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

Posts Tagged ‘Snehal Bhatkar


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 : 3756 Post No. : 14722

Today’s song is from a film called ‘Diwali Ki Raat’ (1956). This is a film in which singer Talat Mahmood acted as a hero opposite heroine Roopmala. Talat Mahmood (24-2-1924 to 9-5-1998) acted in 12 films from 1945 to 1958 and he also did a cameo role, singing a song-“Shukriya Ae Pyaar Tera Shukriya“, of  three and half minutes in film Aaram-1951. In his early career starting in Calcutta, he fell in love with a Bangla actress Latika Mullick. They got married on 20-2-1951. She was converted to Islam and was renamed Nasreen, who bore two children to Talat. As per a book by Manek Premchand, ‘Talat Mahmood – The Velvet Touch’, he sang 777 songs which included Hindi film songs, NFS and unreleased films etc. As per another source he sang 451 Hindi film songs from 259 Hindi films.

Two very good singers – and my favourites – spoiled their singing careers at the cost of fulfilling their misplaced hype of making it as a singing hero, when such times had died down after Saigal. Mukesh ( 22-7-1923 to 27-8-1976 ) acted in 8 films from 1941 to 1956 and sang 928 songs from 538 films, as per one source. I personally feel, the film bug did more damage to Talat than Mukesh. Of course a money-smart Talat made it up with innumerable foreign tours for concerts and singing jaunts with a party made up of musicians, singers and mimicry artistes.

Recently, I received a copy of Talat’s handwritten inland letter, sent to one of my friends in Gujarat, who wanted to arrange his show. As per what Talat wrote on 26-12-1977, his fees was Rs. 12,000/-, plus hotel accommodation for him and others. The troupe, he said, consisted of singers, dancers, musicians and mimicry artistes. One may feel that Rs. 12,000 was too low, but remember, this was 41 years ago, when petrol was less than two rupees per litre. In late 70s, I had rented a two bedroom, 1,000 sq ft flat in prime locality like Andheri in Bombay, for just Rs. 800 pm. Today the same size flat will command a rent of Rs. 40,000 + pm.

Like the values of money and values of life changed in all these years, almost everything has changed nowadays. These changes have not come overnight, but like slow poisoning, the changes took almost 50 to 60 years to show their effect. The second world war and the independence era were the beginning when quantity started overpowering quality. The film industry was also not an exception. How good the acting or the music was, became secondary and how many films, became the testing apparatus to judge the actor or the composer. Thus the simple but the talented artistes fell behind and those who pushed hard or had the right connections (and the luck) went much ahead.

In the field of Music Direction, at least two names come to the mind, who were talented but too simple to last in the neck to neck competition of the film line. One of them was Snehal Bhatkar (the other being, Bharat Bhai’s favourite- Jaidev). He was the MD for the film ‘Diwali Ki Raat’.

White full shirt, ironed white pyjama, spectacles with big powerful lenses and the trademark white Gandhi Topi – he could easily be mistaken for a ‘Pandharpur Warkari’ (a regular pilgrim to Pandharpur) or a member of a ‘Bhajani Mandali’ or simply a middle class ‘Marathi Manoos’. Such was the appearance of one of Hindi filmdom’s talented, yet not so famous, music maestro VASUDEV GANGARAM BHATKAR or Snehal Bhatkar, as we all know him.

In Hindi film music field there were some talented composers like Ghulam Mohd, Mohd. Shafi, Iqbal Qureshi, Daan singh, C Arjun, Ramlal, Sardar Malik, Ajit Merchant, Jamal Sen, Dattaram, Ganesh, etc. who could never reach the peaks of their careers. They really deserved success and fame, but luck did not favour them. Big banners never approached them and eventually the losers were the music lovers in India. These composers did not know, perhaps, how to sell their art. May be they never wanted to enslave music to gain name and fame, instead they preferred to settle for genuine service to music!

Snehal Bhatkar was one such composer. The maxim of simple living and high thinking never worked in this Mayanagari, but he had no regrets. Till the very end he was contented with whatever God gave him, and whatever name and success he achieved.

He was born into and grew up in a family that was surrounded by traditional devotional music all around. In the lower middle class, the people had their entertainments in singing bhajans and doing keertans in temples en masse.

Vasudev G. Bhatkar was born on 17-7-1919. He knew at least 100 bhajans by heart by the time he was in his 10th class. He was invited to sing in Ganesh Melas and other celebrations and soon became a well-known name in the locality. Because of his singing and skills in playing harmonium and other instruments, he got a job with HMV in Bombay. Here he used to give accompaniment on harmonium to big classical singers. At the same time, taking cognizance of his singing skills, many Marathi bhavgeets and bhajans were recorded by HMV. Some of them are popular in Maharashtra even today.

All this while, Bhatkar was looking for opportunity to compose in films. Sudhir Phadke who also served in HMV and recorded some songs from 1943 to 1945, joined hands with Bhatkar and made a pair – Vasudev-Sudhir. In 1946, they got a film of Baburao Painter – ‘Rukmini Swayamvar’ – for music direction. The problem was that due to his service in HMV, he could not openly work outside. Hence he only gave his name as Vasudev. After this film, the pair separated and Phadke went to give music to films like ‘Gokul’ (1946), ‘Aagey Badho’ (1947), etc. Due to financial constraints Bhatkar was unable to leave his job with HMV.

