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

Posts Tagged ‘Rammurty Chaturvedi


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 :

4288 Post No. : 15539

Saga Of Sleepless Nights – 7
– – – – – – – – – – – – – – –

kal raat sapne mein aaye thhey tum
mere mehboob mere mehboob

Sound of a temple bell – that is how the renowned music director OP Nayyar once described the voice of Shamshad Begum. The clear sound of the tinkle, the chime and the ringing – the quality of sound that can maybe best described with the word ‘खनकती हुई’ – I could not locate a commensurate word in English. I am sure friends and readers who have heard her songs will easily relate with what I am getting at.

Remembering Shamshad Begum today on the 101st anniversary of her birth. She was born in 1919, this day, just one day after Baisakhi, and the horrific massacre at Jalianwaala Bagh in the nearby city of Amritsar. She was born into a traditional and conservative family of limited means. One of the eight children in the family, her father was a mechanic with limited income and a large family to feed.

Shamshad was not formally trained in singing or music. She had a natural flair for it. When she was five, her singing came to the attention of her teachers at primary school. The principal of the school was so impressed, she asked her to lead the daily morning prayers. By the time she was 10, she began singing at religious functions and at family functions and marriage events. One of her father’s brother, Ameer Khan, was interested in listening to music, especially ghazals and qawwaalis. In 1931, when she was twelve, he secretly took her to the offices of Jenophone Music Company. He personally knew the resident music director incharge – Ghulam Haider. At the initial audition, the young Shamshad sang a ghazal of Bahadur Shah Zafar – “Mera Yaar Mujhe Miley Agar”. Duly and thoroughly impressed, Ghulam Haider Sb immediately offered a contract to record some songs and ghazals for the Jenophone label. Her father was quite upset when he discovered this subterfuge, but Ameer Khan Sb convinced him to give permission. Her father finally agreed, albeit on one condition – that she would not be photographed, and that she would sing from behind the burqa. For the next 5 to 6 years, Shamshad made a very large number of recordings, all under the baton of Ghulam Haider Sb. Her recordings became very popular with the listening public.

Her next major break came in 1937, when she came on to the rolls of the recently organized institution of All India Radio. Earlier known as the Indian State Broadcasting Service, this was renamed as All India Radio in 1936. Shamshad started to make singing appearances at the Lahore and Peshawar stations. While at the AIR, her singing caught attention of sarangi maestro and musician Hussain Bakshwale Saheb. She accepted him as her guru, and he imparted to her training in classical music.

Her popularity grew well enough to catch the attention of Dalsukh Pancholi, owner of the Pancholi Art Films in Lahore. He was starting work on ‘Yamla Jatt’, the first Punjabi film. The film became the launch vehicle for many – Pran as actor, Ghulam Haider as film music director, Shamshad Begum as a playback singer, and of course, the formal organization of the Punjabi film industry in the north.

A side anecdote here that was new for me also. Pancholi Sb wanted her to act in the film also. She agreed, gave the screen test, and was selected for some role. However, when this information reached her father, he put his foot down and threaten to even stop her singing career. Young Shamshad relented, and gave up the idea of becoming an actress. Her father reinforced his edict that she would not allow herself to be photographed, a promise that she dutifully kept all her life. Her photo images are so rare, and earlier I used to wonder why.

‘Yamla Jatt’ became a musical hit, especially the songs “Cheechi Wich Pa ke Chhalla”, “Mera Haal Vekh Ke” and “Kankaan Diyaan Faslaan”. The next film by Pancholi – ‘Chaudhry Saab’ was also a big hit. Ghulam Haider and Shamshad Begum became established names in the fledgling Punjabi film industry. The next step was only logical. Pancholi Sb went on to produce Hindi films – ‘Khazaanchi’ (1941), ‘Khandaan’ (1942), ‘Zameendaar’ (1942), ‘Poonji’ (1943), ‘Dhamki’ (1945), ‘Kaise Kahoon’ (1945), ‘Shirin Farhad’ (1945) and ‘Patjhad’ (1948). In 1947-48, he shifted based from Lahore to Bombay (now Mumbai).

Ah yes, an important interlude from her life – her marriage. At the age of 13, in 1932, the young lass got friendly with Ganpat Lal, a little older boy in her neighborhood. The alliance was bound to create huge friction, being an inter-religion choice. The families from both sides were dead against this relationship. But the young lovers stuck to their stand, and they got married in 1934. They were outcast from their families for some time, but slowly the relations were established again. The couple had one daughter, she is named Usha. She got married to Lt Col Yogesh Ratra of the Indian Army. Sh Ganpat Lal passed away unexpectedly in 1955. He had been a great supporter and a driving force in managing her career. After his passing away, although she continued to be active, but she became more and more reclusive. In her later years, she stayed with her daughter and her family.

Today’s song is from the 1945 film ‘Ratnavali’. The film is produced under the banner of Amar Pictures, Bombay and is directed by Surendra Desai. The star cast of the film is listed as Surendra, Ratanmala, Usha Mantri, Maya Bannerji, KN Singh, Nand Kishore, Leela Mishra, Ansari, Jani Babu, and S Nazeer.

There are eight songs listed for this film in the Geet Kosh. The songs are written by three songwriters – Brajendra Gaud, Ishwar Chandra Kapoor, and Ram Murti Chaturvedi. Today’s song is from the pen of Ram Murty Chaturvedi. The music is by Pt Gobind Ram.

This song is another one in the series of the sleepless nights saga.

kal raat sapne mein aaye thhey tum
mere mehboob mere mehboob

The lady is telling her saheli about the dream that came to her when she was trying to sleep a night. And in the dream, her beau had visited, keeping her company and keeping her awake, as she swung in his arms.

Again, sundry outcomes of a young heart being in love. When this emotion comes to reside in the heart, then the eagerness and the longing to meet, to see and to be able to touch is so intense within, that the mind plays out these emotions in the dreamland of sleep. The waking hours are full of conscious thoughts of the beloved, and the night hours of sleep are full of his dreams. The mind is not able to make up its mind 🙂 whether it is a dream in sleep or is it a lively thought of wakeful eyes. Be in love, and you will grasp. And I am quite sure, all of us have been through such a life. And some may still be living it.

Enjoy this lovely song of a restless and sleepless heart.

And remembering Shamshad Begum as the singer with this ‘खनकती हुई आवाज़’. Thank you ji, for all the wonderful music and the songs.

