Rajinder Krishan Song of the Week (RKSOW) Week #5 Hamse aaya na gaya
Rajinder Krishan, Madan Mohan and Talat Mahmood
In the last song and elsewhere many times before, I have mentioned that the most memorable songs of Lata Mangeshkar were composed by her bhaiya Madan Mohan. These were penned either by Raja Mehdi Ali Khan or by Rajinder Krishan.
Of course, Rajinder Krishan has many such Lata songs; eg, Youn hasaraton ke daag, Unako ye shikayat hai and Tumhi mere mandir tumhi meri pooja.
In my Rajinder Krishan Song of the Week (RKSOW) I also introduced you to his male songs; eg, Phir wohi shaam wohi gham wohi tanhayi hai with Madan Mohan.
That was from Jahan Ara. This is from a farcical comedy: Dekh Kabira Roya, a 1957 Amiya Chakravarty movie.
Just like the Jahan Ara songs, this too was sung by Talat Mahmood.
Lyrics
There is this quality in Rajinder Krishan’s lyrics which is like trying to touch the winds. There is that hole-in-the-heart called ruefulness. The best part is that he and Madan Mohan used this song in a farcical comedy.
Lets examine the lyrics:
Hamse aayaa na gaya tumse bulaya naa gaya
Faaslaa pyaar me dono se mitaaya naa gaya
Vo ghadi yaad hai jab tumse mulaqaat hui
Ek ishaara hua do haath badhe baat hui
Dekhate dekhate din dhal gaya aur raat hui
Vo samaa aaj talak dil se bhulaya naa gaya
Hamse aya na gaya
Kya khabar thi ke mile hain to bichhadne ke liye
Kismate apni banayi hain bigadne ke liye
Pyaar kaa baag basaya tha ujadne ke liye
Is tarah ujda ke phir hamse basaya naa gaya
Hamse aya na gaya
Yad rah jaati hai aur waqt guzar jata hai
Phul khilata hai magar khil ke bikhar jata hai
Sab chale jate hain phir dard e jigar aata hai
Daag jo tune diya dil ne mitaya na gaya
Hamae aya na gaya
Raag Bageshri Tal Dadra
Bageshri is well suited for both ras or shringar: Virah and Karuna. Shankar Jaikishan used Karuna in one of my favourites in this raag: Jao jao Nand le lala tun jhoote. Madan Mohan used both here.
The Tal is the same as that for the last song, Dadra: Lag ja gale and you can feel the symmetry of the Tal.
The song is picturised on the middle brother of the trio: Anoop Kumar; the elder being Ashok Kumar and younger being Kishore Kumar (they were together in another comedy: Chalti Ka Naam Gaadi). He is singing it to Shobha Khote. He was Mohan in the movie and she was Kalpana.
My Own Poetry
It is called:
…JI KAR TO MIL NA PAAYE
ज़िन्दगी गुज़र गई पर हम मिल नहीं पाए,
जहां मौजूद थे वहां से हिल नहीं पाए।
अब कौन भरेगा ग़म – ए – जुदाई के यह दाग़?
दिलों के ज़ख्म अभी तक तो सिल नहीं पाए।
कैसे कहें किसी से क्यूं मुलाक़ात नहीं होती?
वह सबके साथ है पर मेरे साथ नहीं होती।
बादल उमड़ते हैं, बिजली भी चमकती है,
बस दिल में हमारे बरसात नहीं होती।
दो जिस्म और रूह को तड़पाना नहीं अच्छा,
अलग अलग रास्तों पे चलते जाना नहीं अच्छा।
मंज़िल तो एक है उसका तो कर ख्याल,
राह में जलते दियों को बुझाना नहीं अच्छा।
हमें भी तो उसी खुदा ने बनाया होगा,
एक दूजे को प्यार करना उसी ने सिखाया होगा।
फिर मिलने पे इतनी पाबंदी है क्यूं कर,
कौन है वह जो इसे समझ पाया होगा?