In 1941, Bhatkar had come to know Kidar Sharma while recording songs for his film ‘Chitralekha’, which he was making for Ranjit Studios. Sharma had just come from Calcutta to establish himself in Bombay. He had a knack of identifying talents. He first gave a chance to Bhatkar to sing some songs with Leela Sawant in his film ‘Kaliyan’ (1944). After ‘Rukmini Swayamvar’, Kidar Sharma gave him his first break as an independent composer in his film ‘Neelkamal’ (1947), where Kidar Sharma launched Raj Kapoor and Madhubala in adult roles as the leading pair. Here Bhatkar used the name B Vasudev. In the subsequent years Bhatkar used different names for different films like VG Bhatkar in ‘Sant Tukram’ (1948), ‘Sati Ahalya’ (1949) and ‘Pagle’ (1950), and Snehal in ‘Suhaag Raat’ (1948) and ‘Thes’ (1949). After doing ‘The’s and ‘Sati Ahalya’, Bhatkar resigned from HMV.

Snehal Bhatkar and Kidar Sharma were very good friends. Kidar gave him ‘Neki Aur Badi’ in 1949. Meanwhile, Kidar Sharma met Roshan Lal Nagrath in some musical event. Sharma was terribly impressed with Roshan and wanted to give him a break in his film. At that point of time, Kidar had just started work on ‘Neki Aur Badi’. He had a heart to heart talk with Bhatkar and Bhatkar gladly left the film for Roshan. Thus Roshan got his break with ‘Neki aur Badi’. Roshan never forgot Bhatkar’s magnanimity in his life and always respected Bhatkar. In return Kidar Sharma gave ‘Hamari Beti’ (1950) to Bhatkar. As he was a free bird now, Bhatkar started using the name SNEHAL BHATKAR  from this film. Snehal was the short form of Snehalata, his daughter.

Snehal Bhatkar did many Marathi films and recorded many bhajans in Marathi, which are ever popular. He did 28 films in Hindi (including one unreleased film in the 1950s) and 12 films in Marathi. Out of 27 released Hindi films, 9 were made by Kidar Sharma.

The song which made Mubarak Begum and Bhatkar famous in India was ‘Kabhi Tanhayion Mein, Hamari Yaad Aayegi’ from the film ‘Hamari Yaad Aayegi’ (1961). (This film was was originally named ‘Jawaan Mohabbat’). Actually this song was to be done by Lata Mangeshkar. Lata had already recorded two songs for this film. Due to her extremely busy schedule she was unable to do this song, so she suggested the name of Asha Bhosle. But Kidar Sharma, already upset over Lata’s refusal, opted for Mubarak Begum and the rest, as they say, is history. She imbued a unique character to this song with her special voice.

After 1960, the musical scene in India was undergoing drastic changes and there was no space for composers like Bhatkar, who used minimum orchestra and dwelt upon melody. His films came in long intervals. Even Kidar Sharma left him after ‘Fariyaad’ (1964) only to return in ‘Pehla Qadam’ (1981). Finally Bhatkar did his last Hindi film ‘Sahme Hue Sitare’ (1994), which featured his son Ramesh Bhatkar, who was already a popular hero in Marathi film, stage and TV. This obscure film did nothing good to Bhatkar. After retirement Bhatkar devoted his time for children’s welfare and his original love – Bhajan Mandali singing.

Snehal or Vasudev Gangaram Bhatkar, together with cousin Devji Bhatkar and Panchambuwa Pandurang Shivalkar, was the founder member of ‘Vishwambhar Prasadik Bhajan Mandal’ in Dadar. It is still in operation after 50 years, with new set of singers. Bhatkar was very kind hearted. Every year, during Ganapati festival he used to visit his ancestral village ‘Bhate’ in Ratnagiri district and participate in singing bhajans.

Lata, Talat and Mukesh were his favourite singers. Although Talat has not sung many songs for him, his song “Zindagi Kis Mod Pe Laayee Hamein” from ‘Diwali Ki Raat’ was very popular. When rehearsals for this song were being done, Bhatkar had used only tabla and sitar for the practice session. The producer who chanced upon this rehearsal was so much impressed with this that he insisted recording the song only with minimum instruments. So, this song has only tabla, sitar and another instrument for accompaniment.

Though there were many melodious songs composed by Bhatkar like, Khusro’s “Lakhi Babul More Kaahe Ko Deenha Bides Re” sung soulfully by Mukesh in ‘Suhaag Raat’ (1948); “Ro-oge Pachhtaoge” by Mukesh and Rajkumari in ‘Thes’ (1949); Lata’s “Chanda Tujhko Laaj Na Aayee” from ‘Bhola Shankar’ (1951); Suman Kalyanpur’s “Haal-e-Dil Unko Sunana Tha“- Fariyaad (1964), no other big banner producer opted for Snehal Bhatkar, except Kidar Sharma . May be his compositions were not so simple for common man to hum or sing, although they were quality songs.

