again only to collect my dues from the producers.”

In spite of his meagre earnings, Khemchand was a large-hearted man. He went out of his way to present a radio set to the general ward of Bombay’s K.E.M. Hospital where he had once undergone treatment. (“The antique piece is still working,” says his now physician, Dr. Hindlekar).

Khemchand never allowed his financial worries to affect his creativity. He exhibited his versatility in every composition of his of his–whether it was based on a classical raag (“kukat koyaliyaa kunjan mein”/raag Sarang/Kajjan/’Bharthari’); a Rajasthani folk tune (“silvaa de re sajanavaa mohe/Paro, SushilSahu/’Sindoor’); a ghazal (“dil lagaane mein kuchhmazaa hi nahin”/Khurshid/’Shahenshah Babar’); abhajan (“prabhu ke gun gaaoon main”/Khurshid,chorus/’Shadi’); a romantic song (“ye kaun aaj aayaare”/Kishore, Lata/’Ziddi’); or a heart-reding musical wail (“o roothe hue bhagavaan tum ko kaisemanaaoon”/Amirbai/’Sindoor’). Even as his stock went up as a musician and he came to be acknowledged as one of the best ever composers the film industry had known, Khemchand suffered an acute feeling of loneliness towards the later stages of his career after his wife’s sudden demise, and he began drowning himself in liquor.

During this phase, when he was hospitalized for abdominal ailment, he fell in love with a pretty nurse, Sridevi, who was to be his inspiration in times to come. Khemchand was in poor health when,unexpectedly, Kamal Amrohi assigned the music of Bombay Talkies’ ‘Mahal’ to him. Ashok Kumar had just come back to take over the reins of Bombay Talkies in a desperate attempt to prevent a great institution from crumbling. But the choice of Khemchand as the music director raked up a controversy, as doubts were raised about his about his ability to meet the needs of a changing breed of filmgoers. The music scene in the Bombay film industry had begun to change with breezy, catchy tunes taking over from the slow, classically oriented numbers. The rhythmic, rustic and fast-paced Punjabi folk music was becoming immensely popular. Would the ‘slow’ style of Khemchand suit the changing scene? When he heard the *mukhda* of”aayega aanevaala” in its formative stages, one of the producers of Bombay Talkies, Savak Vachcha, lost his temper, and asked Khemchand, “But when will it(the song) come?” (referring to “aayega” which is repeated five times in the song.) In his faltering Hindi the genial Parsi is said to have asked, “Aap to ‘aayega, aayega’ karte hain, vo aanevaala kidhar hai?”, which provoked the composer to walk out of the room in a fit of fury.

Sometime ago when Kamal Amrohi (who directed’Mahal’) was asked as to what had influenced the choice of Khemchand Prakash for the film, the 69-year old veteran said, “I’d been greatly impressed by Khemchand’s talent when he was with Ranjit. There was always an undercurrent of pathos in his music which reminded me of *marsia* (a dirge) and *noha*(the mournful songs of Moharrum). But he was reluctant to work with me because of my abusive tongue. When I wrote the first part (“khaamosh hai zamaane..”) of “aayega aanevaala”–the rest of the song was written by Nakhshab–and showed it to him,he instantly moved his fingers on the harmonium and played a tune… and I approved it on the spot. Though Nakhshab was angry with me for accepting the very first tune, Khemchand was relieved that I wasn’t so difficult a person after all! Nobody at Bombay Talkies, barring me, was confident of the success of ‘Mahal’ or its songs.”

The film and its music, however, went on to make history. “aayega aanevaala”, based on a Rajasthani folk tune, not only became the film’s major draw,but has remained a perennial favourite of music lovers. The song also opened floodgate of opportunities for Lata Mangeshkar.

Rajkumari, Khemchand’s favourite singer, also sang five memorable songs in ‘Mahal’ (including”ghabaraake jo ham sar ko” and “haaye mera dil”). Though, unfortunately, one of them (“suno mere nainaa”) had to be deleted from the film.

When ‘Mahal’ was released on October 13, 1950 at Bombay’s Roxy cinema to overwhelming response, Khemchand Prakash wasn’t alive to see the fruits of his labour. He had died two months earlier at the Harikisondas Hospital–on August 10, 1950–at the young age of 42.

At the time of his death, Sridevi was beside him. As she wasn’t married to Khemchand and had no legal rights over what he’d left behind, she was left high and dry.