गर न मिले तो रूह रहेगी भटकती,
बादल गरजेंगे बिजली रहेगी चमकती,
जाम उछलेंगे पर प्यास बनी रहेगी,
जैसे दरिया में मछली एक बूंद को तरसती।
Day before yesterday, I received a mail that my blog (for the fifth year in succession) has been chosen to be in the Directory of Best Indian Blogs. Sunbyanyname continues to be guided by the Sun. (Picture above shows the Corona that was witnessed in the Sun Eclipse in 2017).
मरने के लिए आज़ाद थे हम,
अब कैद में हैं जीने के लिए।
मुद्दत हो गई सुने उनके कदम,
एक दर्द हैं हम सीने में लिए।
घूमते हैं सिर्फ तस्सवुर के सहारे,
और तो आना जाना हुआ है बन्द।
जैसे कोई बैठा हो सागर के किनारे,
कश्ती में छुपाए अरमान चंद।
लगता है रात है बहुत संगीन,
उम्मीदों का सूरज दूर है अभी।
दिन तो फ़िर भी आएगा रंगीन,
खुदा भी गर मजबूर है अभी।
खामोश हसरतों का दिल न टूटे,
ज़िन्दगी से ज़्यादा सुहाने हैं ख्वाब।
तगाफुल से गर यह कभी रूठे,
यकीनन तब समझो ज़िन्दगी है ख़राब।
पंख लगा कर उड़ सकता है,
ख्यालात जिस के हों आज़ाद।
खुशियों का नाता जुड़ सकता है,
दिल की दुनिया गर की हो आबाद।
Belatedly (before that I couldn’t be spared), I had been sent to the DSSC or Defence Services Staff College in Wellington (Nilgiris) in the year 1990-91 to qualify as a Staff Officer, if anyone needed me.
One of the most important things that you learn during the Staff Course is Appreciation. The process involves looking at the Situation, considering its various Factors and then arriving at likely Courses of Action for the Enemy and then coming up with Own Courses of Action to best counter the enemy.
After the Staff Course, I was appointed to Warship Work-up Organisation (WWO) in Vizag.
One Sunday, Lyn, my wife, asked me to fetch fresh vegetables from Scindia market whilst she was busy cleaning up the house and washing clothes.
I told her that I would as soon as I finished with newly learnt Appreciation about how to go about getting the vegetables.
“What’s there to Appreciate?” She asked me, “All that you have to do is to put down your crossword, put on your foot – wear, start the car and go.”
I told her that one thing that DSSC had taught me was that life’s situations are not as easy as they initially looked and that after a proper Appreciation I would come across best course of action and then make an action plan.
She gave me that look that only she could. Meanwhile, I was applying Principles of War to all available Factors including Flexibility and Surprise.
After sometime I heard the front door bang and decided that she had chosen my best course of action, that is, to go to Scindia market herself to fetch the vegetables.
That enabled me to solve the last clue of the Crossword: India’s ace spinner (7, 6). After unsuccessfully trying Bishen Singh Bedi, Prasanna and Chandrashekhar, it turned out to be Mahatma Gandhi!
However, there was total silence at home. Surely, she could have returned long time ago with the vegetables. And where were Arjun and Arun?
Another fifteen minutes and then I got up since I couldn’t take it anymore. There was no lunch at the dining table. There was only a note that read, “If you have finished your Appreciation and feeling hungry, please join us at the club. Since you didn’t get the vegetables we can all have lunch there.”
And to think that Staff College teaches you that you can apply Appreciation and Principles of War to every situation.
P.S. Those of you who are from Chennai can confirm to me if the girls of Holy Angels are also taught Appreciation and Principles of War because it was she who gave me: Surprise! She had accurately predicted Enemy Course of Action and chosen the best suited for her!
P.P.S. Very soon we had a bonfire when I burnt my Staff College dockets for being impractical!
Adverse situations bring out the best in me. The last time when I was in the hospital seriously ill, I came out with one of my most popular humorous articles: ‘Sleep And I – Lovers Once Strangers Now‘.
Likewise, I had the only surgery of my life performed on 12 May (except for an excision biopsy performed forty-one years ago). It was an open surgery and not a laparoscopic one. I was given a spinal anaesthesia whilst the doc and his assistant operated on my inguinal region.