Song – Sapnon Mein Koi Aaya  (Ratnavali) (1945) Singers – Shamshad Begum, Lyrics – Rammurty Chaturvedi, MD – Gobind Ram

Lyrics

sapnon mein koi ayaa
sapnon mein koi ayaa
sajaniya..aa sapnon mein koi ayaa
sapnon mein koi ayaa
sajaniya..aa sapnon mein koi ayaa

naach rahi thi madhur chaandni
gaate gaate prem raagini
naach rahi thi madhur chaandni
gaate gaate prem raagini
neend bhari akhiyan mein meri
aa ke koi samaaya
aa haa haa haa
aa ke koi samaaya
sapnon mein koi ayaa
sapnon mein koi ayaa
sajaniya..aa sapnon mein koi ayaa

jab un ki bahiyan mein jhooli
tan man ki sab sudh budh bhooli
jab un ki bahiyan mein jhooli
tan man ki sab sudh budh bhooli
ik pal ke is madhur milan ne
ik pal ke is madhur milan ne
pagli hamen banaaya
aa haa haa haa
pagli hamen banaaya
sapnon mein koi ayaa
sapnon mein koi ayaa
sajaniya..aa sapnon mein koi ayaa

naach rahi thi madhur chaandni
gaate gaate prem raagini
neend bhari akhiyan mein meri
aa ke koi samaaya
aa haa haa haa
aa ke koi samaaya
sapnon mein koi ayaa
sapnon mein koi ayaa
sajaniya..aa sapnon mein koi ayaa

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

सपनों में कोई आया
सपनों में कोई आया
सजनीया॰॰आ सपनों में कोई आया
सपनों में कोई आया
सजनीया॰॰आ सपनों में कोई आया

नाच रही थी मधुर चाँदनी
गाते गाते प्रेम रागिनी
नाच रही थी मधुर चाँदनी
गाते गाते प्रेम रागिनी
नींद भरी अखीयन में मेरी
आ के कोई समाया
आ हा हा हा
आ के कोई समाया
सपनों में कोई आया
सपनों में कोई आया
सजनीया॰॰आ सपनों में कोई आया

जब उनकी बइय्यन में झूली
तन मन की सब सुध बुध भूली
जब उनकी बइय्यन में झूली
तन मन की सब सुध बुध भूली
इक पल के इस मधुर मिलन ने
इक पल के इस मधुर मिलन ने
पगली हमें बनाया
आ हा हा हा
पगली हमें बनाया
सपनों में कोई आया
सपनों में कोई आया
सजनीया॰॰आ सपनों में कोई आया

नाच रही थी मधुर चाँदनी
गाते गाते प्रेम रागिनी
नींद भरी अखीयन में मेरी
आ के कोई समाया
आ हा हा हा
आ के कोई समाया
सपनों में कोई आया
सपनों में कोई आया
सजनीया॰॰आ सपनों में कोई आया


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 :

4204 Post No. : 15393 Movie Count :

4243

Today’s song is from an obscure film ‘Angoori’ (1943).

The film was produced by The Indian Art Pictures, Bombay. This was a new company formed and this film was their first venture. They did not have their own studio, like many other producers. Due to the second world war, many new financiers turned to film making, using their black money earned during the rationing of many essential commodities. Even the raw film stock, used to make a movie, was controlled and naturally was available in black market freely at a premium price. Such producers got their films shot in some established studios by renting a shooting floor. The prolific film company, Ranjit, had reserved 2 floors out of their 8 shooting floors, only to be given on rent to such producers. Film ‘Angoori’ was shot in the studios of Circo Production company.

The film was based on a novel by writer LK Shukla. For the director, Mahesh Kaul, this was his debut film as a Director. So far he had been only a writer and a sundry actor in films.

Mahesh Kaul (10-4-1911 to 2-7-1972) was born in Lahore and educated in Moni College, Nagpur. After graduation, he worked as a journalist and a bank manager. He then entered films as a lyricist and dialogue writer. He debuted as an actor in KA Abbas scripted film ‘Naya Sansar’ (1941) and played Dronacharya’s role in film ‘Mahatma Vidur’ (1943). His other films as an actor were ‘Apna Ghar’ (1942), ‘Gopinath’ (1948), ‘Kaaghaz Ke Phool’ (1959) and ‘Tere Mere Sapne’ (1971). His first film as a director was ‘Angoori’, then came ‘Paristan’ in 1944. He produced and directed film ‘Gopinath’, with Raj Kapoor and IPTA actress Tripti Mitra. Some of his major films as a director are ‘Naujawaan’ (1951), ‘Aakhri Dao’ (1958), ‘Talaaq’ (1958), ‘Sautela Bhai’ (1962), ‘Palki’ (1967), ‘Sapnon Ka Saudagar’ (1968) etc. In all he directed 15 Hindi films. His last film ‘Agni Rekha’ came after his death, in 1973.

The music director for this film was GM Durrani and the lyricist was Rammurty Chaturvedi. Earlier, when the film was planned and an advertisement was published in ‘Film India’ magazine, the film had given the name of Pt. Indra as the lyricist, but later on probably he was replaced by Rammurty. The cast of the film was Ulhas, Kaushalya, Dar Kashmiri, Mukul, Chandrahas, Sunetra, PR Joshi, Angre, Ranjan, Peer Muhammad, Mukul etc. This was Durrani’s first film as an MD.

Ghulam Mustafa Durrani, often abbreviated as GM Durrani (1919 – 8 September 1988) was a popular and legendary Indian radio drama artist, playback singer, actor and music director. To his credit, he tried to make his own identity as a playback singer and not try to follow the KL Saigal type of singing. GM Durrani was notable for sad songs, romantic songs, patriotic songs, Quraan Khani, qawwalis, ghazals and bhajans. He was also one of the first Muslim singers to get to sing Hindu Devotionals. GM Durrani was also the most senior Punjabi singer-actor at that time. He was radio drama artist and full-time singer of Lahore, Delhi and Bombay stations of AIR (All India Radio, aka Akashvani (radio broadcaster)). His native language was Pashto but he had a strong command over Hindi, Urdu and Punjabi. He sang in many Indian languages including Hindi, Urdu, Punjabi and Pashto language in Indian movies in the 1930s, 1940s and 1950s. After the 50s Durrani sang very few songs. Durrani was the disciple of radio broadcaster Zulfiqar Ali Bukhari.

Ghulam Mustafa Durrani was born in Peshawar, British India in 1919. He was a Pathan (Pashtun) and belonged to the Mohammad Zai Durrani Kabila. He was from a conservative family where even tea was not taken. Milk and lassi were the drinks of choice. When he used to go to those shops and some songs used to be heard, he used to hum along with them. Everyone used to say this boy should go to Bombay, as his voice was very good. The thought of becoming an actor entered his mind as well. He soon ran out of money to make ends meet.

His mother had expired when he was very young. Father was educated and of artistic mind but very strict, and the only ally at the home was his loving grandmother. But she could also not protect him from his father’s anger.