Despite several melodious songs Bhatkar was never counted among the first line composers. Kidar Sharma returned to him in 1980, but by that time Snehal Bhatkarwas already on a descending track.

SNEHAL BHATKAR, a talented but sadly not much applauded composer, died peacefully on 29-5-2007 at his Dadar home.

Today’s song is sung by Mahendra Kapoor. As far as I know, this is my first song of Mahendra Kapoor. Today’s song was his first solo song of his career. Mahendra Kapoor was among the premier playback singers of the Golden Age of Hindi musical cinema, with hits like “Chalo Ek Baar ” and “Neele Gagan Ke Taley” vaulting him to a level of celebrity rivaling the on-screen actors miming to his vocals. Born January 9, 1934, in Amritsar,  Kapoor spent the majority of his childhood in Mumbai, where he claimed top honors in the All-India Murphy-Metro Singing competition in 1957. His victory captured the attention of filmmaker Raja Nawathe, who used him in 1958’s ‘Sohni Mahiwal’. This also caused a controversy, because the contest was for new comers and Mahendra Kapoor had already sung  songs in several films like ‘Madmast’ (1953), ‘Madhur Milan’ (1955) ‘Lalkar’ (1956) and ‘Heer’ (1956) and also his first solo song in film ‘Diwali Ki Raat (1956). Later on he gave some lame excuse that he had not got any payment for that song etc. (beetehuedin.com has all the relevant details on this controversy and the court case etc, in MK’s interview article).

A year later, Kapoor launched into the top ranks of Bollywood singers when composer and musical director Ramchandra Chitalkar tapped him to perform the show stopping “Aadha Hai Chandrama Raat Aadhi” in the film ‘Navrang’ (1959). Kapoor quickly proved himself a versatile talent even by Bollywood standards, performing in a number of regional Indian languages beyond his native Hindi. Within the sub genre of Marathi language productions, he was renowned as the playback singer of choice for superstar Dada Kondke — and over time his repertoire expanded, becoming virtually synonymous with patriotic anthems when he delivered “Mere Desh Ki Dharthi. . .” in Manoj Kumar’s 1967 film ‘Upkaar’, a rendition that also earned him the Best Male Playback Singer honors from India’s National Film Awards voters.

Kapoor remained a respected and popular figure across his five-decade cinema career, notching additional hits via “Iktara Bole. . .” (from ‘Yaadgaar’, 1970), “Fakira Chal Chala Chal” (from ‘Fakira’, 1976) and “Ab Ke Baras” (from ‘Kranti’, 1981). While his filmography embraces dozens of directors, he enjoyed his most fruitful collaboration with filmmaker BR Chopra, a partnership that extends across productions like 1959’s ‘Dhool Ka Phool’, 1963’s ‘Gumrah’, 1965’s ‘Waqt’, 1969’s ‘Aadmi Aur Insaan’ and 1973’s ‘Dhund’. From 1980 onward Kapoor appeared largely in small, regional films in the Punjabi and Bhojpuri tongues, and with son Rohan he mounted a series of live tours spanning across India and overseas. His contributions to the Bollywood industry were later recognized via the Indian government’s Padmashri Award as well as the Madhya Pradesh government’s Lata Mangeshkar Award. Poor health plagued Kapoor during the final years of his life, and he suffered a fatal heart attack in his sleep on September 27, 2008.

Today’s song is the 7th song from this film, to be discussed here. There are 10 songs in the film as per HFGK, but one Talat song was removed from the film. For this film, Kersi Mistry and Prabhakar Naren were the assistants for Bhatkar. Mistry later claimed that the above song was composed by him.


Song – Tere Dar Ki Bhikmangi Hai Daata Duniya Saari (Diwaali Ki Raat) (1956) Singers – Mahendra Kapoor, Lyrics – Madhukar Rajasthani, Music – Snehal Bhatkar

Lyrics (Provided by Sudhir)

tere dar ki
bhikhmangi hai
daata duniya saari
ho daata duniya saari

koi maange mahal do-mehle
koi kutiya chhoti
koi maange sona chaandi
koi sookhi roti
re roti
koi maange laal salona
koi maange laal salona
koi sundar naari
maange koi sundar naari
waah re duniya rachne waale
shaan hai teri nyaari
shaan hai teri nyaari
tere dar ki bhikhmangi hai
tere dar ki bhikhmangi hai
daata duniya saari
ho daata duniya saari

koi tujh par phool chadha kar
maalik tujh rijhaaye
koi tujh par phool chadha kar
maalik tujh rijhaaye
koi bechaara dukh ka maara
aansoo bhent chadhaaye
koi bechaara dukh ka maara
aansoo bhent chadhaaye
donon hi mohtaaj hain tere
donon hi mohtaaj hain tere
donon tere pujaari
donon tere pujaari
khel rahe ho khel anokhe
kya samjhe sansaari
kya samjhe sansaari
tere dar ki bhikhmangi hai
tere dar ki bhikhmangi hai
daata duniya saari
ho daata duniya saari