The docs at the Apollo Hospital had told me it was “a semi-emergency”. However, they had refused to perform it saying that surgeries were not open to ECHS (defence) patients. Hence, I had to fall back on good old friends in the oldest hospital in Mumbai: INHS Asvini. When Kokilaben Hospital was inaugurated by the PM Narendra Modi, they erroneously ascribed to themselves the title of “the oldest hospital in Mumbai”. INHS Asvini is older by more than 150 years.
So, there I was, wheeled into the operation theater and a spinal anaesthesia given to me so that the inguinal region and region below it became numb for pain.
In order to make it easier to pass time I was chatting with the anaesthetist at my head, a Keralite. It was about ninety minutes of surgery and when we came to near the end of the operation, I mentioned to him how beautiful Kerala is.
At this, the treating doctor’s assistant (a Tamil) told me jovially, “Sir, you may like to decide what is more beautiful: Kerala or Tamilnadu before I suture you up.”
My anaesthesia got worn out by that time and I saw the beauty of Tamilnadu in a new light.
The suturing up was completed happily after that! Fresh Local anaesthesia was given but even the anaesthetist agreed with me I had made the right choice!
The doctor’s assistant had given a new meaning to the phrase: ‘Beauty is but skin deep.’ My skin was made intact again and I saw beauty where I had failed to notice it earlier.
Looking back, I can’t even imagine my wife Lyn (short for Marilyn) did this. (Please read: ‘Lyn And I – Scene By Scene‘)
Mohan Ram Sir would vouch for it that his country cousin is as pious and innocent as they come. She is as far from being cunning and extra smart as Coimbatore is from Chicago.
l left her in the Kotah House Mess in New Delhi when I went on deputation to Spain. I told her that we appeared to be near the top of accommodation roster and she won’t have to suffer the Kotah House outhouse (initially meant for Raja of Kotah’s domestic staff) too long as we would be allotted a house soon.
“How soon?” She asked me before I boarded the Air India flight to Madrid.
“Latest by a month” I told her confidently.
She waited for a month and still no accommodation.
She put Arjun (not yet four years) and Arun (not yet two years) in an auto rickshaw with her and went to see the CAO (Chief Administrative Officer) of the rank of Major General or Joint Secretary.
After checking up, he confirmed that I was indeed on top of the roster and would be allotted a house as soon as it fell vacant.
Sounds like a reasonable response? Well, not to Lyn since in the last four weeks, on phone, she was given the same excuse again and again.
“Alright, Sir”, she told the General, “We can wait. But, since we are on the road, perhaps we can stay in your office until then.”
The Maj Gen looked up and saw Arun had already gone to sleep on his sofa and Arjun was actively converting all available papers in vicinity into planes and boats.
He shuddered at the thought of Ravi family converting his office into their home.
To cut a long story short, by evening the three of them shifted into A – type accommodation overseen by Maj Gen’s personal representative. Amongst other things he had given instructions to attend to small and big defects lest she should take another auto-rickshaw to visit his office.
However, in life there are other means of communications that are even more important than words:
Love.
Silence.
Aansu, especially when Love and Silence need to be supplemented.
Hasrat Jaipuri and Aansu
Just like the litmus test for a heroine in Hindi movies was and probably is that she should have done the role of a courtesan (the best actresses did that: Vyjayanthimala, Madhubala, Rekha, Suchitra Sen, Meena Kumari and even Hema Malini), the litmus test of a lyricist was the Aansu song. Each one wanted his (rarely her) Aansu song to become memorable.
Hasrat Jaipuri came up with two really memorable Aansu songs: Aansu bhari hain ye jeevan ki raahen and this one. I have preferred the second one as he raised Aansu to being the language of his heart (Dil ki zubaan) and indeed the mirror of his heart.
Raj Kapoor enacting Aansu bhari hain
And, to give credit to this great poet and lyricist, he used – hold your breath – the expression Dil ki zubaan not for a female (as most lyricists used) but for a man: Rajendra Kumar. He actually sheds this liquid during the song! Words are words but Love, Silence and Aansu are even more precious.
