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

Posts Tagged ‘DN Madhok


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

Blog Day :

5243 Post No. : 17242

The Nightingale of Punjab – the sobriquet given to her by the film industry and the media. Today, she would have completed 93 years.

Remembering the zestful singer Surinder Kaur on her birth anniversary today.

Born in Lahore in 1929, her family moved to Ghaziabad near Delhi when the Partition happened. It was the same year that she also got married. She was already a singing star in undivided Punjab, and had made her debut as  singer on the Lahore radion station in 1943. Between 1943 and 1947, she and her elder sister Prakash Kaur recorded a number of Punjabi folk song with HMV. These songs have created a genre of their own, and continue to be the gold standard in Punjabi folk music even today, more than seventy five years after being originally recorded.

Her husband, Prakash Singh Sodhi, a professor of Punjabi Literature at Delhi University was very supportive of her career as a singer, and encouraged her to go to Bombay (now Mumbai) and make a mark for herself in the Hindi film industry. She came to Bombay in 1948, and immediately got a break, with music director Ghulam Haider giving her a chance to sing three songs in the film ‘Shaheed’. During the next four years, till 1952, she recorded more than fifty four songs in Hindi films. And then took a decision to return to Delhi. The reason that was cited was a disagreement with the climate of Bombay.

She was conferred the Sangeet Natak Akademi Award for Punjabi Folk Music in 1984, by the Sangeet Natak Academi, the Millennium Punjabi Singer award, and Padma Shri award in January 2006 for her contribution in Arts. The Guru Nanak Dev University conferred on her a doctorate degree in the year 2002.

Later in the year 2006, her health took a turn for the worse, and she went to United States for treatment, and to be with her daughters who are settled there. Her condition worsened and she passed away in a New Jersey hospital on 14th June, 2006. She was 77 years old.

Each of the songs that she has sung in Hindi films is a gem. The tone and character of her voice is so distinct, and her diction carries a touch of north India, and Punjab in particular. I present today this wonderful song from the 1948 film ‘Naao’. The lyrics are from the pen of DN Madhok and the music is from the mind of Gyan Dutt.

A song that tells of the state of the heart of the lady, whose beau is leaving for distant lands. The words and their rendition is simply too good –

तुम तो चले हो लगी तोड़ के
हम कित जाएँ

you are departing, breaking this alliance of hearts
alas, where can I go

 

Listen to this lovely melody, and the wonderful rendition – the voice of Surinder Kaur.

[Note: The lyrics of this song have been sent by dear Prakashchandra ji.]

Song – Tum Ho Na Ho Hamaare, Hum Ho Gaye Tumhaare (Naao) (1948) Singer – Surinder Kaur, Lyrics – DN Madhok, MD – Gyan Dutt

Lyrics (provided by Prakashchandra)

tum ho na ho hamaare
o lo ji hum ho gaye tumhaare
tum ho na ho hamaare
o lo ji hum ho gaye tumhaare
ab ho o o oo dil na dukhaana
ab ho o o oo dil na dukhaana
jaane waale pardesiya
mohe bhool na jaana
jaane waale pardesiya
mohe bhool na jaana
tum jeete hum haare
o lo ji hum ho gaye tumhaare
tum jeete hum haare
o lo ji hum ho gaye tumhaare
tum ho na ho hamaare
o lo ji hum ho gaye tumhaare

ae ji o ji ye adaayen na bhaayen
ae ji o ji ye adaayen na bhaayen
tum to chale ho lagi tod ke
hum kit jaayen
tum to chale ho lagi tod ke
hum kit jaayen
do nainon ke maare
o lo ji hum ho gaye tumhaare
do nainon ke maare
o lo ji hum ho gaye tumhaare
ab ho o o oo dil na dukhaana
jaane waale pardesiya
mohe bhool na jaana
tum jeete hum haare
o lo ji hum ho gaye tumhaare
tum ho na ho hamaare
o lo ji hum ho gaye tumhaare

o ji o ji dil sataaye hum ko
o ji o ji dil sataaye hum ko
din na kisi se katey
raat ki dil se pooch lo
din na kisi se katey
raat ki dil se pooch lo
kya jaadu kar daale
o lo ji hum ho gaye tumhaare
kya jaadu kar daare
o lo ji hum ho gaye tumhaare
ab ho o o oo dil na dukhaana
jaane waale pardesiya
mohe bhool na jaana
tum jeete hum haare
o lo ji hum ho gaye tumhaare
tum ho na ho hamaare
o lo ji hum ho gaye tumhaare

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

तुम हो ना हो हमारे
ओ लो जी हम हो गए तुम्हारे
तुम हो ना हो हमारे
ओ लो जी हम हो गए तुम्हारे
अब हो ओ ओ॰॰ दिल ना दुखाना
अब हो ओ ओ॰॰ दिल ना दुखाना
जाने वाले परदेसिया
मोहे भूल ना जाना
जाने वाले परदेसिया
मोहे भूल ना जाना
तुम जीते हम हारे
ओ लो जी हम हो गए तुम्हारे
तुम जीते हम हारे
ओ लो जी हम हो गए तुम्हारे
तुम हो ना हो हमारे
ओ लो जी हम हो गए तुम्हारे

ए जी ओ जी ये अदाएं ना भाएँ
ए जी ओ जी ये अदाएं ना भाएँ
तुम तो चले हो लगी तोड़ के
हम कित जाएँ
तुम तो चले हो लगी तोड़ के
हम कित जाएँ
दो नैनों के मारे
ओ लो जी हम हो गए तुम्हारे
दो नैनों के मारे
ओ लो जी हम हो गए तुम्हारे
अब हो ओ ओ॰॰ दिल ना दुखाना
जाने वाले परदेसिया
मोहे भूल ना जाना
तुम जीते हम हारे
ओ लो जी हम हो गए तुम्हारे
तुम हो ना हो हमारे
ओ लो जी हम हो गए तुम्हारे

ओ जी ओ जी दिल सताये हमको
ओ जी ओ जी दिल सताये हमको
दिन ना किसी से कटे
रात की दिल से पूछ लो
दिन ना किसी से कटे
रात की दिल से पूछ लो
क्या जादू कर डाले
ओ लो जी हम हो गए तुम्हारे
क्या जादू कर डारे
ओ लो जी हम हो गए तुम्हारे
अब हो ओ ओ॰॰ दिल ना दुखाना
जाने वाले परदेसिया
मोहे भूल ना जाना
तुम जीते हम हारे
ओ लो जी हम हो गए तुम्हारे
तुम हो ना हो हमारे
ओ लो जी हम हो गए तुम्हारे


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.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 :

5065 Post No. : 16980

Today’s song is from the film ‘Daasi’ (1944).