Today, many years after Khemchand’s death, nothing seems to have changed for Sridevi. She still lives in the past, on the pavements of Borivli. Khemchand’s old physician, Dr. Hindlekar, still treats her with great care, but she’s no longer in a position to respond to anybody’s sympathy. The only sound which brings her back to ‘life’ is the strains of “aayega aanevaala.” Whenever she hears the song she stands still on the road, clutching at her only possession–a small sack of clothes and memories of a ‘melodious’ time.

( adapted from articles by Nalin Shah, Satish Chopra, Pankaj Raag and my notes, HFGK, MuVyz and Mid Day 12-2-1999.

Thanks to Harish Raghuwanshi ji )
———————————————-

I have not seen this film and I do not know its theme. However, from a photo with comments in Film India magazine, it can be presumed that the film was a Love Triangle film. Two friends, Motilal and Rama Shukul vying for the same girl Madhuri. In the process they distance themselves from each others and Madhuri tries to bring them together again. One of the actors in this film is Tarabai. She was the elder sister of Sitara Devi and mother of famous Dancer Gopi Krishna. After marriage with Marutirao Pehelwan, she fell on bad days and started working sundry roles in films. Later on her condition became worse and she used to live in Bombay’s slums. Another actor Bhagwan das, who did small roles in films, became a big time producer, later on and then became a pauper also. He had married actress Poornima. One of the 10 songs of this film is sung by one Master Vithal. He was not that Vithal who acted in Aalam Ara-31-India’s first Talkie. This master Vithal was a professional singer from Sholapur.

Today’s song is sung by Bulo C Rani (6-5-1920 to 24-5-1993). He gave music to 71 films composing 574 songs. He sang 37 songs in 19 films also. His end was terrible. He committed suicide by burning himself in his house. Bulo C Rani had joined Ranjit after Khemchand Prakash left in 1945, but by that time, Ranjit was already drowning.

This song is a very slow paced song and I feel it has inspired some other popular song from some later film, but I am unable to pinpoint the song.


Song-Muhabbat mein luta dee apne haathon zindagi apni(Iqraar)(1942) Singer- Bulo C Rani, Lyrics- Not specified, MD- Khemchand Prakash

Lyrics

Muhabbat mein luta dee
apne haathon zindagi apni
Muhabbat mein luta dee
apne haathon zindagi apni
dil apna
aarzoo apni
hansi apni
khushi apni
dil apna
aarzoo apni
hansi apni
khushi apni

meri ghamgheen raaton mein
ujaala bhi andhera hai
meri ghamgheen raaton mein
ujaala bhi andhera hai
unhi ke bazm mein ae shamma
le ja raushni apni
unhi ke bazm mein ae shamma
le ja raushni apni

main barbaad e tamanna hoon
main naakaam e muhabbat hoon oon oon
main barbaad e tamanna hoon
main naakaam e muhabbat
muhabbat ke haseen waadon pe duniya
ro rahi apni
muhabbat ke haseen waadon pe duniya
ro rahi apni

tamanna thhi ki shaam e gham
tamanna thhi ki shaam e gham
kabhi saahil pe ?? hote ae ae ae ae ae
tumhaari qaid hoti aur ?? apni
muhabbat mein ??


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 : 3749 Post No. : 14713

“Jai Hanuman” (1948) was directed by R Thakur for Ranjit Film Company, Bombay. The movie had S. N. Tripathi, Ram Kumar, Pesi Patel, P. Kailash, Nirupa Roy, K. Purohit, Babu Nene, Rajrani, Tarabai, Kamalakant, Inamdar etc in it.

The movie had twelve songs in it. One song has been covered in the past.

Here is the second song from “Jai Hanuman” (1948) to appear in the blog. This song is sung by Geeta Dutt. Pt Indra Chandra is the lyricist. Music is composed by Bulo C Rani.

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


Song-Mohe raam naam dhun laagi (Jai Hanuman)(1948) Singer-Geeta Dutt, Lyrics-Pt Indra Chandra, MD-Bulo C Rani

Lyrics

mohe raam naam dhun laagi
mohe raam naam dhun laagi
jug jug ki preet jaagi preet jaagi
jug jug ki preet jaagi preet jaagi
mohe raam naam dhun laagi
mohe raam naam dhun laagi

ae re sheetal pavan thahar ja
ae re sheetal pavan thahar ja
mand mand ?? ram naam ka ka
mand mand ?? raam naam ka
goonj goonj kar sakal jagat ko
goonj goonj kar sakal jagat ko
kar de raam anuraagi
mohe raam naam dhun laagi
mohe raam naam dhun laagi
jug jug ki preet jaagi preet jaagi
jug jug ki preet jaagi preet jaagi
mohe raam naam dhun laagi
mohe raam naam dhun laagi

raam base more man praanan mein
ram base more man praanan mein
raam jyot jagi nainan mein
raam jyot jagi nainan mein
raam raam mein raam rame hain
rom rom mein ram rame hain
raam ki maaya laagi
mohe raam naam dhun laagi
mohe raam naam dhun laagi
jug jug ki preet jaagi preet jaagi
jug jug ki preet jaagi preet jaagi
mohe raam naam dhun laagi
mohe raam naam dhun laagi