Indeed, as portrayed by Hasrat ji, the song itself is an expression of his sorrow (Ye nagma mere gham ka bayan hai)!
Sulagte Aansu
One would think that Aansu, being liquid, would quench the fire. Nay, it is totally other way round. And hence, most poets and lyricists have easily used the word ‘Sulagte‘ with Aansu.
Majrooh used it in the Tukade hain mere dil ke Ai yaar tere aansu (Ai jaan ye sulagta gham de de meri aankhon ko). Hasrat used it here: Aankh se tapki jo chingari … ye jeevan jaise sulagta toofaan hai.
Here is my own titled:
Sulagte Aansu
वो लौटा रहें हैं मेरा सामान,
और जला रहे हैं सब कुछ,
मेरी आरज़ू है सितमगर
मेरे अश्क भी जला दें I
ताके दिल के समुन्दर में
वो तूफ़ान फिर ना उभरे;
जो मरहले खड़े थे
उन्हें ठोकर से मिटा दें I
काश हम ना होते वो ना होते,
और ये आरज़ू ना होती,
तेरी आँखों में जो सरूर था
वो सरूर भी हटा दें I
मैं भूल गया हूँ सब कुछ,
तेरे प्यार की नज़र में
मेरी कौन सी है मंजिल
मुझे कुछ तो अब पता दें I
अब दिल न हो, प्यार ना हो,
और ना रहे उनकी यादें,
कोई उनसे जाके कह दे,
मेरी हस्ती ही मिटा देंI
Shankar Jaikishan
In the good old days, when we used to listen to songs on the Radio, these used to be introduced as, for example:
“Geet ke bol likhe hain Hasrat Jaipuri ne, unhen sangeet se sajaya hai Shankar Jaikishan ne aur geetkaar hain Mohammad Rafi.”
Adornment of music makes the lyrics come alive and add to their meaning. You have to give it to S-J, as always that their composition and music help you complete the picture of the protagonist’s emotions, in this case Rajendra Kumar. No one could have done a better job.
Please Enjoy:
Ye aansu mere dil ki zubaan hain.. (All over the net I have found the lyrics showing a singular Hai rather than Hain. The latter, that is, Hain is the correct one as normally you use tears as plural)
Ye aansu mere dil ki zubaan hain
Main royun to ro dein aansu
Mai hans doon to hans de aansu
Ye aansu mere dil ki zubaan hain
Aankh se tapki jo chingari, har aansu me chhabi tumhari
Cheer ke mere dil ko dekho, bahate lahu me preet tumhari
Ye jeevan jaise sulaga toofaan hain
Ye aansu mere dil ki zubaan hain
Jeevan-path par jeevan sathi, sath chale ho munh na modo
Dard-o-gam ke dorahe par, mujhko tadapta youn na chhodo
Ye nagma mere gam ka bayaan hai
Ye aansu mere dil ki zubaan hain
I hoped you liked my choice of Hasrat Jaipuri Song of the Week #5.
Rajinder Krishan Song of the Week (RKSOW) Week#4 Na jhatko zulf se paani
Songs Describing the Beauty of Women
Shakeel Badayuni was the only lyricist who had a hat-trick of Filmfare Awards from 1961 to 63. The first two out of these three were songs describing the beauty of women; viz, Chaudhvinh ka chand ho (Guru Dutt describing the beauty of Waheeda Rehman) and Husnwale tera jawab nahin (Rajendra Kumar describing Asha Parekh’s beauty).
Shakeel – Ravi – Rafi’s Chaudhvinh ka chand ho in Raag Pahadi is widely accepted as the best ever song describing the beauty of a woman.
Of course, almost all lyricists of fame have covered themselves in glory with such songs.
And what have the women done whilst listening to such descriptions of their beauty being sung to them, more often than not in the voice of Mohammad Rafi? They have tried to give those looks ranging from shy fascination to quizzical amusement and in the process managed to look even more seductive and even coy.