The film was made by Pradhan Pictures, Lahore, and was directed by Hiren Bose. The music was by Pt. Amarnath Batish (to avoid ‘same name confusion‘ the other Music Director Pt. Amarnath Chawla, I am mentioning their surnames also). Funniest thing is Pradhan Pictures was owned by Sanjay Pradhan – a person from Orissa, Director hiren Bose was from Bengal and Pt. Amarnath, MD was from Punjab. They all came together in the most popular and beautiful city of those times ‘Lahore’, to make a film which became a hit, mostly because of its music.

In the pre-partition period, there were 3 film centers: Bombay, Calcutta and Lahore. Though comparatively Lahore was the youngest center, having made its first silent film only in 1924, experts across the border and in India claim that Lahore had the potential of becoming, if not bigger, but as big a center as Bombay ! In that era Lahore did make a lot of contribution in the field of acting, direction and music. Several experts have written long articles on Lahore’s standing in Hindi and Punjabi film making.

Next to Mumbai and Calcutta, Lahore was the largest movie making center in India. In fact the best known industry in Lahore was the movie industry. Film industry in Lahore is now called Lollywood. It is a mixture of Lahore and Hollywood. During the twenties and thirties, a lot of movies were made in Lollywood, based on the ones made in Hollywood. There was even a big movie studio, named United People’s on Ravi Road. Besides two big studios, Pancholi Arts and Shourie Pictures, that boasted of many super-hit movies, there were a large number of smaller units, which too had quite a few hit films to their credit.

Dalsukh Pancholi, a film tycoon from Lahore (born in Karachi) and the founder of Pancholi Studios of Lahore, studied script writing and cinematography from New York, and played an important part in the careers of stars such as Noor Jehan, Ramola, Om Prakash, music composers Ghulam Haider and OP Nayyar. His first film was ‘Gul-e-Bakawli’ (1938) starring Noor Jehan. Ghulam Haider’s “Shaala Jawaania”  was an instant rage. Pancholi’s film ‘Khazanchi’ (1941) was one of the longest running movies of its time.

Master Ghulam Haider, a phenomenal music director from Lahore, was the man who gave Lata Mangeshkar the break of her career in the movie ‘Majboor’ (1948). Mohd Rafi’s debut also happened to occur in Lahore, at the hands of music director Shyaam Sunder in Pancholi’s  film ‘Gul Baloch’. Many of the mainstream stars started their career in movies that were made in Lahore, and later moved to Mumbai where they became some of the biggest stars of Indian cinema.

Many high profile Indian actors and singers lived in the Walled City in the 1940s and Lakshmi Chowk was where the film fraternity got together in tongas decorated with maroon flowers, foot bells and lamps on the side. By the evening, Lakshmi would be full of tongas, with film stars, top film directors and producers thronging tea houses and discussing filmy affairs. Pran, Om Parkash and Al Nasir, another Lahori film hero, would spend their evenings chatting and playing billiards.

Pran, who mostly played the role of a villain in films, lived in Qilla Gujjar Singh. He was a skilled photographer and took photographs of famous artistes. One day – while standing at a pan shop in Lakshmi Chowk – he met Wali, a leading film director of the time. Wali asked Pran if he was interested in acting and Pran said yes. Wali wrote the address of Pancholi Studios  on the back of a cigarette pack and asked Pran to see one of his friends there. Pran started his film career with ‘Chaudhry’ and later appeared as a hero in ‘Khaandaan’ (1942), a film by Shaukat Hussain Rizvi. The heroine was melody queen Noor Jahan. Later Pran established his career in Lahore as a villain in Punjabi films. Pran migrated to Bombay in 1947.

BR Chopra was born in Lahore. He studied journalism, directed/produced plays, and worked as a film critic in Lahore. Yash Chopra, his younger brother was born in Lahore as well, later he joined his brother in Bombay to start their own production house. BR Chopra was working on his first film ‘Chandni Chowk’ when the partition riots began. And K Asif, the man who made the epic masterpiece ‘Mughal-e-Azam’ (1960), also hailed from Lahore. Om Parkash was also one of the great names of Bombay. He lived at Matti Chowk, Lohari Gate and always rented out a decorated tonga to take him from Matti Chowk to Lakshmi Chowk every day. Om Parkash did many small and large roles in films made in Lahore and also migrated to India in 1947.

Balraj Sahni also lived at Matti Chowk and was the secretary general of the All India Communist Party. He studied at Government College. Sahni also acted in pre-Partition films in Lahore. Dev Anand lived in Lohari Gate, but later moved to Bhaati Gate. He also studied at Government College. Dev Anand participated actively in politics in Lahore. His brother Chetan Anand was a famous film director in Lahore and was considered quite influential in film studios when it came to casting and other affairs. Meena Shorey was one of the leading female actors of her times. She lived in Bhaati Gate and married Roop K Shorey, the owner of Shorey Film Studio (now Shah Noor Studio). She acted in several pre-partition films made in Lahore and migrated to India in 1947.

Lahore was considered the ‘launchpad’ for famous singers and musicians. KL Saigal, the legendary singer,  acquired fame in Lahore then later moved to Calcutta. and then to Mumbai. The subcontinent’s  greatest playback singer Muhammad Rafi lived in Bhaati Gate. He was from a family of barbers and ran his own barbershop. Rafi had a beautiful voice and most of his customers would often ask him to sing for them while they got their hair cut or got a shave. A man from the film industry introduced Rafi to film director of ‘Gul Baloch’ who gave Rafi the opportunity to sing three songs. The film proved a launching point for Rafi’s film career in Lahore and by the time he migrated to India in the 40s  he was an accomplished singer.

Khurshid Begum was an outstanding singer from Lahore who too moved to India for better opportunities. She also lived in Bhaati Gate. She sang several famous songs for various Indian films, including  great songs  with singer KL Saigal.  Hritik Roshan’s grandpa Roshan (Roshan Lal Nagrath), the famous music director, was from  Lahore. He was given a chance as an assistant by another Lahori musician, Khwaja Khurshid Anwar (who was in Bombay at the time).  Khayyam the music composer of ‘Umrao-Jaan’ fame started his career in Lahore.

Roshan Ara Begum from Lahore was acclaimed the best interpreter of Kirana Gharana Sytle of Khayal singing in the subcontinent. Composer OP Nayyar, Ustad Fateh Ali, Bade Ghulam Ali (the only film he ever sang for was  ‘Mughal-e-Azam’), all are from Lahore. Other famous musicians from Lahore who migrated later to Mumbai include Pandit Amarnath, Shyam Sunder, Gobind Ram, Lachhi Ram and Dhani Ram. More recently  Lahore has given India  Nusrat Fateh Ali, Sabri Brothers, Adnan Sami, Reshma, Mehdi Hassan, Abida Parveen, Tassawar Khanum, Atif Aslam, Ghulam Ali, Rahat Fateh Ali, Shafqat Amanat Ali – their talent truly saturates Bollywood.