The last job Durrani did in Peshawar was of at a painter’s shop where an artist always used to hum the tunes of the songs composed by highly respected composer and actor Rafiq Ghaznavi. He also started imitating those songs and got appreciation from the colleagues which inspired him. Durrani started practising Rafiq Ghaznavi’s songs and assumed him as his master. During this time, his father took him to another job at his uncle’s motor-part shop. But the artist within, didn’t stay long there and Durrani ran away from the home to Lahore with only 22 rupees in his pocket.

In Lahore, Durrani did odd jobs along with singing on radio. This brought him fame and passion for radio singing which took him to Delhi first, and then to Bombay. He came to Bombay on 14 April 1935. In Bombay, he got somehow a job at the Radio Station and from here he got recognition. Film wallahs started calling him to sing.

His singing career started from AIR. Durrani was discovered by film producer Sohrab Modi of Minerva Film Company (later known as Minerva Movietone). Modi gave him his first break around 1935-36 in the movie ‘Saed-e-Havas’ (1936), a historical under the music director, classical musician Bundu Khan popularly known as ‘Taan-Talwar‘ Bundu Khan.

When Durrani came to Bombay playback system was not there and one had to act on screen. He didn’t like running around trees and refused to work further. He faced a lot of difficulties and could not return as people would call him a ‘Kanjar‘. Minerva was reportedly to close down soon too. He soon joined the Delhi Radio Station of AIR (Akashvani). Durrani was working at the Delhi Radio Station where he got acquainted with poet Behzad Lakhnavi whose many ghazals had been sung by Mallika-e-Ghazal (Queen of Ghazals) Akhtari Bai Faizabadi, later to become famous as Begum Akhtar.

He later shifted to the Bombay Radio Station where he met a big personality at the time, whom he considered his ustad (master), Station Director of Bombay station of AIR (Akashvani), Baba-e-Nasharayat (Father of Broadcasting) Zulfiqar Ali Bukhari who helped the radio station come up a lot. Durrani always referred to Zulfiqar Ali Bukhari as ustad as a mark of honour. (ZA Bukhari, was the Station Director of Delhi station and then Bombay station of AIR (Akashvani). After the partition of India and creation of Pakistan, Bukhari migrated to Pakistan. He was made the first director-general of Radio Pakistan (Pakistan Broadcasting Corporation) and later, he served as general manager of PTV (Pakistan Television Corporation)).

Durrani’s salary was fixed at Rs 40 per month. Here he was working as a drama artist. He was soon counted as one of the best drama artist on the radio those days. Over a period of three years his salary had gone up to Rs 70 per month. But fate would soon call him back to films. In 1939-40, when the method of playback singing was already in use, he returned to films, to lend his voice for a film titled ‘Bahurani’ (1940) as his first playback singing assignment. The film was made by Sagar Movietone and its music director was Rafiq Ghaznavi. Durrani was then working as a full-time Singer in AIR (Akashvani). Those were British days and they were not allowed to do any private recordings. But Ghaznavi insisted. and Durrani laid down some conditions, like; the recording should be fixed on a Sunday night so that no outsiders would be allowed to enter the studio. Secondly, he said that his name shouldn’t appear in credit titles or on discs. The song was a duet with Miss Rose, an Anglo-Indian, who didn’t have much experience as a singer. He was paid Rs. 75 for the song as against his salary of Rs. 70 a month at AIR (Akashvani). He then left  his job at AIR on 31st December 1940 and decided to concentrate fully on his film career.

Thereafter he sang for, among others, noted music directors like Khawaja Khurshid Anwar, friend Naushad, Shankar Rao Vyas and AR Qureshi (also known as Alla Rakha, Pandit Ravi Shanker’s famous tabla accompanist) for films like ‘Namaste’ (1943), ‘Shama’ (1946), ‘Mirza Sahiban’ (1947), ‘Magroor’ (1950), ‘Sabak’ (1950), ‘Humlog’ (1951) and scores of others. He became very popular. Many singers started their careers with him and he inspired many others too.

He was the idol of Mohammed Rafi who imitated him in the initial days. Now what could be a better tribute to singer than that, that the symbol of divinity in the Indian Music Industry, Mohammad Rafi, followed him. In fact, in 1944 Rafi recorded what he considered his first Hindi language song for the film ‘Gaon ki Gori (1944) for Shyam Sunder, “Aji Dil Ho Kaaboo Mein To Dildaar Ki Aisi Taisi” with GM Durrani and chorus.

Geeta Dutt also started her career in her break through movie ‘Do Bhai’ (1947) with the song “Aaj Preet Ka Naata Toot Gaya“, a duet with GM Durrani for SD Burman.

Similarly, “Haaye Chhore Ki Jaat Badi Bewafa“, (in film ‘Chaandni Raat’, (1949), a duet with GM Durrani, was Lata’s first song for composer, Naushad.

Durrani has sung many songs during his career. His output later reduced. According to a story he was influenced not to sing for some time after his Hajj visit and Rafi then helped him get back to singing but by then his career was over. Music composer Khawaja Khurshid Anwar in his first film ‘Kurmai’ (Punjabi-1941) took Durrani as his assistant and later gave him the film ‘Angoori’ (1943) as music director.

In the period of KL Saigal – Surinder, Khan Mastaana and GM Durrani were also famous. GM Durrani was one of the 40s legendary playback singers. Durrani tried to make his own identity as a playback singer and not try to follow the KL Saigal type of singing. His singing style was to inspire Rafi and others in the years to come. Later GM Durrani became a model to many playback singers who followed then. The soulful renditions of Durrani were to be reminded of by Talat’s singing as well.

Mohammed Rafi was influenced most notably, by GM Durrani on whose style he based his singing. He sang with his idol in some of the songs such as “Humko Hanste Dekh Zamana Jalta Hai” (Hum Sab Chor Hain, 1956) and “Khabar Kisi Ko Nahin Wo Kidhar Ko Dekhte Hain” (Beqasoor, 1950).

Durrani considered his first famous song was “Duniya Mein Sab Jode Jode” of the film ‘Sharda’ (1942) composed by Naushad.

The song “Neend Hamaari Khwaab Tumhaare Kitne Meethe Kitne Pyaare“, that made him a real rage was however composed by Shyam Sundar for the movie ‘Nai Kahaani’ (1943). This song, sung most part by GM Durrani with some support by child-star Balakram, was playing everywhere. When he sang, this song, the listeners went crazy. This timeless melody can never be forgotten by fans of Indian Cinema. Nearly 40 years later, when Tata Oil Mills did a program Mortal Men Immortal Melodies to celebrate fifty years of talkies in India, they invited him to re-render the song. Although many had forgotten him, his voice was still great and he got a standing applause for it.

There was a time when GM Durani was the favourite and most preferred singer for most composers in the industry. From 1941 to 1951, he sang over 300 songs. He is a case of “Riches to Rags”. Once a rich and famous singer,he spent his last few years fighting with throat cancer, poverty and loneliness. His end was quite pathetic.