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

तेरे दर की
भिखमंगी है
दाता दुनिया सारी
हो दाता दुनिया सारी

कोई मांगे महल दो-महले
कोई कुटिया छोटी
कोई मांगे सोना चाँदी
कोई सूखी रोटी
रे रोटी
कोई मांगे लाल सलोना
कोई मांगे लाल सलोना
कोई सुंदर नारी
मांगे कोई सुंदर नारी
वाह रे दुनिया रचने वाले
शान है तेरी न्यारी
शान है तेरी न्यारी
तेरे दर की भिखमंगी है
तेरे दर की भिखमंगी है
दाता दुनिया सारी
हो दाता दुनिया सारी

कोई तुझ पर फूल चढ़ा कर
मालिक तुझे रिझाये
कोई तुझ पर फूल चढ़ा कर
मालिक तुझे रिझाये
कोई बेचारा दुख का मारा
आँसू भेंट चढ़ाये
कोई बेचारा दुख का मारा
आँसू भेंट चढ़ाये
दोनों ही मोहताज हैं तेरे
दोनों ही मोहताज हैं तेरे
दोनों तेरे पुजारी
दोनों तेरे पुजारी
खेल रहे हो खेल अनोखे
क्या समझे संसारी
क्या समझे संसारी
तेरे दर की भिखमंगी है
तेरे दर की भिखमंगी है
दाता दुनिया सारी
हो दाता दुनिया सारी

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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 : 3676 Post No. : 14565

“Aaj Ki Baat” (1955) was produced and directed by Leela Chitnis to launch the career of her son Ajeet Chitnis. The movie had Ajeet Chitnis, Uday, Chitra, Bipin Gupta, Manmohan Krishna, Sunder, Leela Chitnis etc in it.

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

Here is the second song from “Aaj Ki Baat” (1955) to appear in the blog. This song is sung by Talat Mehmood. Hasrat Jaipuri is the lyricist. Music is composed by Snehal Bhatkar.

Only the audio of the song is available. Seeing that Talat Mehmood was the main male playback singer in the movie (with four songs), it can be safely assumed that he had sung for the lead actor of the movie viz. Ajeet Chitnis. It is a joyous song sung by Talat Mehmood is a rather restrained manner.


Song-Mohabbat bane hain wo din suhaane (Aaj Ki Baat)(1955) Singer-Talat Mehmood, Lyrics-Hasrat Jaipuri, MD-Snehal Bhatkar

Lyrics

mohabbat bane hain wo din suhaane
ghadiyaan milan ki dil ke taraane
mohabbat bane hain wo din suhaane
ghadiyaan milan ki dil ke taraane

shokhi se hansna nigaahen milaana
shokhi se hansna nigaahen milaana
mere saamne unka wo aana jaana

kya kar diya
haaye kya kar diya
unki pahli ada ne
ghadiyaan milan ki dil ke taraane
mohabbat bane hain wo din suhaane
ghadiyaan milan ki dil ke taraane

wo unki sharaarat
nadiya kinaara
unki sharaarat
nadiya kinaara
thhandi hawaayen sama pyaara pyaara
thhandi hawaayen sama pyaara pyaara
koyal ki taanen wo bulbul ke gaane
ghadiyaan milan ki dil ke taraane
mohabbat bane hain wo din suhaane
ghadiyaan milan ki dil ke taraane

chaman mein wo unka mere saath rahna
kabhi dil ki baaten nigaahon se kahna
bhulaaye na bhoolenge
bhulaaye na bhoolenge aise thhikaane
ghadiyaan milan ki dil ke taraane
mohabbat bane hain wo din suhaane
ghadiyaan milan ki dil ke taraane


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 : 3509 Post No. : 14099

“Deewaali Ki Raat”(1956) was produced by Vishandas Sapru and directed by Deepak Asha for V.A.R.Productions. The movie had Talat Mehmood, Roopmala, Shashikala, Gope, Motisagar, Neeta etc. in it.

Five songs from the movie have been discussed in the past. Here is the sixth song from “Deewaali Ki Raat”(1956) to appear in the blog. This song is sung by Madhubala Jhaweri and Talat Mehmood. Madhukar Rajasthani is the lyricist. Music is composed by Snehal Bhatkar.

Only the audio of this song is available, but it is clear that this song was picturised on Talat Mehmood himself. I request our knowledgeable readers to tell about the lady who lip syncs the song in Madhubala Jhaveri’s voice.