Sajjad Zaheer (father of Nadira Babbar), Jaan Nisar Akhtar (father of lyricist Javed and grandfather of actor/director Farhan and director Zoya), Kaifi Azmi (father of Shabana Azmi), Majrooh Sultanpuri and so many others have a deep link to that city. Sahir Ludhianvi (Abdul Hayee) started his career in Lahore as a lyricist/poet, and later went on to become one of the biggest lyricists in Bollywood. Tanveer Naqvi was a noted lyricist of his times. He lived in the Faqirkhana Museum inside Bhaati Gate. He wrote ‘Awaz De Kahaan Hai’ and ‘Jaan-e-Baharan, Rashk-e-Chaman’.

It was Lahore that encouraged women to throng the theaters for the first time where the Wednesday matinees were reserved for women in special  ‘Ladies Only’ shows in all theaters at half the normal rates. Lahore’s love for Bollywood movies continues till date where while the Pakistani films have vanished from the cinema, the screening of Bollywood movies is again in full swing after a setback when  Indian films were banned for sometime to help indigenous industry to pick up. Almost every cinema hall in the city including those located in Northern Lahore and Walled City known for showing Punjabi movies, has switched over to either Indian or English films.

The film ‘Daasi’ had in its cast Ragini, Najamul Hasan, Om Prakash, Kalavati, Pran Sikand, Khairati etc. Ragini was touted as one of the most beautiful actresses of that time. She was called Aahoo Chashm, like Naseem Banu was called Pari Chehra. In Indian cinema there were only 3 actresses with brown eyes. one was Ragini, second was Kamla Kotnis (first heroine of Dev Anand in 1946) and third was Vanmala.

Najamul Hasan was very handsome . If only he had not eloped with Devika Rani in 1936, possibly he would have ruled Indian cinema. Bombay had banned him, Calcutta had not much to offer and in Lahore he got only side roles. His last days were very bad in Pakistan.

Only Ragini and Pt. Amarnath were the winners in the success of the film ‘Daasi’. Pt Amarnath was born in Jalandhar in 1912. Pandit ji started his career as singer, actor in the stage plays in his home town of Jalandhar. He also recorded private songs, ghazals, thumri, gurbani, classical and semi-classical in the voice of child prodigy Master Madan in the 30s. Master Madan only recorded eight compositions in his life of only fourteen years under the baton of Pandit Amarnath – “Bagaan Wich Peengan Paiyaan”, “Raavi De Parle Kandey”, “Man Ki Man Hi Mahi Rahi”, “Chetna he ko chet le”, “Mori Binti Mano Kanha Re” and “Gori Gori Baiyaan”. This was confirmed by Khayyam Sb.

Pandit Amarnath made his debut in 1942 with Roop K Shorey’s film ‘Nishani’.  Pandit Amarnath’s most successful film was ‘Daasi’, starring Ragini, Najam and Gyani. Zeenat Begum sang her scintillating numbers, “Ho Rasiya Kabhi Le Chal Tu Jamuna Ke Paar”, “Subah Hui Aur Panchi Jaage” and “Wo Din Yaad Karo”. The chart buster of the film was “Raaten Na Rahin Wo Na Rahe Din Wo Hamaare”. After the release of ‘Daasi’, Pandit ji came to be known as Pandit Amarnath of Daasi fame.

Pandit Amarnath’s music was a mix of Punjabi folk, Mehfil Sangeet of classical shades and village music which can be seen in his compositions. In 1944, Pandit ji went to Calcutta to give music for Indrapuri studio’s ‘Iraada’.  Upcoming singer Hemant Kumar recorded his  song, “Phir Mohabbat Ke Payam Aane Lagey” under his guidance. Another popular composition of Pandit ji for the movie was “Araam Se Jo Raatein Kaatey Wo Ashq Bahaana Kya Jaane”. Pandit Amarnath was the most revered composer of the 1940s. He gave several evergreen numbers in that decade.

Pandit ji was in so much demand that he started getting offers from Bombay, Poona as well as Calcutta. When he got an offer from Prabhat to do music for their film ‘Chand’, he declined the offer and suggested that instead they should take his assistants Husanlal and Bhagatram. Prabhat honoured Pandit ji’s request and agreed. This was the beginning of India’s first popular musical duo.

Simultaneously, he was giving music to Punjabi films too like “Koel” (1944) and “Gul Baloch” (1945).During the 40s decade Pt. Amarnath was the most busy composer, with a line up like ‘Nishani’ (1942), ‘Paapi’ (1943), ‘Iraada” (1944), ‘Daasi’ (1944), ‘Panchhi’ (1944), ‘Shirin Farhad’ (1945), ‘Ragini’ (1945), ‘Kaise Kahoon’ (1945), ‘Dhamkee’ (1945), ‘Sham Savera’ (1946), ‘Shalimar’ (1946), ‘Shehar Se Door’ (1946), ‘Jhumke’ (1946), ‘Aai Bahar’ (1946), ‘Pagdandi’ (1947), ‘Mirza Sahiban’ (1947), ‘Roop Rekha’ (1948) and ‘Ek Teri Nishani’ (1949).

He gave music to 18 Hindi films, composing 152 songs in all. Due to his success, he started drinking, which became his nemesis. At the time of film ‘Pagdandi’ (1947), after few songs, he was replaced by Khurshid Anwar. Even in his last two films ‘Roop Rekha’ (1948) and ‘Ek Teri Nishani’ (1949) after few songs, he was replaced by other MDs. Film ‘Patjhad’, which he had signed, was given to Ghulam Haider.

After the grand success of ‘Jhumke’, he also fell into the same trap which affected his health badly. He had a few films in his hand at this stage as well, even his most successful film ‘Mirza Sahiban’ starring Malika e Tarannum was made at this stage. He had composed several evergreen numbers for this film. It’s super hit was “Haaye Re Ud Ud Jaaye Mora Reshmi Duppata”. He had signed up for the film ‘Patjhad’ for Pancholi Picture but after his untimely death, Ghulam Haidar and SD Batish were signed up instead.

Similarly, Pandit ji was replaced by Khurshid Anwar in ‘Pagdandi’. In the film ‘Roop Rekha’ (1948) Pandit ji had recorded a song, “Bol Bol Mein Umda Hai Toofan”. He had also recorded a few compositions for “Ek Teri Nishani” – “Aa Gai Zaalim Jawani Aa Gai” and “Ek Dekha Khwwab Suhana”. Asha Bhosle sang for the first time for Pandit ji in the song, “Teri Kaafir Jawaani Ko Jawaani Kaun Kehta Hai”. The film was later completed by Sardul Kawatra and was released in 1949.