GM Durani was a leading singer, like Surendra. The difference was Surendra sang only in his own films and thus had limitations,but Durrani was a playback singer, without much competition. In the 40s, there were hardly any male Playback singers,because most singers were actors themselves and sang their own songs, like Asit Baran. Karan Dewan, Ashok Kumar, Prem Adeeb, Arun Ahuja, Balwant singh, CH Atma, Ishwarlal, kantilal, KL Saigal, Pahadi Sanyal etc. There were of course few playback singers like Khan Mastaana, SD Batish, AR Oza, Balbir etc., but they were no competition to Durrani at all.

Because of this ,some singers were jealous of him and there was an attempt to poison him with Mercury Chloride (sindoor) given in a paan  by another well known singer. All relevant stories point out fingers to Hafeez Khan Mastaana in this incident as the culprit. Before he could confess, which he wanted to it seems, Mastaana died in absolute poverty and in total neglect near Mahim Dargah.  Later on his only son used to be seen begging there for quite some time. One of the RMIM members had met him there.

After singing assignments dried up, he opened a provision stores in Mahim, Bombay and ran it for 3 years. Finally, when the losses mounted, he sold off the business in loss.

In his last days, Durrani had throat cancer. He was looked after well by his sons and daughters. In his last days, he was interviewed by the famous writer Shri Rajnikumar Pandya ji. After I came to know Shri Pandya ji, he kindly gifted me a CD containing this last interview of Durrani. The interview was conducted just one day prior to his death . So I have not only Durrani’s real voice, but also a song he sang from his deathbed for this interview ! Thanks to Shri Pandya ji. GM Durrani, in that last interview claimed that he had helped both financially and professionally two rising singers – Mohd. Rafi and Lata Mangeshkar, in their initial struggling period. He describes his first meetings with them in the interview.

GM Durani sang many memorable songs like, “Haath Seene Pe Jo Rakh Do To Qaraar Aa Jaaye“, with Noorjehan in ‘Mirza Sahiban’ (1947), “Laara Lappa Laara Lappa Laai Rakhda” with Lata in ‘Ek thi Ladki’ (1949), “Nazar Phero Na Ham Se” with Shamshad Begum in ‘Deedar’ (1951), “Gaaye Chala Jaa“, with Lata in ‘Hum Log’ (1951), “Humko Hanste Dekh Zamana Jalta Hai” with Rafi in ‘Hum Sab Chor Hain’ (1956. Durrani sang about 300 songs. His last song came in ‘Lal Pathar’ (1971). Co-incidentally, in this last film, he also appeared on screen, lip syncing a song by Mohd Rafi – “Unke Khayaal Aaye To Aate Chale Gaye“.

GM Durrani acted in 16 films, from 1949 to 1978. He sang 305 songs in 168 films. He gave music as MD in 8 films and also wrote lyrics in film ‘Nazaare’ (1949).

An odd name in the cast of ‘Angoori’ is Dar Kashmiri. A little information about this name. He was the eldest brother of Omkar Nath Dar aka OK Dar  aka Jeevan.

Om Prakash Dar was born into a  large family. He had 23 siblings. His grandfather was the Governor of Gilgit in Gilgit-Baltistan. He lost his father when the youngest- Jeevan – was 3 years old and his mother died at childbirth. Being the eldest, he came to Bombay in search of jobs and entered films. Instead of his original long name, he was called Dar Kashmiri.

Actually, when Jeevan came to Bombay in search of film roles, Om Prakash Dar aka Dar kashmiri, his elder brother, was already working in films. Jeevan appeared first time in ‘Fashionable India’ (1935). Since his name was Onkar Nath, he was billed as OK Dar (and not Dar Kashmiri – please note).

His elder brother Dar Kashmiri worked in many films- some of them are – ‘Noor Mahal’ (1934), ‘Watan Parast’ (1934), ‘Yaad Rahe’ (1940), ‘Abla’ (1941), ‘Saugandh’ (1942), ‘Angoori’ (1943), ‘Naya Taraana’ (1943), ‘Room No. 9’ (1946), ‘Hua Savera’ (1948′, ‘Kundan’ (1955) and ‘Ayodhyapati’ (1956). and many other films. In every film, he was billed as Dar Kashmiri only.

Jeevan was billed as  OK Dar (Jeevan) from film ‘Romantic India’ (1936) onwards and then on as Jeevan only – except still a few films where he was billed as OK Dar (Jeevan). In film ‘Patit Paavan’ (1955), both brothers acted and they were individually billed as Jeewan and Dar Kashmiri. This settles their name issue completely.

Let us now listen to this duet. With this song, film ‘Angoori’ of 1943, makes its debut on the blog.

(Information about GM Durrani here, is based partly on an article in www.peoplepill.com and from Rajani Kumar Pandya ji’s book ‘Aap ki Parchhainyan’. I acknowledge and my thanks to both. Information on Dar Kashmiri is from Filmdom-46).


Song – Nainon Mein Naina Deenho Daal. . . O. . . Baanke Naina Waale (Angoori) (1943) Singer – Kaushalya, GM Durrani, Lyricist – Ram Murty Chatruvedi, MD – GM Durrani
Kaushalya + GM Durrani

Lyrics (Provided by Sudhir)

nainon main naina deenho daal
nainon main naina deenho daa..aal
oo oo ooooo
baanke naina waale
nainon main naina deenhi daal
nainon main naina deenhi daa..aal
oo oo ooooo
baanke naina waali
nainon main naina deenho daal

jaat dagariya lad gaye sajni
jaat dagariya lad gaye sajni
chanchal nain hamaare
chanchal nain hamaare
chhail tere zulmi nainon se
chhail tere zulmi nainon se
nain hamaare haare
nain hamaare haare
oo oo ooooo
baanke naina waale
nainon main naina deenhi daal
nainon main naina deenhi daa..aal
oo oo ooooo
baanke naina waale
nainon main naina deenho daal

baney baawre pyaase naina
baney baawre pyaase naina
ab to naa tarsaao
ab to naa tarsaao
bas kar ke nainon mein pi
bas kar ke nainon mein pi
nainon ki pyaas bujhaao
nainon ki pyaas bujhaao
oo oo ooooo
baanke naina waale
nainon main naina deenho daal
nainon main naina deenho daa..aal
oo oo ooooo
baanke naina waale

nainon main naina deenho daa..aal
nainon main naina deenho daa..aal

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

नैनों में नैना दीन्हों डाल
नैनों में नैना दीन्हों डा॰॰ल
ओ ओ ओss
बाँके नैना वाले
नैनों में नैना दीन्हीं डाल
नैनों में नैना दीन्हीं डा॰॰ल
ओ ओ ओss
बाँके नैना वाली
नैनों में नैना दीन्हों डाल