Song-Kehne ko bahut kuchh kehna thhaa (Deewaali Ki Raat)(1956) Singers-Madhubala Jhaveri, Talat Mehmood, Lyrics-Madhukar Rajasthani, MD-Snehal Bhatkar
Both

kehne ko bahut kuchh kehna thha
takraayi nazar sharma hi gaye
takraayi nazar sharma hi gaye
is jhukti nazar ko dekh sanam
hum piye bina lehra hi gaye
hum piye bina lehra hi gaye
kehne ko bahut kuch kehna thha

zulfon ki ghataaon mein chhup kar
zulfon ki ghataaon mein chhup kar
ji bhar ke chala lo teer-e-nazar
ji bhar ke chala lo teer-e-nazar
ulfat ki ada ke deewaane
sau teer jigar par kha hi gaye
sau teer jigar par kha hi gaye
kehne ko bahut kuchh kehna tha

tum raaz-e-mohabbat kya samjho
tum ishq ki baaten kya jaane
tum ishq ki baaten kya jaane
haye ae
kacche dhaage se bandh kar
sarkaar meri tum aa hi gaye
sarkaar meri tum aa hi gaye
kehne ko bahut kuch kehna thha

ae saaz-e-jawaani chhed koi
ae saaz-e-jawaani chhed koi
ek geet suhaana pyaar bhara
ek geet suhaana pyaar bhara
do pyaar bhare dil aaj miley
manzil ko apni pa hi gaye
manzil ko apni pa hi gaye
kehne ko bahut kuchh kehna thha

ae raat yahi par ruk ja tu
ae chaand sitaaron mat dhhalna
ae chaand sitaaron mat dhhalna
andaaz-e-bayaan se jaahir hai
hum un ke dil ko bha hi gaye
kehne ko bahut kuchh kehna thha
takraayi nazar sharma hi gaye
kehne ko bahut kuchh kehna thha


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.

This is 1000 post on the blog with Hindi lyrics by Sudhir.

Blog Day : 3495 Post No. : 14045

The beautiful ‘अलंकृत’ verses like

गुन गुन गुन गुंजन धुन गूँजे भंवरन की. . .
and
बहे गंध अंध मधु मंद पवन उपवन की. . .

can only come from the thoughts of a poet whose insight into the human emotions and feelings is as deep, as his breadth of the knowledge of vocabulary and the grammar of the language, and then, plus his creativity to weave together the emotions and the words, in a manner that will make the mind pause and think. . . wow.

Remembering Pt Narendra Sharma, poet extraordinaire, on the anniversary of his passing away today (11th February).

The mention of his name, brings to mind first and foremost, that near divine creation of sheer poetry which, combined with the music of Sudhir Phadke, is considered by many as probably the best Hindi film song that best represents the cultural milieu of this sub-continent. Yes, I refer to “Jyoti Kalash Chhalke. . .” – a benchmark creation that has never been bettered. (Film ‘Bhabhi Ki Choodiyaa’, 1961).

And the mind then wanders more to gather such priceless gems as “Kahaan Ud Chalen Hain, Mann Praan Mere” (also from ‘Bhabhi Ki Choodiyaan’), “Saanjh Ki Bela, Panchhi Akela” (from ‘Jwaar Bhaata’, 1944), “Mann Mor Hua Matwaala. . .” and “Naina Deewaane. . .” (both from ‘Afsar’, 1950), “Charan Tumhaare Phool Hamaare” (from ‘Narsinh Avtaar’, 1949),”Wo Chaand Nahin Dil Hai Kisi Deewaane Kaa” and “Hain Kahin Par Shaadmaani Aur Kahin Nashaadiaan” (from ‘Aandhiyaan’, 1952), and on to the likes of “Satyam Shivam Sundaram” (from ‘Satyam Shivam Sundaram’, 1978) and “Bhanwre Ne Khilaaya Phool. . .” (from ‘Prem Rog’, 1982). And yes, the theme song of the mega serial ‘Mahabharat’ from 1980s – “Ath Shri Mahabharat Katha. . .”.

Pandit Narendra Sharma was born on 28th February, 1913 in the village Jahaangirpuri, in Bulandshehar district in United Provinces (now Uttar Pradesh). He lost his father when he was very young. A true product of a cultured Brahmin family, young Narendra was hardworking, and very serious about his studies. It mattered to him, such that he worked part time during his senior school and college years, to pay for his own education. He passed his high school in first division from Khurja, and did his BA and MA in Hindi from Allahabad University. His budding poetic creativity took strong roots during his college years. His voice was sweet and tempered, and he became a popular and regular invitee at Kavi Sammelans. He also came in touch with other senior contemporaries like Sumitra Nandan Pant and Bhagvati Charan Verma, and his creative endowment blossomed even further.

The years of freedom struggle were ongoing. After his MA, he co-edited a paper with Sumitra Nandan Pant, worked as a scribe and translator for the Congress party at their Swaraj Bhawan office in Allahabad, and continuously published his works in magazines like ‘Madhuri’, ‘Chaand’ and ‘Saraswati’. During the 1942 Quit India movement, he was arrested and spent many months in Deoli jail.

1942-43 was also the time when there was an upheaval in the film industry. Himanshu Rai, the founder of Bomaby Talkies, has passed away in 1940. Devika Rani, his wife, had assumed charge of the studio, but soon, the differences with other stakeholders resulted in two camps within the company to start with, and then a final parting of ways in 1943. ‘Kismet’ – one of the most successful films in the history of Indian cinema, had just been released. Shashadhar Mukherjee decided to opt out of the company. He founded Filmistan Studios, and took away a major part of the talent team at Bombay Talkies. Devika Rani was struggling to keep the company afloat.