During the making of film ‘Mirza Saahiban’, Pt. Amarnath died at the age of just 35 years, on 20-2-1947. The balance songs were done by Husnlal Bhagatram.

His untimely death was a great loss to the music industry and especially to the Punjab School of Music, robbing us of many great hits.

Today’s song is the 7th song from ‘Daasi’ to appear here. The song is extremely melodious and is sung by Zeenat Begum with her sweet voice. You will certainly enjoy it….

(The article is based on adapted information from an article on creative.sulekha, from Film Sangeetkar by Prof. Yadav, an article by Sharad Dutt in millenimpost.in, Dhunon Ki Yatra by Pankaj Raag, HFGK, muVyz and my notes ).


Song – Raaten Na Rahin Wo Na Rahe Din Wo Hamaare (Daasi) (1944) Singer – Zeenat Begum, Lyricist – DN Madhok, MD – Pt Amarnath Batish

Lyrics (Provided by Sudhir)

raaten na rahin wo
na rahe din wo hamaare
raaten na rahin wo
na rahe din wo hamaare
tum hi bata do ke jiyen kis ke sahaare

aa jaao tadpata hai jiyaa dard ke maare
aa jaao tadpata hai jiyaa dard ke maare
dum ghut ke marey jaate hain armaan bechaare
ab tum hi bata do ke jiyen kis ke sahaare
raaten na rahin wo

koi to unhen jaa ke ye paighaam mera de
koi to unhen jaa ke ye paighaam mera de
ik rota hua dil tumhen din raat pukaare
ab tum hi bata do ke jiyen kis ke sahaare

raaten na rahin wo
na rahe din wo hamaare
tum hi bata do ke jiyen kis ke sahaare
raaten na rahin wo

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

रातें ना रहीं वो
ना रहे दिन वो हमारे
रातें ना रहीं वो
ना रहे दिन वो हमारे
तुम ही बता दो के जीएं किस के सहारे

आ जाओ तड़पता है जिया दर्द के मारे
आ जाओ तड़पता है जिया दर्द के मारे
दम घुट के मरे जाते हैं अरमान बेचारे
अब तुम ही बता दो के जीएं किस के सहारे

कोई तो उन्हें जा के ये पैगाम मेरा दे
कोई तो उन्हें जा के ये पैगाम मेरा दे
इक रोता हु दिल तुम्हें दिन रात पुकारे

रातें ना रहीं वो
ना रहे दिन वो हमारे
तुम ही बता दो के जीएं किस के सहारे
रातें ना रहीं वो


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 :

4701 Post No. : 16403

‘Chanda Ki Chandni’ (1948) was directed by Dwarka Khosla for IA Patel Productions, Bombay. It was a social movie. It had Rehana, Jairaj, Veera, Bilimoria, Shanta, Neelkanth Tiwari, Moni Chatterjee, Pandey, Keshri, Ameer Banu and others.

This movie has nine songs penned by DN Madhok and music was composed by Gyan Dutt. So far, the following five songs from this movie  have been posted on the blog.

Sr.No. Song Title Posted on
01 Chanda ki chaandni hai mauj hai bahaar hai 07.02.2014
02 Ulfat ke dard ka kabhi mazaa lo 11.03.2014
03 Ham ko bhoolaa diya to kya 16.03.2016
04 Jab teri yaad aati hai dil mera bhar bhar aaye 18.10.2017
05 O jaadugar kaahe tihaar gali aaye 16.07.2020

Today we are presenting sixth song from the above movie which is sung by Geeta Roy (later Geeta Dutt) and music is composed by Gyan Dutt. Lyrics are by DN Madhok as mentioned above.

I came across this song long back when I had shared one song each sung by Sulochana Kadam and Geeta Dutt. The today’s song was noted then but it had remained unposted so far.

Let us now enjoy today’s song …

Song – Jab Kaali Kaali Raatein Hongi (Chanda Ki Chaandni) (1948) Singer – Geeta Roy, Lyrics – DN Madhok, MD – Gyan Dutt

Lyrics

jab kaali kaali raatein hongi
jab kaali kaali raatein hongi
dil se dil ki baatein hongi
aur yaad tumhaari aayegi
aur yaad tumhaari aayegi

jab kaali kaali raatein hongi
dil se dil ki baatein hongi
aur yaad tumhaari aayegi
aur yaad tumhaari aayegi

jab aam ki daali dolegi
aur door koyaliya bolegi
aur yaad tumhaari aayegi
aur yaad tumhaari aayegi
jab kaali kaali raatein hongi
dil se dil ki baatein hongi
aur yaad tumhaari aayegi
aur yaad tumhaari aayegi

jab tum hum ko yaad karoge
jab tum hum ko yaad karoge
bhoole se ek aah bharoge
bhoole se ek aah bharoge
jab jhilmil jhilmil taare honge
jab jhilmil jhilmil taare honge
chanda se shokh ishaare honge
chanda se shokh ishaare honge
jab dhak se chhati dhadkegi
aur aankh hamaari phadkegi
aur yaad tumhaari aayegi
aur yaad tumhaari aayegi

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

जब काली काली रातें होंगी
जब काली काली रातें होंगी
दिल से दिल की बातें होंगी
और याद तुम्हारी आएगी
और याद तुम्हारी आएगी

जब काली काली रातें होंगी
दिल से दिल की बातें होंगी
और याद तुम्हारी आएगी
और याद तुम्हारी आएगी

जब आम की डाली डोलेगी
और दूर कोयलिया बोलेगी
और याद तुम्हारी आएगी
और याद तुम्हारी आएगी
जब काली काली रातें होंगी
दिल से दिल की बातें होंगी
और याद तुम्हारी आएगी
और याद तुम्हारी आएगी

जब तुम हम को याद करोगे
जब तुम हम को याद करोगे
भूले से इक आह भरोगे
भूले से इक आह भरोगे
जब झिलमिल झिलमिल तारे होंगे
जब झिलमिल झिलमिल तारे होंगे
चंदा से शोख इशारे होंगे
चंदा से शोख इशारे होंगे
जब धक से छाती धड़केगी
और आँख तुम्हारी फड़केगी
और याद तुम्हारी आएगी
और याद तुम्हारी आएगी

 


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 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 :

3783 Post No. : 14764 Movie Count :

4037

Today’s song is from film ‘Holi’ (1940). It is written by DN Madhok and composed by Khemchand Prakash. This duet is sung by Sitara Devi and Kantilal.

When silent films started talking, it became imperative for the film makers to recruit only those artistes who could sing on screen. In this compulsion, most of the times, the composers had to compromise on the singing ability of the artistes, because for the artistes, acting was primary and singing was secondary. Barring the born, natural singers like Noorjehan, KL Saigal, Khursheed, Surendra and few others, the rest of the singers in the film industry were all ‘make do’ types. In the early era, till about the beginning of the 40’s decade, the music directors had a tough time getting songs sung by these so called ‘singers’. May be, that is the reason why we find that many composers also sang when the playback started.