जात डगरिया लड़ गए सजनी
जात डगरिया लड़ गए सजनी
चंचल नैना हमारे
चंचल नैना हमारे
छैल तेरे ज़ुल्मी ननों से
छैल तेरे ज़ुल्मी नैनों से
नैन हमारे हारे
नैन हमारे हारे
ओ ओ ओss
बाँके नैना वाले
नैनों में नैना दीन्हीं डाल
नैनों में नैना दीन्हीं डा॰॰ल
ओ ओ ओss
बाँके नैना वाली
नैनों में नैना दीन्हों डाल

बने बावरे प्यासे नैना
बने बावरे प्यासे नैना
अब तो ना तरसाओ
अब तो ना तरसाओ
बस करके नैनों में पी
बस करके नैनों में पी
नैनों की प्यास बुझाओ
नैनों की प्यास बुझाओ
ओ ओ ओss
बाँके नैना वाले
नैनों में नैना दीन्हों डाल
नैनों में नैना दीन्हों डा॰॰ल
ओ ओ ओss
बाँके नैना वाले

नैनों में नैना दीन्हों डाल
नैनों में नैना दीन्हों डा॰॰ल


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 :

4081 Post No. : 15220

Today’s song is from film Raami Dhoban-53. It is sung by Geeta Dutt, Shankar Dasgupta and chorus. The lyrics are by Ram Murthy Chaturvedi and the music was by a relatively less known composer, Hiren Bose. The film was made by Navkala Niketan-of Ramesh Vyas, the Producer. The film was directed by Hiren Bose.

It is very rare to see both the director of the film and its composer being the same. There are cases, when Producer/Director or Director/Lyricist or even Director/main actor being one and the same, but director and composer combination is not that common. In the 50’s decade, S N Tripathi, music director was a multi-faceted artiste. He was an actor, composer, director and a singer too. He had acted in 83 films,sang 13 songs in 7 films, directed 18 films and gave music to 107 films- composing 863 songs in all. He was the MD in all the 18 films, which he had directed- from Ram Hanuman Yuddha-57 to Sant Gyaneshwar-81.

Till S N Tripathi achieved this feat, Hiren Bose was considered a marvel. He acted in 6 films, directed 15 films, gave music to 3 films and wrote story and screen play in 2 films. I had first written on him 7 years ago. After that more details became available, hence here is his detailed information…

Born in Calcutta on 26-9-1903, Hiren completed his college education and learnt classical music & Rabindra sangeet to such proficiency that soon he earned titles of “Vidya Bhushan” and “Sangeet Ratna “. He wrote in Bengali papers and for Bangla films too.

In the years 1928 to 1932,Hiren had joined HMV as a Music Director. Here he became a close friend of Kazi Nazrul Islam and Dhiren das. Both kazi and Hiren wrote lyrics for songs in HMV .

Around 1929,a new , young and attractive singer came to HMV. Her name was KANAN BALA. She came for recording songs. Soon the handsome Hiren cast his spell on Kanan and she started considering him as her mentor in HMV. They were a quartet of friends, Kanan, Hiren, Kazi and Dhiren. In HMV Kanan recorded many songs set to tune or written by Hiren Bose.

In 1932,this team left HMV,on the issue of Royalty and joined the newly formed Megaphone Recording company. Here too after 2 years, this team left Megaphone and joined Columbia recording company. By 1934, Hiren wrote in his autobiography- JATI SMAR (My memories)-later that he had lost interest in Kananbala.

Hiren’s eyes were now set on a bigger Horizon -BOMBAY. He knew that remaining in Calcutta may not be suitable for him. Meanwhile he had met another struggler, ANIL BISWAS. Hiren advised him to go to Bombay for brighter future and also promised him all his help. Although,by then ANIL BISWAS was comfortably placed in Calcutta, he left for Bombay as per Hiren’s advise. Hiren Bose was a highly respected name in musical circles of Calcutta.

Hiren started working in Bombay. His fame as a versatile film person had already reached Bombay and he had no difficulty in getting work there. Hiren directed Dharam ki Devi-35,followed by Piya ki Jogan-36 and then Mahageet 1937. As per his promise he gave a chance to Anil Biswas to give music,independently to DHARAM KI DEVI-1935. As such earlier he had composed a song in Bharat ki Beti-35- “Tere poojan ko Bhagwan” sung by Rattan bai. But then he had shared the Music direction with Zande Khan. That song had become quite popular then.

Hiren Bose was very fond of acting in films and he also acted in MAHAGEET-1937. It was in this film that Anil Biswas FIRST introduced playback singing in a Bombay film. (In Calcutta R C Boral had started playback in 1935 itself). The FIRST ever Playback song in this film was ” Jeevan hai ek kahani,Duniya bhi hai ek kahani ” . It was sung by Anil Biswas and was filmed on Hiren Bose on the screen.Thus Hiren Bose’s name became a Historical name in Bombay film industry. This was how, Anil Biswas repaid the debt of Hiren Bose,in helping him to get established in Bombay Music field.

(Ref- ‘The early composers- Music beyond Boundaries by Dr. Ashok Ranade pp 183-186).

After Mahageet, Hiren Bose got an offer from Madras to direct a Telugu film- Bhakt Jaydev-1938,which he did successfully.

Hiren Bose kept on shuttling between Bombay and Calcutta,doing some films here and some there.He also acted in some Bangla films during that period. He was so versatile in many departments that he did acting, directing, lyrics, singing,and composing. His complete Filmography is not available but some details are available.

As a Director 15 films are to his credit-
Chup-31
Mahua-34
Dharm ki Devi-35
Piya ki Jogan-36
mahageet-37
Bhakta jaidev-38
India in Afica-39
Amar Geeti-40
Kabi Joydeb-41
Daasi-44
Banjarey-48
Sree Tulsidas-50
Ghungroo-52
Raami Dhoban-53
Ektara-57

He acted in
Rishir prem-31
Chup-31
Udayer pathe-44
Towards the Light-44
Sesh Raksha-44
Mahageet-37

As a writer-
Meerabai (s/Play and story)-32
Rajrani Meera(story)-33

As a composer
India in Africa-39
Kabi Joydeb-41
Raami Dhoban-53

After directing his last film Ektara in 1957, Hiren Bose lived a retired life. His last few years were mostly unhealthy and he spent time writing lyrics for geets in Bangla which were usually sung by Hemant Kumar, Kanan Bala and Suprova Sarkar.

Hiren Bose died on 18-6-1987 and one of the most versatile, multifaceted and multilingual artist disappeared for ever….