One of the creative assets that walked over to the new company with S Mukheree was Kavi Pradeep. Suddenly, Bombay Talkies was without their star poet and songwriter. Devika Rani was looking for an equal or better talent to take over the responsibility of song writing for the studio. The request for a poet’s position also came to Bhagwati Charan Verma.

February seems to be an eventful month for Pt Narendra Sharma. He was born and he passed away in this month. And yes, it was early February that Bhagwati Charan Verma came to visit him at his home in Allahabad. The offer was made, and initially declined. Narendra, then thirty years old, was just fresh out of his imprisonment (on account of participation in Quit India movement). He otherwise had his editing and writing work well settled in the city. He cited unfamiliarity with the film industry, and had neither the experience or the intention of writing songs for films. But as the conversation between the two progressed, it was Verma who eventually was able to prevail upon Narendra to come to Bombay.

On the train journey to Bombay, Narendra tried his hand at composing a ‘film-song’ type poem. He wrote “Ae Vaad e Sabaa Ithlaati Na Aa, Mera Gumcha e Dil To Sookh Gaya”. Ah yes, the curriculum in school and college included Urdu as the second language, and the scholar cum poet was also very familiar with the adab and the intricacies of this language.

On reaching Bombay, an immediate meeting was arranged with Devika Rani. On 17th February, he signed a four year contract with the company, as the resident poet cum lyricist. The film ‘Hamaari Baat’ (1943) was on the studio floors, and Narendra shared the piece he had written in the train. Anil Biswas, the resident music director, liked it so much that he immediately agreed to take it on as one of the songs in the film.
[Ed Note: The GK listing shows this song as written by Wali Sahab. The reference details mentioned above are from the chapter on Pt Narendra Sharma from the book “Hindi Filmon Ke Geetkaar’, authored by Sh. Anil Bhargav of Jaipur.]

Narendra wrote many more songs for this film, to be sung by Suraiya, Parul Ghosh and others, including the song “Baadal Dal Sa Nikal Chala Hai” sung by the music director Anil Biswas himself. Continuing at Bombay Talkies till 1947, he wrote the songs for ‘Chaar Aankhen’ (1944), ‘Jwaar Bhaata’ (1944), and ‘Pratima’ (1945). Interesting to note that he has not written any song for the Bombay Talkies film ‘Milan’ in 1946.

In 1947, once he was free from the company contract, he continued his work as a creative writer, and independently writing songs for films. His very first outing outside of Bombay Talkies is with V Shantaram’s Rajkamal Kala Mandir, for the film ‘Matwaala Shair Ramjoshi’ (1947). The list of songs he wrote for this film are impressive pieces of creative poetry,

  • Sundari Naar Sukumaar Khol Dil Dwaar…
  • Thaath Baat Se Math Mein Baitha…
  • Hey Ruk Kahaan Chali O Chandravadan…
  • Yamuna Tat Par Khelen Hori..
  • Son Bhanwar Ud Jaayega…
  • Dhoop Chhaon Ke Khel-Khel Mein…
  • Maal Gale Mein Daali Hai…

In 1953, he joined Aakaashvaani at Bombay, and was instrumental in the setup of the Vividh Bharti national service. The names of certain remarkable programs like ‘Chhaya Geet’, ‘Chitrahaar’, and ‘Hawa Mahal’ were given by him. He moved to the Delhi station in 1961, and then back to the Bombay station in 1966. His association with films continued over the years, although maybe not as prolific as in the 1940s and 50s. However, we continued to receive many an iconic songs from his pen. I would mention a few more – “Tum Aasha Viswaas Hamaare” (from ‘Subah’, 1982), “Kyon Pyaala Chhalakta Hai” and “Hum Chaahen Ya Na Chaahen” (from ‘Phir Bhi’, 1971).

Films were always his second preoccupation. Pt Narendra Sharma has been a mainstream poet and author in Hindi literature. Over the years, he has published 12 collections of poetry, 10 novels, and an equal number of other books. He holds a very eminent position amongst the Hindi literati in the twentieth century. In 1982, when the Asian Games were held in Delhi, he wrote the welcome song “Ath Swaagatam, Shubh Swaagatam” for the opening ceremonies.

I have picked today’s song from one of his earliest films after the stint with Bombay Talkies. With this song, the 1949 film ‘Sati Ahilya’ makes a debut on our blog. The film was produced under the banner of Kamla Chitra, Bombay and was directed by Vasant Painter. There are seven songs listed for this film. All songs are penned by Pt Narendra Sharma, and the music is composed by VG Bhatkar. Regulars will recall from previous discussions – VG Bhatkar is the same person as Snehal Bhatkar.

The name of the singer is not mentioned. On the record, the name mentioned is Menaka, but to me it sounds as one of the roles in the film, and not the name of a singer. There are other songs in the film that are sung by Kamla Kotnis. I request our more knowledgable readers to please help to identify this singing voice.

This song belongs to the ‘coming of age’ genre. As I mentioned in the beginning of this article, the poetic composition and the use of alankars is simply superb. Listen to this oh so imaginatively crafted song, from almost seven decades ago. Enjoy.