Almost all the heroes and heroines (with the sole exception of Jairaj – who was an ‘Aurangzeb’ in music) willy-nilly sang even after the playback singing had firmly set in. Pure and exclusive singers like Lata, Asha, Geeta, Rafi, Mukesh and Talat started occupying their legitimate place in playback singing in films from the mid 1940s onward. At the same time, slowly and steadily singing by the actors and actresses diminished, and by the dawn of the 1950’s decade, playback singing was rooted firmly. In my opinion, this was also one of the major reasons of ‘Golden Period of Film Music’ blossoming from around 1947-48 onward. Due to the availability of playback singers, actors started acting wholeheartedly and composers got new energy and they concentrated on making good music rather than breaking their heads on teaching the ‘pseudo-singers’ how to sing their songs ! In one of the interviews, Naushad had expressed his relief from getting song sung by non-singers !!

Singers like Ishwarlal, Kantilal, AR Oza, Vatsala Kumthekar etc were part actors and part singers. Thus we find that very rarely any song sung by these part time singers became an evergreen song. I can, however, think of only one song- “Zindagi Ka Saaz Bhi Kya Saaz Hai, Baj Raha Hai Aur Be-awaaz Hai” by Naseem Bano in film ‘Pukar’ (1939). She had sung it well and the composer Meer Sahab too should get some credit for its composition. But such cases are rare. Mohd. Rafi’s case in this connection can be quoted. After the regular playback singers became composers’ first choice, one by one the ‘part time’ singers closed their shops ! See here how Rafi did it.

Mohd. Rafi, no doubt, was a versatile singer. Like Lata, when he came on the scene of playback singing – after considerable hard work and struggle, he replaced the old singers who sang in the films, one by one.

  • Ashok kumar’s singing spree stopped when Rafi sang for him in film ‘Saajan’ (1947).
  • Ishwarlal stopped singing when Rafi sang for him in film ‘Sharbati Aankhen’ (1945).
  • Shahu Modak stopped after ‘Chakradhari’ (1954).
  • WM Khan after ‘Aalam Ara’ (1956).
  • Master Nissar after ‘Boot Polish’ (1954)
  • GM Durrani after ‘Lal Pathar’ (1971)
  • Karan Dewan after ‘Duniya’ (1949).
  • Noor Mohammed Charlie after ‘Zameen Ke Taare’ (1960).
  • Balak Ram after ‘Shri Ram Bharat Milan’ (1965).
  • Moti Sagar after ‘Paak Daman’ (1957).
  • Man Mohan Krishna after ‘Basant Bahar’ (1956).

Mohd. Rafi even sang for some composers who used to sing in films,

  • SN Tripathi – ‘Pawanputra Hanuman’ (1957).
  • Snehal Bhatkar – ‘Baawre Nain’ (1950) (he was doing a beggar’s role in this film)
  • Sudhir Sen – ‘Saat Phere’ (1970).

By the way, Rafi was the only male playback singer who sang with all 3 major singer actresses

  • Noorjehan – ‘Jugnu’ (1947).
  • Khursheed – ‘Aage Badho’ (1947)
  • Suraiya – they have sung together in 13 films

The female singer in today’s song is Sitara Devi (8-11-1920 to 25-11-2014), the well known Kathak dancer. Her life story is available freely on the internet. She was bestowed the title of ‘Nritya Samragni’  by Ravindranath Tagore, in 1936, when she was just 16 year old. Sitara is also famous for her multiple marriages. She was the one who refused to accept ‘Padma Bhushan’ honour, stating that she deserves nothing less than ‘Bharat Ratna’ alone ! She had taught Kathak Dance to younger actresses like Madhubala, Rekha, Mala Sinha and Kajol.

The male singer in today’s song is Kantilal. KANTILAL CHHAGANLAL PACHCHIGAR was born on 18-4-1907 in Surat, Gujarat. Due to inherent interest in music, after college education he came to Bombay to try film singing. His first film was ‘Bulbul e Paristan’ (1934) from Vishnu Cinetone. Kikubhai Yagnik was the MD. Kantilal sang 2 songs in it. In 1935, he acted, sang and gave music to ‘Preet Ki Reet’ (1935). He sang 6 songs. He also gave music in ‘Punjab Ka Sinh’ (1936) and also in ‘Gul Badan’ (1937). From 1937 to 1941, he was with Ranjit Movietone and acted and sang in 16 films. He sang 40 songs under Khemchand Prakash and Gyan Dutt.

Then came ‘Gazi Salahuddin’, ‘Kangan’, ‘Holiday In Bombay’ and ‘Kanchan’. Kantilal sang 60 songs in 24 films under 5 MDs. Some of his films were, ‘Toofaani Toli’, ‘Ban Ki Chidiya’, ‘Billi’, ‘Gorakh Aaya’, ‘Prithviputra’, ‘Adhoori Kahaani’, ‘Nadi Kinaare’, ‘Aaj Ka Hindusthan’, ‘Achhoot’, ‘Diwali’, ‘Holi’, ‘Musafir’, ‘Pardesi’, ‘Sasural’, ‘Shaadi’ etc.

In 1943, he married Ushaben and acted in Gujarati films and dramas. He passed away on 17-6-1971.

Khemchand Prakash (12-12-1907 to 10-8-1950) was a very talented composer, but unfortunately  most of his career, he dealt with average singers. Whenever he got opportunity to make songs for real singers like Saigal (‘Tansen’ and ‘Bhanwara’), Khursheed, Kishore ( ‘Ziddi’ and ‘Muqaddar’), Lata (‘Mahal’) and Rajkumari, his songs became famous and very popular. Today’s song is sung by the so called part time singers, but they have tried their best in it.

With this song film ‘Holi’ (1940) makes its debut on the blog.