Film Raami Dhoban-53 was a version of the original film on this story- Chandidas, first made in 1932, with Durgadas Bannerjee and Uma Shashi, in Bangla language. This was a first Hit film for New Theatres. The music was by R C Boral. After 2 years, when Saigal came on the film horizon of India, the film was remade with him in the lead, in Hindi, in 1934. This was New Theatre’s first Hindi Hit film. This remake also gave a motion to the ‘Bilingual’ trend, set earlier by Prabhat film company, with its ” Ayodhyecha Raja” in Marathi and ” Ayodhya ka Raja” in Hindi in 1932 itself. This commercially viable and profitable trend continued, both at Bombay and Calcutta, for the next more than 20 years.

These days, there are not just Bilingual, but Multilingual remakes. But the difference is, today a Hit and Successful film in one language made elsewhere, is remade with same story, but different actors and locations. Earlier, on the same set and same time, two language films used to be shot with almost the same cast and location. Even the producer and director used to be the same for both the languages.

The Bangla film Chandidas-32 was directed by Debki Bose and the cinematographer was Nitin Bose. Later, Nitin Bose directed the Hindi remake in 1934 and it was a bigger hit than the Bangla version. This was, of course, because of the wider market for the Hindi version. I am not aware of any other film on this story made in any language in India.

It was almost after 20 years that a new film in Hindi was made on this story of Bangla Vaishnavite saint of the 15th Century. This time the lead was done by yet another Bangla actor Abhi Bhattacharya. The cast of the film Raami Dhoban-53 was Kamini Kaushal, Abhi Bhattacharya, Tiwari, Sankata Prasad, Sona Chatterji, Uma Devi, Prem Adib as a Guest artiste and many others.

Some actors are identified with an immortal character they played on the silver screen, e.g. Prem Adib as Shri Ram, V.Shantaram as Dr.Kotnis, Dev Anand in Guide, Guru Dutt in Pyaasaa, Meena Shorey as the Lara Lappa Girl etc. In my mind, the image of Abhi Bhattacharya is etched as the ideal Teacher in film Jagriti-1954. His face was such that it can not be imagined as a lover boy or a jumping jack running around trees with the Heroines. In film Jagriti, he fitted absolutely in the role of an ideal teacher. He did many types of roles in films, but his image for ever, was clubbed with Jagriti-54.

Abhi Bhattacharya ( 20/11/1922-11/9/1993) had a handsome and impressive personality. Belonging to the Bimal Roy camp,he debuted in 1947 with film Naukadubi from Bombay Talkies- a Bengali dominated production house. Some of his other notable films were Yatrik-52, Jagriti-54, Biraj Bahu-54, Anuradha-60, Aradhana-69, Seeta aur Geeta-72 etc etc. He worked with stalwarts like Bimal Roy, Satyen Bose, Nitin Bose,Guru Dutt, Ritwik Ghatak etc. In the later part of career he worked as Lord Vishnu and lord Shrikrishna in many Mythological films. He wrote one book too,”Destiny with Dadaji”. He acted in 166 films. His last film was ‘Professor ki padosan’-93. He died on 11-9-1993.

The story of the love between Chandidas and Raami was not an ordinary one. The other day I found this story on speakingtree.in, on the internet. Here it is….

Chandidas was the son of a Brahman priest. He was very handsome, charming and of a quiet countenance, but was forever lost in some world of his own. His father, tired of him, died, and Chandidas was forced to succeed him as the purohit of the local temple of a goddess.

Chandidas’ heart was never into these frivolities. He was devoted to Lord Krishna immensely. Then, one day, as he was sitting silently on the banks of the river in their village, his heart filled with sadness and disillusionment at the world. Legend has it that the Devi of the temple of their village appeared there, and told him that he would become a great poet and philosopher.

Then, when he was returning, he beheld a washerwoman washing clothes. When she got up, the two looked at each other, and it was love at first sight.

Chandidas thought that Rami, the washerwoman, was divinely beautiful. She was the source of strength and courage to him, just as Radha had been for Krishna. And this marked the beginning of Chandidas’ poetry.

Chandidas’s brother, who was ashamed of Chandidas because of his romantic involvement with the low-caste Rami, forced him to take part in a shudhikaran ceremony and purge himself of the sin of Rami’s touch. But just at that moment, Rami came, weeping and struggling as guards stopped her. ‘Chandithakur, would you leave me forever for society? Do I have just this much value for you?’

Chandidas was put in a dilemma. Here was the woman he loved like no one else, who always stood by him when people turned on him. And on the other side, the society his father had structured, and the people who revered his family, still stuck in social conventions and stupid rites and traditions.

Chandidas made his decision on the spot. He walked towards Rami, took her hand, and led her away from the village forever. They stopped at the house of Ganesha the singer, where Chandidas and Rami spent the rest of their lives singing hymns for Krishna and Radha.

Chandidas and Rami’s love cannot be described in words. It is a love which transcends all barriers, shatters all conventions, and ends in purity and total abandonment of the world – a spiritual domain. If it has to be compared to someone, then the love of Radha and Krishna stands apt. Like Radha, Rami was beautiful like none. Like Krishna, Chandidas was charming and handsome, but considered only Rami as the star in the soulless sky of his life. But there’s a crucial difference.

Radha and Krishna were separated by society’s cruel hands. Krishna, heeding social conventions, went on and married 8 principal wives and 16000 other women, while Radha was left waiting for him. While Chandidas and Rami, realizing that these norms were but binding cords on their necks, let go of everything and led their lives in perfect freedom and love.

However, the main emotion in both tales is true love, transcendental and all-encompassing. Love which has no trace of any animosity, expectations or jealousy, but is the very nature of the soul. It is this love, this inherent nature we all must strive to realize, and we’ll soon realize the difference this brings in our lives. Maybe, we would one day stare in the face of God!

Today’s song is the 6th song from this film to be discussed here. There were 14 songs in all, a large number indeed, considering that the average of songs in the 50s had come down to almost 6 to 7 songs per film. The song is very melodious. One finds lot of similarity between songs of Hiren Bose and Anil Biswas….may be because both used the folk tunes of Bengal in their music.