Zulf as Beauty Symbol
Aankhen and Honth are of course of particular interest to the lyricists. These are as they exist around the world with any number of songs made on Eyes and Lips. Just one example of the popularity of Engelbert Humperdinck’s Spanish Eyes would tell you about the point I am making.
However, a typically and uniquely focus for Indian lyricsts has been Zulf or Zulfen. You can expect a Rajesh Khanna singing to Mumtaz at the height of his career: Ye reshmi zulfen, ye nargisi aankhen, inhen dekh kar jee rahe hain sabhi. Then there is Sanjeev Kumar singing to Indrani Mukherjee: Tumhari zulf ke saaye mein sham kar lunga. Another one sings to his lady love: Bikhra ke zulfen chaman mein na aana. The one who crossed all limits was the one who sang: Tu mere saamne hai, teri zulfen hain khuli….main bhala hosh mein kaise rahun.
(Sanjeev Kumar lip syncing to Indrani Mukherjee: Tumhari zuldf ke saaye mein)
Surely, people around the world must have been amused about Indian male’s fixation for Zulfen. Guys who are separated think of Zulfen as the first loss; eg, Teri zulfon se judayi to nahin maangi thi.
Rajinder Krishan and Ravi
In such a scenario, I think, Rajinder Krishan can be excused for letting the hero (Biswajeet) notice on the wet body of the heroine (Rajshree), of all the things, Zulf. Many around the world would say: “Hair today, gone tomorrow.” But, as far as Indians are concerned hair are here to stay forever and ever.
Ravi was one music director who learnt music by observation but managed to learn far better than those formally trained. What is more he even learnt Hindustani classical music and many of his songs are raaga based. This one is in Raag Pilu or Peelu, Tal Kaherava. Pilu is, as it is a raag of devotion and piety and if you look at the hero Biswajeet, you would notice that he is full of these two feelings and not seduction which would be the case, say, in Shammi Kapoor’s song Is rang badalti duniya mein insaan ki neeyat theek nahin (Hasrat – Shankar Jaikishan – Mohammad Rafi) or Joy Mukherjee singing to Asha Parekh: Aa ja re aa zara (Love In Tokyo).
Rajshree
Between the two; Biswajeet and Rajshree, she is the one who is using seduction by – as Somerset Maugham would say – looking at him with “practised innocence” all throughout.
She is the daughter of the celebrated film-maker V Shantaram from his second wife Jayshree whom V Shantaram married at the age of 40, after 20 years of his first marriage to a 12 years old Vimlabai who gave a traditional welcome to Jayshree after her husband married her. She, Vimlabai that is, drew the line only when her husband married for the third time Sandhya. Jayshree and Sandhya have acted in V Shantaram’s movies and sometimes together.
Rajshree is married to Greg Chapman in America three years after she toured America with Raj Kapoor for the shooting of his movie Around The World. Lucky for Biswajeet that Shehnai, the movie in which the present song featured was released in 1964 and much before Rajshree was jhatkaoing her Zulf for none of the Indians but an American.
Lyrics
I have always considered Rajinder Krishan as having extraordinary imagination. I have highlighted for you parts wherein he let his imagination seek expression:
Na jhatko zulf se paani ye moti phoot jayenge
Tumhara kuchc na bigdega magar dil toot jayenge
Na jhatko zulf se paani
Ye bheegi raat ye bheega badan ye husn ka aalam
Ye sab andaz mil kar do jahan ko loot jayenge
Na jhatko zulf se paani
Ye naazuk lab hain ya aapas me do lipti hui kaliyan
Zara inko alag kar do tarannum phoot jayenge
Na jhatko zulf se paani
Hamari jaan le lega ye neechi aankh ka jaadu
Chalo achha hua mar kar jahan se chhoot jayenge
Na jhatko zulf se paani
Mohammad Rafi
I regard Mohammad Rafi as the best singer in all genre’s of music. However, the passion with which he sang the songs describing the beauty of women leaves me stunned. And here and elsewhere he does so effortlessly. I am sure Rajshree would have got drenched not just in water.