 


Song – Dhanwaalon Ki Duniya Hai Ye, Nirdhan Ke Bhagwaan  (Holi) (1940) Singer – Kantilal, Sitara Devi, Lyrics – DN Madhok, Music – Khemchand Prakash
Kantilal + Sitara Devi

Lyrics (Provided by Sudhir)

dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan

nirdhan teri
nirdhan ka main
nirdhan teri
nirdhan ka main
ek anokhi shaan
ek anokhi shaan

do din ki ye mast jawaani
do din ki ye mast jawaani
do din ka ye roo..oop
ek mundere chaanv hai aayi
ek mundere dhoo..oop
bhole panchhi is pinjre ka
bhole panchhi is pinjre ka
jhootha tere maan
haa..aan
jhootha tere maan
haa..aan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan

ret ke mahal bana kar moorakh
ret ke mahal bana kar moorakh
in mein kiya baseraa. . .
ek fanaa ke jhonka aaya
kooch hua sab dera
ret ke mahal bana kar moorakh
ret ke mahal bana kar moorakh
in mein kiya baseraa. . .
ek fanaa ke jhonka aaya
kooch hua sab dera
jhootha jeevan ka iktaara
jhootha jeevan ka iktaara
jhoothi us ki taa..aan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan

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

धनवालों की दुनिया है ये
निर्धन के भगवान
धनवालों की दुनिया है ये
निर्धन के भगवान

निर्धन तेरी
निर्धन का मैं
निर्धन तेरी
निर्धन का मैं
एक अनोखी शान
एक अनोखी शान

दो दिन की ये मस्त जवानी
दो दिन की ये मस्त जवानी
दो दिन का ये रू॰॰प
एक मुंडेरे छाँव है आई
एक मुंडेरे धू॰॰प
भोले पंछी इस पिंजरे का
भोले पंछी इस पिंजरे का
झूठा तेरे मान
हाँ॰॰आँ
झूठा तेरे मान
हाँ॰॰आँ
धनवालों की दुनिया है ये
निर्धन के भगवान

रेत के महल बना कर मूरख
रेत के महल बना कर मूरख
इन में किया बसेरा॰ ॰ ॰
एक फना का झोंका आया
कूच हुआ सब डेरा
रेत के महल बना कर मूरख
रेत के महल बना कर मूरख
इन में किया बसेरा॰ ॰ ॰
एक फना का झोंका आया
कूच हुआ सब डेरा
झूठा जीवन का इकतारा
झूठा जीवन का इकतारा
झूठी उसकी ता॰॰आन
धनवालों की दुनिया है ये
निर्धन के भगवान
धनवालों की दुनिया है ये
निर्धन के भगवान


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 : 3623 Post No. : 14440

Today’s song is from the film ‘Maata’ aka ‘The Mother’ (1942). Not many people know about this film. Made by Kirti films, it was a social film, directed by Dada Gunjal. Music was composed by Vasant Kumar Naidu, for the lyrics by DN Madhok. The cast of the film was Shobhana Samarth, Chandrakant, Mubarak, A. Himalaywala, Urmila Devi, Bhudo Advani, Moti, Bibi Bai, Munshi Khanjar, Suraiya Begum etc.

Chandrakant is a name which appears for a very few films as an actor. In fact, he acted in only 2 films. The other film was ‘Maharathi Karna’ (1944) (he had a small role). Chandrakant Gaur was born in UP in 1929. He was an educated person and knew many languages like Marathi, Gujarati and Punjabi, in addition to Hindi and English. He was a quick learner and a good writer. He came to Bombay to become a director. Instead of that he started as an actor in ‘Maata’.

During the shooting of ‘Maharathi Karna’, Bhalji Pendharkar spotted this young man’s talents and took him to Kolhapur as his assistant. Chandrakant, being a fast learner, became adept at direction. He came back to Bombay and hurriedly directed his first film – ‘Riding Hero’ (1951), a stunt film made by Laxmi Productions of Chimanlal Trivedi. After this, he directed 29 Hindi films, mostly B grade, stunt/action films only.

He also directed a Hit Punjabi film ‘Bhagat Dhanna Jaat’ (1974). According to indiancine.ma, this film is said to have revived Punjabi film industry. He did some Gujarati mythologicals and Marathi films too. Together his tally goes to 45 films. In between he became famous for writing stories of films like ‘Patita’ (1953), ‘Seema’ (1955), ‘Dekh Kabira Roya’ (1957), ‘Kathputali’ (1957), ‘Anita’ (1967) and ‘Mahasati Savitri’ (1973).

From the cast listing, another interesting name is that of A Himalaywala. His name was Mohd Afzaluddin. He was born in March 1916, at Dehradun. After school education he joined his brother, Mohd Misaluddin’s firm – The Himalaya Drug Company, a leading Pharma company of repute (even today). He worked there for 10 years and after a dispute with his brother, left the company. He came to Bombay to join films.

First he had thought of starting a company, but looking at the situation, he decided to do acting only. His first film was ‘Kiski Biwi’ (1942), directed by MA Mirza. His name was changed from Afzal to A Himalaywala (since he came from the Himalayan town of Dehradun, like Kashmiri from Kashmir), by Shaukat Hussain, husband of Noorjehan. However in many films he was credited as Afzal only. He worked in few films like, ‘Vishwaas’ (1943), ‘Ankh Ki Sharm’ (1943), ‘Dost’ (1944), ‘Kismatwaala’ (1944), ‘Zeenat’ (1945), ‘Humayun’ (1945), ‘Nal Damayanti’ (1945), ‘Jagbeeti’ (1946), ‘Samrat Ashok’ (1947) and ‘Elaan’ (1947).

He was an outspoken and straightforward person, fond of hunting, football and travelling by car. He toured all of India twice in his car. In 1943, he married actress singer Amirbai Karnataki. After marriage he banned her from acting in films. Within 2-3 years, on this and other issues, they could not get along. He used to hit her and take all her money. At last, it was rumoured that he gave her talaaq after taking 2 lakh rupees and her car. Even after this he was stalking her. She stayed with her elder sister Ahilya Bai. Then one day, she was kidnapped by Himalaywala, from the recording room. She was kept locked in a room and beaten daily. She somehow managed to inform this to her sister.

Ahilyabai then got in touch with her acquaintance Mr Rasiklal Vyas and his brother Chhailabhai Vyas – one of the best criminal lawyers of Bombay. With their political and social connections, they forced the police to register an FIR, which was refused due to Himalaywala’s bribe. Meanwhile Himalaywala was alerted by his cronies. Within few hours Amirbai was escorted back to her sister’s place, by Himalaywala. All this episode is described in full details in the book ‘Aap Ki Parchhaiyaan’, by Rajnikumar Pandya ji. Amirbai later married Gujarati Journalist Badri Kaanchwala.

After partition, Himalaywala migrated to Pakistan. There the lady luck smiled on him and he did very well. He became successful as an actor and was famous also. His role of Akbar in film ‘Anarkali’ (1957) was particularly appreciated very much. Mohd Afzuluddin Himalaywala died in 1984 in Lahore.

The director of this film was V.M. aka Dada Gunjal, who started his career by directing his first film, ‘Bhakt Ke Bhagwan’ (1934). He went on to direct 38 films in Hindi and Marathi. His last film was ‘Ek Armaan Mera’ (1959). Dada Gunjal was born in Bombay on 25-1-1904 and died also at Bombay on 6-11-1968.