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 : 3710 Post No. : 14637

“Wo Zamaana”(1947) was directed by Manibhai Vyas for Ranjeet Movietone, Bombay. This “historical” movie had Khursheed (Junior), Lalita Pawar, Altaf, Padma Bannerji, Subhadra Devi, Sheikh Hasan, S N Tripathi, Pt Iqbal, Joshi, Ramswaroop, Nafeez Khalili, Kaabuli, Iqbal Hussain, Ibrahim, Bhupatrai Ojha etc in it.

This movie had ten songs in it. Two songs have been covered in the past.

Here is the third song from “Wo Zamaana”(1947) to appear in the blog. This song is sung by Mohantara Talpade and Rati Kumar Vyas. Pt Indra Chandra is the lyricist. Music is composed by Bulo C Rani.

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

I have not been able to get a few words right in the lyrics. I request readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

With this song, Rati Kumar Vyas makes his debut in the blog as a singer. I request our knowledgeable readers to throw light on this singer.


Song-Ho saloni naari tere roop ka jagat bhikaari(Wo Zamaana)(1947) Singers-Mohantara Talpade, Rati Kumar Vyas, Lyrics-Pt Indra Chandra, MD-Bulo C Rani

Lyrics

hey ae ae ae ae
ae ae ae ae ae ae
ae ae ae
ae ae ae
hey ae ae ae
saajan to teekha bhala
ae ae
jyon barse talwaar
ae ae ae ae
paani jiska dekh kar
haaye chhup jaaye sansaar
ae ae ae ae
ae ae ae

ae ae ae ae
ae ae ae ae
ae
naari to baanki bhali
jaise dhanush kamaan
ae ae ae ae
tirchhe chitwan
baan pe ae
ae
isi se karat nishaan

o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari
o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari
jab se geet sunaaya tumne
jab se geet sunaaya tumne
pad gayi koyal kaali
kaali
kook kook kar
kook kook kar
deti tujhko
?? adharon se gaali
gaali
manhaari
matwaari
tere roop ka jagat bhikaari
o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari

kaliyon ka ras rang churaaya
kaliyon ka ras rang churaaya
bhav ?? uthhe man mein
man mein
nain raseele
nain raseele
dekh tihaare
hirni bhaagi van mein
van mein
balihaari
balihaari
tere roop ka jagat bhikaari
o o o
saloni naari
tere roop ka jagat bhikaari
tere roop ka jagat pujaari


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 : 3704 Post No. : 14627

“Wo Zamaana”(1947) was directed by Manibhai Vyas for Ranjeet Movietone, Bombay. This “historical” movie had Khursheed (Junior), Lalita Pawar, Altaf, Padma bannerji, Subhadra Devi, Sheikh Hasan, S N Tripathi, Pt Iqbal, Joshi, Ramswaroop, Nafeez Khalili, Kaabuli, Iqbal Hussain, Ibrahim, Bhupatrai Ojha etc in it.

This movie had ten obscure songs in it. One song has been covered in the past

Here is the second song from “Wo Zamaana”(1947) to appear in the blog. This song is sung by Mohantara Talpade. Pt Indra Chandra is the lyricist. Music is composed by Bulo C Rani.

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


Song-Main parwat khadi pukaaroon (Wo Zamaana)(1947) Singer-Mohantara Talpade, Lyrics-Pt Indra, MD-Bulo C Rani

Lyrics

main parwat khadi pukaaroon
balamva aa aa re
sajanva aa aa re
main parwat khadi pukaaroon
balamva aa aa re
sajanva aa aa re
teri palchhin baat nihaaroon
balamva aa aa re
sajanva aa aa re
teri palchhin baat nihaaroon
sajanva aa aa re
balamva aa aa re

wo mast morni ee ee
wo mast morni
mor dekh kar dole ae dole
wo mast morni ee ee
wo mast morni
mor dekh kar dole ae dole
tum aao to mere man ki maina bole ae bole
tum aao to mere man ki maina bole ae bole
main preet ka jaadoo daaroon
balamva aa aa re
sajanva aa aa re
main preet ka jaadoo daaroon
balamva aa aa re
balamva aa aa re

kya karoon kya karoon
kya karoon kya karoon
kya karoon
preet meri laaj ka ghoonghat khole ae khole
kya karoon
preet meri laaj ka ghoonghat khole ae khole
lo suno
jiya mora piya piya piya bole ae bole
lo suno
jiya mora piya piya piya bole ae bole
main kaise tujhe bisaaroon
balamva aa aa re
sajanva aa aa re
main kaise tujhe bisaaroon
balamva aa aa re
balamva aa aa re
main parwat khadi pukaaroon
balamva aa aa re
sajanva aa aa re