 

Song – Ali Jhoom Jhoom Aayi Bela Yauwan Ki  (Sati Ahilya) (1949) Singer – [Unattributed], Lyrics – Pt Narendra Sharma, MD – VG Bhatkar (aka Snehal Bhatkar)

 

Lyrics

ali jhoom jhoom aayi bela
yauwan ki
ali jhoom jhoom aayi bela
yauwan ki
gun gun gun gunjan dhun goonje
bhanwaran ki
ali jhoom jhoom aayi bela
yauwan ki
ali jhoom jhoom aayi bela
yauwan ki

tum dekho ji
main naval kali
tum dekho ji
main naval kali
khulte hi palak main gayi chhali
khulte hi palak main gayi chhali
bahey gandh andh madhu mand pavan
upvan ki
ali jhoom jhoom aayi bela
yauwan ki
ali jhoom jhoom aayi bela
yauwan ki

mere mann mein aag
tan ang raag
mere mann mein aag
tan ang raag
pag pag par jharta hai paraag
pag pag par jharta hai paraag
nikhri tarunaai arunaai
kan kan ki
ali jhoom jhoom aayi bela
yauwan ki
ali jhoom jhoom aayi bela
yauwan ki

mere vikal pran
dekho sujaan
mere vikal pran
dekho sujaan
main madan baan
sehti ajaan
main madan baan
sehti ajaan
kyon sisak sisak gaaun gaahta
khatkan ki
ali jhoom jhoom aayi bela
yauwan ki
ali jhoom jhoom aayi bela
yauwan ki
ali jhoom jhoom aayi..ee..ee

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
अली झूम झूम आई बेला
यौवन की
अली झूम झूम आई बेला
यौवन की
गुन गुन गुन गुंजन धुन गूँजे
भंवरन की
अली झूम झूम आई बेला
यौवन की
अली झूम झूम आई बेला
यौवन की

तुम देखो जी
मैं नवल कली
तुम देखो जी
मैं नवल कली
खुलते ही पालक मैं छली गई
खुलते ही पालक मैं छली गई
बहे गंध अंध मधु मंद पवन
उपवन की
अली झूम झूम आई बेला
यौवन की
अली झूम झूम आई बेला
यौवन की

मेरे मन में आग
तन अंग राग
मेरे मन में आग
तन अंग राग
पग पग पर झरता है पराग
पग पग पर झरता है पराग
निखरी तरुणाई अरुणिया
कण कण की
अली झूम झूम आई बेला
यौवन की
अली झूम झूम आई बेला
यौवन की

मेरे विकल प्राण
देखो सुजान
मेरे विकल प्राण
देखो सुजान
मैं मदन बाण
सहती अजान
मैं मदन बाण
सहती अजान
क्यों सिसक सिसक गाउँ गाथा
खटकन की
अली झूम झूम आई बेला
यौवन की
अली झूम झूम आई बेला
यौवन की


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 : 3465 Post No. : 13907

I was vaguely aware that today (12 january 2018) was an anniversary of C Ramchandra. Subsequently, I came to know that it was no ordinary anniversary. It was the birth centenary of C Ramchandra (12 january 1918- 5 january 1982).

It goes without saying that C Ramchandra was one of the many pioneers of HFM who helped add considerably to the cause of HFM.

For someone who is known as a music director among music lovers, C Ramchandra did not start his career that way. His film career began as a lead actor in “Naganand”(1935). After a few stints as an actor, he turned a music director-and that too in a Tamil film !

He became a music director in Hindi movies with “Sukhi Jeewan” (1942).

C Ramchandra kept working as a music director as well as a singer for some time before he made it big in the second half of 1940s. He was a leading music director of Hindi movies for nearly one year before he found himself relegated to the background.

During his career as a music director C Ramchandra worked in 111 Hindi movies where he composed 907 songs. This blog has 484 of his compositions, which adds up to more than 53 % of all C Ramchandra compositions in Hindi movies.

As many as 30 of these movies have already been YIPPEED in the blog.

Today is an ideal day to showcase a rare C Ramchaandra composition which also happens to the the final song of the movie. The movie under question is “Sangeeta”(1950). The movie had ten songs in it and the song under dicussion is the tenth and final song from the movie.

This song is sung by C Ramchandra and Snehal Bhatkar. It must be one of very few occasions when two persons, better known as music directors rather than singers sang a duet !

P L Santoshi is the lyricist. Music is composed by C Ramchnadra, of course.

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

With this song, “Sangeeta”(1950) joins the list of movies that have all their songs covered in the blog.