The music director for this film was a less known composer, Vasant Kumar Naidu. He was  born in 1915. His family had settled in Burma like thousands of other South Indian families.  When Burma was struggling for independence, in the 1930s, most Indians left Burma and came to India. Many went to Calcutta and many went to South India. Many families walked for around 6 months from Burma to India.  Vasant Kumar’s family was one among them.  They walked from Rangoon to Madras.  The family settled in Madras for some years.

Vasant Kumar Naidu had come alone to Bombay earlier in search of a career in music. He was an instrumentalist and could play any string instruments and also harmonium. He was also very much interested in reading different languages. There were many books that he read. He was also very keen in dressing up and had several suits in those days. He joined the film industry and started getting established as a music director.  He then called his mother and other siblings to live with him in Bombay along with his eldest brother’s widow and her son. He had 4 brothers. His eldest brother expired in Madras itself. Vasant Kumar was the second eldest. He had two younger brothers as well.  They all lived on Peddar Road. He left his Peddar Road flat and moved to Parel. He lived in Parel until his death on 16-10-1951.

Vasant Kumar got married in Madras. This marriage was a proposed marriage arranged by his mother. Eventually his other brothers also got married. All three brothers and their wives stayed under the same roof in Parel in a joint family which was headed and supported monetarily by Vasant Kumar.  His younger brother Pandurang Naidu was also picking up in music career. He became a musician (he played banjo and mandolin). Vasant Kumar taught several string instruments to him. His youngest brother, Sreenivasan Naidu, in the later part of his life became music composer for Indian Railway Music Academy (Central Railway Cultural Academy).

Vasant Kumar is survived by his only daughter, Pramila Naidu, who is a widow now. She lives in Pune with her grown up children. Pramila Naidu was around 5 years old when her father expired.  She has a vague memory of her father. It’s sad to see her struggling now financially. She still gives tuition at the age of 70 to make her living. She lawfully owns all these 3 flats in Parel, Mumbai but the 3rd generation of the family has occupied these flats and are not willing to vacate the property. This property is now worth in crores. The cousins of Pramila Naidu got together and filed a law suit against these 3rd generation greedy family members. The law suit is going on now for the past 3 years.

Vasant Kumar started his career in 1939 by giving music to film ‘Thunder’ (1939) and ‘Pakke Badmash’ (1939). Till 1947, he gave music to 22 films, as per the HFGK entries. He composed 160 songs in these 22 films. He is variously mentioned as Vasant, Vasant Kumar and VK Naidu, in addition to his name Vasant Kumar Naidu. He sang 1 song, a duet with Khan Mastana for film ‘Mere Sajan’ (1941).

His filmography is,

  • Thunder (1939)
  • Pukke Badmash (1939)
  • Rangeela Jawan (1940)
  • Jung-e-Azadi (1940)
  • Desh Bhakta (1940)
  • Suhana Geet (1941)
  • Meri Khwaish (1941)
  • Mere Saajan (1941)
  • Lehri Jawan (1941)
  • Lalaji (1942),
  • Call of youth (1942)
  • Mata (1942)
  • Watan ki Pukar (1943)
  • Nai zindgi (1943)
  • Mohabbat ki jeet (1943)
  • Daawat (1943)
  • Circus Girl (1943)
  • Bhagta Bhoot (1943)
  • Beda Paar (1944)
  • Shahi Khazana (1946)
  • Chamkati Bijli (1946)
  • Toote Di (1947)

Unfortunately, Vasant Kumar got mostly B and C stunt and action films for composing the music. Big banners like National Studios gave him an opportunity with film ‘Lalaji’ (1942), in which Naidu got many songs sung by Anil Biswas, Kusum Mantri, and Vatsala Kumthekar. However such films came to him only as an exception, therefore his exposure to audience was limited and his name did not gain any fame. Actually, many big, well known and popular singers sang for Naidu.

However, without a mentor, Godfather or the support of a big banner, it became impossible for Vasant Kumar to grow further. During the transition period of 1947-48, when many composers migrated to Pakistan, the existing big composers made their positions solid. Thus smaller composers never got any opportunity to benefit from the void created by the exit of composers. This was the case of many small time composers like Vasant Kumar.

The film ‘Maata’ has 7 songs. I have heard 6 of them and feel, he could have done better than this. The selected song is a better one from the lot. The singer’s name is not available.The film makes its debut on the blog.

[Author’s Note: Credits- indiancine.ma, A.I. Film Directory (1946), Aap Ki Parchhaiyaan, Muvyz, HFGK, Shishir Krishna Sharma’s and my notes.]


Song – Mann Ka Mor Mera Kisey Bakhaane (Maata) (1942) Singer – [Unknown], Lyrics – DN Madhok, Music – Vasant Kumar Naidu

Lyrics (Provided by Sudhir)

mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane

chhod kari
ghar ko aa ja re
saawan ki ritu aayi
jhir jhir baadal
barsan laage
birhan de duhaai
aa tu kisi bahaane
aa tu kisi bahaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane

sab ke saajan
ab ghar aaye
baaki ek nigodi
un ka bhala kabhi na hove
preet laga jin todi
jiya laag la
jiya laag la
kisi thikaane
jiya laag la
kisi thikaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane

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

मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने

छोड़ करि
घर को आजा रे
सावन की ऋतु आई
झिर झिर बादल
बरसन लागे
बिरहन दे दुहाई
आ तू किसी बहाने
आ तू किसी बहाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने

सब के साजन
अब घर आए
बाकी एक निगोड़ी
उन का भला कभी ना होवे
प्रीत लगा जिन तोड़ी
जिया लाग ला
जिया लाग ला
किसी ठिकाने
जिया लाग ला
किसी ठिकाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने


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

Blog Day : 3493 Post No. : 14038

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 4
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

/‘ई’/

‘उ’ – उठो बुलबुलों तोड़ दो तीलियाँ

दिल की आवाज़ भी सुन॰ ॰ ॰

वो अगर चे सुन सकते, हम तो सुनाते ही रहते॰ ॰ ॰

But now, the voice has gone to distant lands unknown, where our call will not reach, and his voice will not come back again. It seems like a thing of yesterday that I saw him perform live on Doordarshan; or that I read about another award in the Filmfare magazine, that he had stood up and walked up to receive. The mind simply does not believe that he has not been with us mortals for the past almost four decades. कहाँ से ले के आएँ, अपने बूते की बात नहीं॰ ॰ ॰ दिल को ही समझाना पड़ता है।

Moving forward with the series of duets – I have to skip ‘ई’ because no duet song starting with this vowel is available. So I come to ‘उ’, as the starting letter for today’s song.

As I was searching for such a song, I came across this song from ‘Khaamosh Sipaahi’ of 1950, and I listened to it in complete amazement. And I listened to it again and again, and again. The composition by Hansraj Behl – it is so unique and so different, that I wonder whether such an arrangement has been attempted in any other songs.