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 : 3682 Post No. : 14579

“Caravan”(1944) was directed by Aspi for Ranjit Movietone, Bombay. This movie had it had Arun, Kamla Chatterji, Rani, Premlata, Keshari etc in it.

“Caravan”(1944) had fifteen songs in it. Six songs from the movie have been discussed in the past.

Here is the seventh song from “Caravan”(1944) to appear in the blog. This song is sung by Amirbai Karnataki. Swami Ramanand is the lyricist. Music is composed by Bulo C Rani.

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

with this song, the blog now has 200 songs from movies released in 1944. The blog now has 200 or more songs for every year between 1943 till 1975.


Song-Bijli giraane waale bijli tu phir gira de (Caravan)(1944) Singer-Amirbai Karnataki, Lyrics-Swami Ramanand, MD-Bulo C Rani

Lyrics

Bijli giraane
waale
bijli tu phir gira de
dil jal gaya hai
mera
ab jaan bhi
jala de

Bijli giraane waale
bijli giraane waale
bijli tu phir gira de
bijli tu phir gira de
dil jal gaya hai mera
ab jaan bhi jala de
dil jal gaya hai mera
ab jaan bhi jala de

jalne ki aarzoo mein
armaan jal rahe hain aen
jalne ki aarzoo mein
armaan jal rahe hain
inko jala ke inke
inko jala ke inke
dil ki lagi bujha de
dil ki lagi bujha de
dil jal gaya hai mera
ab jaan bhi jala de
dil jal gaya hai mera
ab jaan bhi jala de

maani hai maine teri
meri bhi maan le tu u
maani hai maine teri
meri bhi maan le tu
uthhi main tere dar se
duniya se tu uthhaa le ae


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 : 3664 Post No. : 14533

“Saalgirah”(1946) was directed by K S Daryani for Krishin Movietone, Bombay. This “social” movie had Snehprabha Pradhan, Jairaj < Bibbo, Gope, Majid, Tarabai, Chandrkala, Kumar, Pramila etc in it.

The movie had eleven rare songs in it. One song has been covered in the past.

Here is the second song from "Saalgirah"(1946) to appear in the blog. The song is sung by Snehprabha Pradhan. Wali Sahab is the lyricist. Music is composed by Bulo C Rani.

Only the audio of the song is available. It is clear that the song was picturised on Snehprabha Pradhan herself who was the leading lady in the movie.


Song-Saawan ki badariya roti hai badariya (Saalgirah)(1946) Singer-Snehprabha Pradhan, Lyrics-Wali Sahab, MD-Bulo C Rani

Lyrics

Saawan ki badariya
roti hai badariya
Saawan ki badariya
roti hai badariya
aur poochh rahi hai
mere saajan ki khabariya
aur poochh rahi hai
mere saajan ki khabariya
Saawan ki badariya
roti hai badariya

ashqon ki kahaani
unhen main kaise sunaaun
ashqon ki kahaani
unhen main kaise sunaaun
wo door hain majboor hain
kya unko bataaun
wo door hain majboor hain
kya unko bataaun
rone se bhi darti hoon
ke kah degi najariya
rone se bhi darti hoon
ke kah degi najariya
saawan ki badariya
roti hai badariya

likkha hai mere bhaag mein
din raat tarasna
likkha hai mere bhaag mein
din raat tarasna
o kaali ghata
ab tu kahin aur barasna
o kaali ghata
ab tu kahin aur barasna
kis munh se kahoon
haaye ke sooni hai sajariya
kis munh se kahoon
haaye ke sooni hai sajariya
saawan ki badariya
roti hai badariya


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 : 3614 Post No. : 14409

“Mitti Ke Khilaune”(1948) was directed by Prahlad Dutt for Ranjit Movietone, Bombay. The movie had Karan Dewan, Nigar Sultana, Nirupa Roy, Dulari, Ram Avatar, S N Tripathi, Pandit Iqbal etc in it.

The movie had eleven songs in it. Two songs have been covered in the past.

Here is the third song from “Mitti Ke Khilaune”(1948) to appear in the blog. This song is sung by Shamshad Begam. Butaram Sharma is the lyricist.