Song-Arre jaise hukke ke dhuyen se…teri haay ke saath(Sangeeta)(1950) Singers-C Ramchandra, Snehal Bhatkar, Lyrics-P L Santoshi, MD-C Ramchandra

Lyrics

haaye
haaye
haaye
haaye
haaye

arre jaise hukke ke dhunye se
dhuaan mil jaaye
jaise chilam ke dhunye se dhuaan mil jaaye
haan aan aan aan aan aan aan
arre haaye
teri haaye ke saath niklegi meri bhi haaye
teri haaye ke saath niklegi meri bhi haaye
are haaye re haaye re haaye re haaye
teri haaye ke saath niklegi meri bhi haaye
are haaye re haaye re haaye re haaye re haay
teri haaye ke saath niklegi meri bhi haaye
are haaye re haaye re haaye re haaye re haay
teri haaye ke saath nikalegi meri bhi haaye

jahaan tumhaara bahe paseena
ham sab khoon baha den
are khoon ki nadiyaan bhi baha den
ishq mein marke majnu aur farhaad ka naam mita den
ha unka bhi nam ek dam dho daalenge yaar
agar hame bhi koi laila aur shirin mil jaaye
are haaye re haaye re haaye re haaye re haay
teri haaye ke saath niklegi meri bhi haaye
teri haaye ke saath niklegi meri bhi haaye
are haaye re haaye re haaye re haaye
teri haaye ke saath niklegi meri bhi haaye
are haaye re haaye re haaye re haaye re haay
teri haaye ke saath niklegi meri bhi haaye

ek baar dil dekar dekho
uska dil na dukhaana
gale lagaao yaar
uska dil mat dukhao
soch samajh kar chalna hero
bahut bura hai zamaana
bahut bura hai
ek dum
kahin jaal mein phansi chiraiya
furr se na ud jaaye
are haaye re haaye re haaye re haaye re haay
teri haaye ke saath niklegi meri bhi haaye
teri haaye ke saath niklegi meri bhi haaye
are haaye re haaye re haaye re haaye
teri haaye ke saath niklegi meri bhi haaye
are haaye re haaye re haaye re haaye re haay
teri haaye ke saath niklegi meri bhi haaye


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.

“Nand Kishore”(1951) was produced and Vasant Joglekar for M & T Films, Bombay. The movie had Mahipal, Nalini Jaiwant, Durga Khote, Sumati Gupte, Sulochana, Sadhana Bose, Lalita Pawar, Baburao Pendharkar, Rajan, Navin Yagnik, Vasant Thengdi, Master Chhotu, Dinanath Takalkar, Chittaranjan Kolhatkar, Angre, Madhu Apte, Ramesh desai, Surendra Kumar etc in it.

This mythological movie, obviously about Lord Krishna, had nine songs in it.

Two songs from this movie has been covered in the blog in the past. Here is the third song from “Nand Kishore”(1951) to appear in the blog. This song is sung by Lata. Pt Narendra Sharma is the lyricist. Music is composed by Snehal Bhatkar.

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


Song-Raadha ke man ki muralika pukaari (Nand Kishore)(1951) Singer-Lata, Lyrics-Narendra Sharma, MD-Shehal Bhatkar

Lyrics

raadha ke man ki muralika pukaari
muraari muraari muraari
muraari
raadha ke man ki muralika pukaari
muraari muraari muraari
muraari

kaanha kaanha pukaaroon
main ban mein
main ban mein
kaanha kaanha pukaaroon
main ban mein
main ban mein
kaanha kaanha uthhe goonj man mein
sune bin madhur taan muskaan khoi
sune bin madhur taan muskaan khoi
daras bin huye hain ye naina dukhaari
muraari muraari muraari
muraari
raadha ke man ki muralika pukaari
muraari muraari muraari
muraari

aaja aaja
o o murli ke raaja aaja
aaja aaja
o o murli ke raaja aaja
aaja aaja muralika suna ja
aaja aaja muralika suna ja
mere man ke mandir ka tu devta hai
mere man ke mandir ka tu devta hai
bane hain mere nain tere pujaari
muraari muraari muraari
muraari
raadha ke man ki muralika pukaari
muraari muraari muraari
muraari


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.

Greetings to all readers and friends. A very Happy Diwali 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.

“Nand Kishore”(1951) was produced and Vasant Joglekar for M & T Films, Bombay. The movie had Mahipal, Nalini Jaiwant, Durga Khote, Sumati Gupte, Sulochana, Sadhana Bose, Lalita Pawar, Baburao Pendharkar, Rajan, Navin Yagnik, Vasant Thengdi, Master Chhotu, Dinanath Takalkar, Chittaranjan Kolhatkar, Angre, Madhu Apte, Ramesh desai, Surendra Kumar 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.

“Jaldeep”(1956) was produced by Mahendranath and directed by Kidar Sharma for Children’s Film Society. This movie had Ashok Kumar, Preetibala, Dubey, Chandan, Mala Sinha, Achla Sachdev etc in it.
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.

Today, February 21st 2017 is the 26th Remembrance Day ( I, feel it is better to call it Remembrance Day than calling it death anniversary) of Nutan, one of my favourite actresses. The first film of her which I saw in a theatre was ‘Milan’ in 1967. Thereafter, I had watched her black & white films when they were telecast on Doordarshan sometime in the early 80s. I am sure, many readers would agree with me that Nutan, through her intense acting, made us to ponder over the some of the social issues raised in films like ‘Seema’ (1955), ‘Sujaata’ (1959), Bandini’ (1963), ‘Saraswatichandra’ (1968) etc.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has exactly 14800 song posts by now.

This blog is active and online for over 3800 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14800

Number of movies covered in the blog

Movies with all their songs covered =1155
Total Number of movies covered =4046

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