Song-Sun sun Dhobiya kahe re dhobaniya (Raami Dhoban)(1953) Singers -Shankar Daasgupta, Geeta Dutt, Lyricist- Ram Murthy Chaturvedi, MD- Hiren Bose
Female chorus
Male chorus
All chorus

Lyrics

chham chham chham chham chham
hey
chham chham chham chham chham
hey
chham chham chham chham chham
siya ram siya ram
ram ram siya ram
ram ram ram ram ram ram
sun sun dhobiya kahe re dhobaniya
sun sun dhobiyaa kahe re dhobaniya
chham chham chham chham chham

duniyaa gol hai
ghoom ghoom kar milte baarambaar
duniyaa gol hai
ghoom ghoom kar milte baarambaar
to phir hil mil kyun na karen
kyun na karen hum pyaar
to phir hil mil kyun na karen
kyun na karen hum pyaar
duniya gol hai
chham chham chham chham
siya ram siya ram
ram ram siya ram
ram ram ram ram ram ram
sun sun dhobiya kahe re dhobaniya
sun sun dhobiyaa kahe re dhobaniya

aa ha ha ha
a aa aa aa
lahron se milke khele machhariya
sajna se mil khele(?) mori najariya
lahron se milke khele machhariya
sajna se mil khele(?) mori najariya
bhaag tore jaage o mori sajni
bhaag tore jaage o mori sajni
bhaag tore jaage hamra balamva ganwaar
haay ram hamara balamava ganwaar

duniyaa gol hai
ghoom ghoom kar milte baarambaar
duniyaa gol hai
chham chham chham chham chham
hey
chham chham chham chham chham
hey
chham chham chham chham

duniyaa gol hai
ghoom ghoom kar milte baarambaar
duniyaa gol hai
ghoom ghoom kar milte baarambaar
to phir hil mil kyun na karen
kyun na karen hum pyaar
to phir hil mil kyun na karen
kyun na karen hum pyaar
duniya gol hai

chham chham chham chham chham
siya ram siya ram
ram ram siya ram
ram ram ram ram ram ram

sun sun dhobiya kahe re dhobaniya
sun sun dhobiya kahe re dhobaniya

kaanha se raadha mile chori chori
waise to bhi(?) mile chhaila se gori
kaanha se raadha mile chori chori
waise to bhi(?) mile chhaila se gori
bhola balmava hamaar o re piya
bhola balamva hamaar
chhup chhup ke khele shikaar
chhup chhup ke khele shikaar

to phir hil mil kyun na karen kyun na karen hum pyaar
to phir hil mil kyun na karen kyun na karen hum pyaar
duniya gol hai
duniya gol hai
chham chham chham chham chham
hey
chham chham chham chham chham
hey
chham chham chham chham chham


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 : 3681 Post No. : 14577

“Naseeb”(1945) was directed by Vedi for Silver Films, Bombay. The movie had Pramila, Kumar, David, Krishnkant, Sunetra, Jillo, Nazma, Leela Mishra, Chandabai, Moone Agha, Agha Jaan, Ghori etc in it.

This “social movie”, also called “Can’t help it” had nine obscure songs in it that were penned by three lyricists and the songs were sung by at least four singers.

Three of these songs have been covered in the past.

Here is the fourth song from “Naseeb”(1945) to appear in the blog. This song is sung by Khan Mastana and Hamida Bano. Rammurty Chaturvedi is the lyricist. Music is composed by Pt Govindram.

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


Song-Deewaani teri do din ki zindagaani (Naseeb)(1945) Singers-Khan Mastana, Hamida Bano, Lyrics-Rammurty Chaturvedi, MD-Pt Govindram

Lyrics

deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani
do din ki zindagaani
deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani

ghar mein teri maata rowe
baahar sakhi saheli
ghar mein teri maata rowe
baahar sakhi saheli
tu mahlon ki raani bankar
karti hai athhkheli

tu mahlon ki raani bankar
karti hai athhkheli
deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani

apna hua paraaya tera
hua paraaya apna aa
hua paraaya apna
apna hua paraaya tera
hua paraaya apna aa
hua paraaya apna
bhool gaye bachpan ke saathhi
ho gaye saare sapna

bhool gaye bachpan ke saathhi
ho gaye saare sapna
deewaani teri do din ki zindagaani
deewaani teri do din ki zindagaani


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

Blog Day : 3670 Post No. : 14547

Is Raj Kapoor singing a song for himself?

That was my reaction (to myself) when I heard for the first time, the song ae duniya ke rahne waalon bolo kahaan gaya chitchor from ‘Dil Ki Raani’ (1947) on the Blog. I could not believe that it was Raj Kapoor’s voice. This happened just a few days after I joined the Blog in July 2011. At that time, I felt that this could be a case of giving credit to the actor on the gramophone record label on whom the song was picturised instead of accrediting the real playback singer who could be someone else. At that time, I was not even aware of Har Mandir Singh ‘Hamraaz’ saab’s publications, Hindi Films Geet Kosh (HFGK).

During early 1970s, I used to spend almost every week-end with my friends who were the admirers of the old Hindi film songs. I do not recall any conversation about Raj Kapoor (or for that matter, Dilip Kumar, Nalini Jaywant and Meena Kumari) singing the songs in the films for themselves. Of course, Ashok Kumar’s singing was well known because of the popularity of his songs from films like ‘Achhut Kanya’ (1936), ‘Jhoola’ (1941) etc.

Since then, a lot of water has flowed under the bridge. The publication of HFGK in the 80s and the advent of Internet have disseminated a lot more information relating to Hindi films and songs which were hitherto not known to most of us. Also, there are now film information sharing platforms like Recorded Music Indian Music (RMIM), Society of Indian Record Collectors (SIRC) and many other informal Groups. Also, we have our own Blog to revalidate the information on the Hindi film songs.

Coming back to Raj Kapoor as a singer, I have heard his voice in two other songs also – one each from ‘Jail Yatra’ (1947) and ‘Gopinath’ (1948). In my view, Raj Kapoor had a good singing voice worthy of becoming an actor-singer. His renditions were very close to that of the professional playback singers. As a testimony of Raj Kapoor as a good singer, watch this video as to how he has rendered the song ‘ae bhai jara dekh ke chalo’ from ‘Mera Naam Joker’ (1970) in a stage show presented by Raj Kapoor for the Indian Navy a few days before the release of his film in December 1970. In this show, while a few other songs from the films were rendered by Mohammed Rafi and Mukesh, Raj Kapoor had to sing this song as Manna Dey could not attend the stage show.

It is a well-known fact that Raj Kapoor was a musically inclined producer-director. He personally supervised all aspects of song compositions especially in the films which he produced and directed under R K Banner. Lata Mangeshkar in her chat with Indian Express has recently said:

Raj saab was a complete musician. He played the tabla, the harmonium and the piano. He composed songs and sang them in his own voice before handing them over to professional playback singers. He could have easily scored the music in his films. But he chose not to take credit for the music in his films.(Indian Express, March 20, 2018).

An old article written by Journalist Lata Khubchandani, which was reproduced in ‘Cineplot’, also confirm the musical inclination of Raj Kapoor. Later, she also wrote and published a book – ‘Raj Kapoor – The Great Showman (2005). In the words of Raj Kapoor, quoted by Lata Khubchandani:

From the earliest days, I have been interested in music. In fact, my first ambition was to be a music director. I even sang in my earlier films like Chitchor (probably, meant ‘Dil Ki Rani’), Chitor Vijay, Jail Yatra and Gopinath. When words fail, it is music that conveys much more than all words put together.