Bulo C Rani and Hansraj Bahl were the two music directors in this movie. This song is composed by Bulo C Rani.

Only the audio of the song is available. It appears almost certain that this song was lip synced by the lreading lady of the movie, namely Nigar Sultana. Nevertheless, i request our knowledgeable readers to throw light on the picturisation of the song.

This lovely joie de vivre song becomes the 400th song from movies of 1948 to appear in the blog. This year thus joins years from 1949 till 1961 that already have more than 400 songs each in the blog. Movies released in all years from 1948 till 1961 with 400 plus songs in the blog- this is a nice little achievement for us. Movies of these 14 years combine to have as many as 6584 songs in the blog !


Song-Pyaar kiya tab jaana (Mitti Ke Khilaune)(1948) Singer-Shamshad Begam, Lyrics-Butaram Sharma, MD-Bulo C Rani

Lyrics

pyaar kiya tab jaana ho jaana re
pyaar kiya tab jaana
pyaar kiya tab jaana ho jaana re
pyaar kiya tab jaana
hai dil ka chain ganwaana
aur apna aap mitaana mitaana re
pyaar kiya tab jaana
pyaar kiya tab jaana ho jaana re
pyaar kiya tab jaana

kyun kyun bairan raat sataati hai
kyun bairan raat sataati hai
kyun aah nikalti
kyun bhaaye neer bahaana bahaana re
pyaar kiya tab jaana
pyaar kiya tab jaana ho jaana re
pyaar kiya tab jaana

kyun dil mein dard sa rehta hai
kyun dil mein dard sa rehta hai
kyun chehra zard sa rehta hai
kyun chehra zard sa rehta hai
kyu bhool gaye muskaana muskaana re
pyaar kiya tab jaana
pyaar kiya tab jaana ho jaana re
pyaar kiya tab jaana

kyun baadal ghir ghir aate hain
kyun badal ghir ghir aate hain
kyun jee mein aag lagaate hain
kyu jee me aag lagaate hain
saawan kyun hai suhaana suhaana re
pyaar kiya tab jaana
pyaar kiya tab jaana ho jaana re
pyaar kiya tab jaana


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 : 3597 Post No. : 14355

Today (24 may 2018) is the 25th rememberance day of Bulo C Rani (6 may 1920-24 may 1993). He is one of several artists, many of the music directors whose birth as well as remembrance days fall in the same month.

On this occasion, here is a song from “Dharti”(1946) as a tribute to Bulo C Rani.

“Dharti”(1946) was directed by Manibhai Vyas and it had Mumtaz Shanti, Trilok Kapoor, Padma Banerji, Vikram Kapoor, Baby Anwari, Sheikh Hussain, Pandit Iqbal, Jugal Kishore, Lakshman, Mustafa, Leela Shinde, and Tipnis.

The movie had eleven songs in it. One song has been covered in the past.

Here is the second song from “Dharti”(1946) to appear in the blog. This song is sung by Mohantara Talpade. Lyrics are by Pandit Indra Chandra. Music is composed by Bulo C Rani.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song which sounds like a meera bhajan.


Song-Roothh gaye mose manmohan ab saawan ko kya karoon (Dharti)(1946) Singer-Mohantara Talpade, Lyrics-Pt Indra Chandra, MD-Bulo C Rani

Lyrics

rooth gaye mose manmohan
ab saawan ko kya karoon
rooth gaye mose manmohan
ab saawan ko kya karoon
chhod chale mohe madhusudan
ab madhuwan ko kya karoon
chhod chale mohe madhusudan
ab madhuwan ko kya karoon
mor papeeha koyal bairan
mor papeeha koyal bairan jali ko aur jalaaye re
jali ko aur jalaaye re
birhan aansu ki jamuna mein
birahan aansu ki jamuna mein pal pal doobi jaaye re
pal pal doobi jaaye re
raakh hui jal jal kar un bin
ab chandan ko kya karoon
raakh hui jal jal kar un bin
ab chandan ko kya karoon

gagan pe chanda jug jug jhaanke
gagan pe chanda jug jug jhaanke
sheetal aangan gaaye re
sheetal aangan gaaye re
kunj gali mein vyaakkul birhan
kunj gali mein vyaakul birhan
ang ang murjhaaye re
ang ang murjhaaye re
main to hoon sajan ki jogan
ghar aangan ko kya karoon
main to hun sajan ki jogan
ghar aangan ko kya karoon
rooth gaye mose manmohan
ab saawan ko kya karoon


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

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

Total number of songs posts discussed

15258

Number of movies covered in the blog

Movies with all their songs covered =1179
Total Number of movies covered =4192

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