The leading voices in this ‘duet’ song are of Rafi Sb and Geeta Roy/Dutt. But the entire song is arranged as a chorus song. The individual voices of the lead singers are not heard separately even once. There are lines by the chorus of male voices, and there lines by the chorus of female voices, and then there are lines by chorus of male plus female voices. The beauty and the redeeming feature of this singing is how the various voices have been arranged. When the male chorus is heard, then Rafi Sb’s voice is very clearly discernible a little above the chorus of male voices. When the female chorus is heard, then Geeta Roy’s voice is clearly discernible a little above the chorus on female voices.

I am not able to immediately recall another song which has been arranged with such meticulous attention to the sound of the lead voices in a chorus of voices. Really beautifully done.

And the words by DN Madhok Sb, they simply take one along with the emotions of an army preparing for battle. Yes, that is right, this song has been designed as a slow paced marching song of the warriors.

I have no information about this film – ‘Khamosh Sipahi’, and I request our more knowledgeable friends and readers to please add more information about this film and the picturization of this song. But the words indicate that it is a song that is exhorting people for a struggle. Given the time period (1950), it would seem that the song is urging the warriors, either for the freedom struggle or maybe the first invasion of Kashmir by Pakistani marauders (in 1948). Maybe it is the freedom struggle – the refrain of the song is

utho bulbulo
tod do teeliaan

The words are urging the timid and frail nightingale birds, to rise and break the ‘teeliaan’. This word ‘teeliaan’ here refers to the wooden twigs or splinters that are used to make cages for small birds.

The song, slow paced as it is, it still has a very exhilarating effect on the mind and the heart. The slow pace is almost a haunting that takes over the mind. And the mind wants to listen to this sound again and again. Such a wonderful creation – and I would lay all the kudos on Hansraj Behl for the composition, the arrangement  of the minimal music, and such a beautiful play of chorus voices entwined around the lead voices – it is simply amazing. There is some leading violin music, but after that when the singing starts, there simply is no music except for a very low rhythm of drum beats. The entire creation is so enchanting.

Just listen to this, and be amazed.

PS: There is one word in the lyrics of the first antaraa, that I am not sure that I have got it correct. Maybe it is, maybe the meaning fits in, or maybe not. I request other readers to please help confirm or correct this word. 🙂

Audio

Song – Utho Bulbulo Tod Do Teeliyaan (Khamosh Sipaahi) (1950) Singer – Geeta Roy/Dutt, Mohammed Rafi, Lyrics – DN Madhok, MD – Hansraj Behl
Mohammed Rafi + Male Chorus
Geeta Roy/Dutt + Female Chorus
Rafi + Geeta + All Chorus

Lyrics

utho bulbulo
tod to teeliaan
kahaan qaid thandi hawaayen kahaan
utho bulbulo
tod to teeliaan
kahaan qaid thandi hawaayen kahaan
utho bulbulo

tumhaare liye abr ghir ghir ke aaye
abr ghir ghir ke aaye
khushi jholion mein wo bhar bhar ke laaye
wo bhar bhar ke laaye
wo bhoola hua phir banega samaan
utho bulbulo
tod to teeliaan
kahaan qaid thandi hawaayen kahaan
utho bulbulo

himaala ne tum ko pukaara hai aao
pukaara hai aao
meri chotiyon par wohi geet gaao
meri chotiyon par wohi geet gaao
ke sun kar dehal jaaye saara jahaan
utho bulbulo
tod to teeliaan
kahaan qaid thandi hawaayen kahaan
utho bulbulo

mujhe khabr hai par kate hain tumhaare
par kate hain tumhaare
utho waqt deta hai tum ko ishaare
ho tum ko ishaare
gaya waqt phir jaa ke aaye kahaan
utho bulbulo
utho bulbulo
utho bulbulo

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

उठो बुलबुलो
तोड़ दो तीलियाँ
कहाँ क़ैद ठंडी हवाएँ कहाँ
उठो बुलबुलो
तोड़ दो तीलियाँ
कहाँ क़ैद ठंडी हवाएँ कहाँ
उठो बुलबुलो

तुम्हारे लिए अब्र घिर घिर के आए
अब्र घिर घिर के आए
खुशी झोलियों में वो भर भर के लाये
वो भर भर के लाये
वो भूला हुआ फिर बनेगा समां
उठो बुलबुलो
तोड़ दो तीलियाँ
कहाँ क़ैद ठंडी हवाएँ कहाँ
उठो बुलबुलो

हिमाला ने तुमको पुकारा है आओ
पुकारा है आओ
मेरी चोटियों पर वही गीत गाओ
मेरी चोटियों पर वही गीत गाओ
के सुन कर दहल जाये सारा जहान्
उठो बुलबुलो
तोड़ दो तीलियाँ
कहाँ क़ैद ठंडी हवाएँ कहाँ
उठो बुलबुलो

मुझे खबर है पर कटे हैं तुम्हारे
पर कटे हैं तुम्हारे
उठो वक़्त देता है तुमको इशारे
हो तुमको इशारे
गया वक़्त फिर जा के आए कहाँ
उठो बुलबुलो
उठो बुलबुलो
उठो बुलबुलो


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

Feroze Khan – a name that forever spells flamboyance and style. Almost sounding like the Kingdom of the Pathaan. A popular and likeable persona who had to face near disapproval as a leading man, till quite many years into his career. And that too, when he decided to take on the industry on his own terms, and set up his own production house, delivering one hit film after another.

Remembering Feroze Khan on his 78th anniversary of birth today (25th September).
Read more on this topic…


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 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.

During my routine searching of songs online I came across this film title ‘Dhamki-1945’. And since there had been a film with this same title in 1973 which has already made an entry on the blog, this falls under one of my activities of bringing ‘films with similar titles’ to the blog (so far for the films released before 1980).
Read more on this topic…


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

Forgotten Melodies of the 1940s – 21
———————————————————

Do Music Directors direct the music?

This is the title of an article appeared about 72 years ago in June 1943 issue of FILMINDIA magazine. I had read the title of the article more than a year back but did not go through it at that time thinking that it must have been written by some staff of the magazine. Recently, when I came across the same article, I was surprised to find that the article was written by Ramchandra Pal, the music director who has composed music for Bombay Talkies films like ‘Kangan’ (1939), ‘Bandhan’ (1940), ‘Punar Milan’ (1940), ‘Naya Sansar’ (1941) and many more films in other banners mainly in the 40s. The article is well written.
Read more on this topic…


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17400 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2023) 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

17401

Number of movies covered in the blog

Movies with all their songs covered =1341
Total Number of movies covered=4685

Total visits so far

  • 15,647,197 hits

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

Join 1,970 other subscribers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 5000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

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