I wonder as to why Raj Kapoor did not become an actor-singer and left his ambition of becoming the music director in the back burner which he could have done easily for the films he was the producer-director-actor. I have also no idea as to when Raj Kapoor got interested in music. Probably his biographies should throw some lights in these matters. Since I do not have his biographies in my collections and they are not available online, I have relied on ‘circumstantial evidences’ to draw some conclusions.

When Prithviraj Kapoor was associated with the New Theatres, Calcutta (Kolkata) during 1933-39, the young Raj Kapoor was with him. He may have been influenced by the singing of K L Saigal. The autobiography of Kidar Sharma mentions that K L Saigal was a regular visitor to Prithviraj Kapoor’s house for musical soirees. Probably, the young Raj Kapoor may have also exposed to R C Boral who was composing songs for the films of New Theatres in which Prithviraj Kapoor acted. These environments may have attracted him towards the music.

Sometime in 1946, Raj Kapoor was put under the tutelage of Pandit Jagannath Prasad (a cousin of music director Khemchand Prakash). Mukesh was also learning the classical music from him. One day, when Mukesh was practising a particular raag , Raj Kapoor loved his voice and felt that his own voice paled in comparison with Mukesh’s voice. At that time, Mukesh had said to Raj Kapoor that he can take his voice. (Ref: The Hindu, June 16, 2003). How true it was to become in the later days. Although Mukesh sang 4 songs in Raj Kapoor’s first film in a lead role, ‘Neel Kamal’ (1947), none of these songs were picturised on Raj Kapoor. It was in ‘Aag’ (1948) that Mukesh became the voice of Raj Kapoor for the first time.

Just before his marriage in May 1946, Raj Kapoor was appointed as an Assistant in Prithvi Theatres and was associated with the production of one of its popular plays ‘Deewar’ (1946). In the review of the play, which appeared in May 1946 issue of ‘Filmindia’, the reviewer praised Raj Kapoor’s acting as a family servant in the drama and devoted one full paragraph on it. In addition to acting, he was the Art Director and assisted in light and sound arrangements and also to Ram Ganguli, the music director. Perhaps, all round experience gained from the play, ‘Deewar’ seemed to have encouraged him to produce, direct and act in the first film ‘Aag’ (1948) under his own banner. With this, Raj Kapoor appears to have decided to concentrate as director-actor and fulfil his ambition of becoming music director with a ‘back seat driving’.

As far as I know, Raj Kapoor sang 4 songs as an actor-singer out of which only one song as mentioned above has been covered in the Blog. The remaining 3 songs are as under :

SN Song Co Singer Movie
1. Piya milne naveli nadi jaaye re Solo Jail Yatra (1947).
2. Lehraaye mori laal chunariya with Nalini Mulgaonkar Jail Yatra (1947)
3. Jab se Dekha hai tumhen Solo Gopinath (1948)

In Lata Khubchandani’s article referred to above, the name of ‘Chittor Vijay’ (1947) has propped up in which Raj Kapoor has reportedly sung a song. However, none of the songs of the film is available on line as far as I know.

I am presenting today, one of the rarest songs ‘piya milne naveli nadi jaaye re’ from ‘Jail Yatra’ (1947) sung by Raj Kapoor. The song was not available on YT until about 4 months back. The video was uploaded from the mp3 clip provided by Saregama. Since it was wrongly captioned, I have uploaded a new video of the song made by me by downloading mp3 clip from the Saregama website (with a small price). The song was written by Rammurty Chaturvedi and wa sset to music by Ninu Mazumdar.

Enjoy the song in the voice of Raj Kapoor which is probably based on one of the folk songs from Gujarat.


Song-Piya milne naveli nadi jaaye re(Jail Yatra)(1947) Singer-Raj Kapoor, Lyrics-Rammurty Chaturvedi, MD-Ninu Majumdar

Lyrics

piya milne naveli nadi jaaye re…ae
piya milne naveli nadi jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re
piya milne naveli nadi jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re

kaale baadal ghumad ghir aaye re..e
kale baadal
kaale baadal ghumad ghir aaye re
naache mor man mor ghabraaye re..ae
naache mor man mor ghabraaye re..ae
choom kaliyon ko
choom kaliyon ko bhanwra geet gaaye re
na aaj saha jaaye re
choom kaliyon ko
choom kaliyon ko bhanwra geet gaaye re
na aaj saha jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re

lata pedon se lipat laharaaye re
lata pedon se lipat laharaaye re
dekh-dekh ke umang lalchaaye re..e
dekh-dekh ke umang lalchaaye re..e
lata pedon se
lata pedon se lipat lahraaye re
mujhe chaaron oar soona dikhlaaye re
mujhe chaaron oar soona dikhlaaye re
kisi ki yaad aaye re
mujhe chaaron oar soona dikhlaaye re
kisi ki yaad aaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay 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.

“Bindiya”(1946) was directed by C M Luhar for Sun Art Pictures, Bombay. The movie had Raagini, Amar, M Shaqir, E Billimoria, Pratima Devi, Bhagwan Das, Leela Mishra, Leela Pawar, Qayam Ali, Madhukar Gupte, Sukumar, Himmat Lal, Mehar Banu, Bhimji etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Parinde”(1945) was produced and directed by Acharya Atre for Atre Pictures, Bombay. The movie had Surendra, Vanmala, Dixit, Babu rao Pendharkar, Sitara, Sunalini Devi, Balwant Parchure, D R Gokhale, Chandabai, Lallu, Vasant sawkar, Jairam Desai etc in it.
Read more on this topic…


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

After an enforced hiatus of over a month, I am back again with yet another song from the yore.

During this period, I acutely realised how much this Blog, its people, Hindi old films and songs had become a part of my life and I missed all this. When I was younger and ran after my career, the same feeling used to be there. Now of course, there are deadlines, commitments, accountability and work satisfaction, but of different kind. Equally important, nevertheless. I was overwhelmed with the good wishes and prayers for me from friends during this period. God is Great and everything fitted in place finally and I am once again ready to pour my heart here in discussing songs, people and films. Thanks to all.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Usha Haran”(1949) was produced by Prakash and directed by Shanti Kumar. The movie had Aroon, Ulhas, Jeevan, Yashodhara Katju, Indu, Arvind, Ratnamala etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Hamaara Ghar”(1950) was directed by Nanabhai Bhatt for Hindustan Chitra, Bombay. The movie had Durga Khote, Umakant Desai, Veera, Agha, Meena Kumari, Geeta Bose, David, Jankidas, Ramesh Gupta etc in it.
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 ELEVEN years. This blog has more than 15600 song posts by now.

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

Important Announcement

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

Total number of songs posts discussed

15628

Number of movies covered in the blog

Movies with all their songs covered =1205
Total Number of movies covered =4302

Total visits so far

  • 13,490,532 hits

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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