Shehnai
This 1964 movie was produced and directed by SD Narang and is not based on a musical instrument or on the lifetime of a musician. On the other hand, the film is about n IAF pilot’s widow who goes through hardship and loneliness in order to fulfil her husband’s last wish to make her son an Air Force pilot. It is anybody’s guess as to why they named it Shehnai!
Our Dedication to a Lyricist who
Always Dived Deep to find Pearls
Rimjhim and Phuhare Again
When I gave you SSOW Week #3 song, I told you about Shailendra’s extraordinary skill at writing Barsaat songs. Barsaat was also the name of the 1949 movie for which he wrote the title song.
Every poet or lyricist has a favourite expression or phrase, which he/she uses again and again. Rimjhim and Phuhare appear to be the favourite of Shailendra. He used these in the 1960 Kala Bazaar song: Rimjhim ke taraane le ke aayi barsaat:
Bheege tan man pade ras ki phuhaar
Pyaar ka sandesa laayi barkha bahaar
He used it again in 1965 movie Guide song: Din dhal jaaye haay raat na jaay, viz:
Aisi rim-jhim aisi phuharen, aisi hee thee barsaat
Khud se juda aur jug se paraye, ham dono the saath
And in between was the 1963 Bimal Roy movie Bandini wherein in the captioned song, he used both Rim-jhim amd phuhaaren again. Have a look:
Ab ke baras bhej bhiya ko baabul
Saavan ne lijo bulaay re
Lautegi jab mere bachapan ki sakhiyaan
Dejo sandesha bhijaay re
Ab ke baras bhej bhaiya ko baabul
Ambuva tale phir se jhule padenge Rim-jhim padnegi phuharen
Lautegi phir tere aangan me baabul
Saavan ki thandi bahaaren
Chhalake nayan mora kasake re jiyara
Bachapan ki jab yaad aae re
Ab ke baras bhej bhaiya ko baabul
Bairan javaani ne chheene khilaune
Aur meri gudiya churaai
Baabul ki main tere naazon ki paali
Phir kyon hui main paraayi
Beete re yug koi chithiya na paati
Na koi naihar se aaye, re
Ab ke baras bhej bhaiya ko baabul
Saavan ne lijo bulaay re
Lautengi jab mere bachapan ki sakhiyaan
Dejo sadeshaa bhijaay re
Ab ke baras bhej bhiyako baabul
Bandini
Four and a half years ago, I wrote an article titled: ‘Bengal Based Hindi Movies From Anuradha To Piku‘ and brought out how most of these are based on the emotions and conditions of female protagonists.
The image of a Bengali woman in Bengal based movies is her sacrificing her interests in favour of her man.
Bimal Roy‘s handling of the theme and not just the name Bandini (Imprisoned or In Bondage) has been handled with great sensitivity. Nutan as Kalyani is in prison for most part of the movie due to a murder she committed (more by accident than design). She longs of freedom because she is young and has dreams of her own. However, in the end she herself chooses bondage over freedom offered to her as two choices: Dharmendra as the kind hearted jail-doctor: Deven who cares for her and Ashok Kumar as freedom-fighter (master stroke by Nabendu Ghosh who wrote the screenplay) Bikash who leaves her in the village pining for him but never returns back. In the end, like I said, because of a chance meeting at a railway station, she chooses to be Bandini to Ashok Kumar as the notes of another Shailendra song play: Mere saajan hain us paar.
The conclusion that we draw in the end is that a woman would always be Bandini: if not in physical jail but in the jail of her mind and thoughts.
Role of Songs
Whilst movies have songs that are plain decorative (such as the title song of my Facebook group Yaad Kiya Dil Ne), I am in love with songs that carry a story forward and tell of the emotions of the protagonist.
One of the master-strokes of this film-maker Bimal Roy is that he doesn’t tell of Nutan’s emotions in a direct song by her. He chooses another ordinary prisoner busy grinding wheat and singing this song. By this he conveys to us that although Bandini is the story of the protagonist Nutan as Kalyani, it would be the story of many other women. Absolute class.
And that is where Shailendra came in. This is the movie in which SD Burman had such a serious tiff that Sachin da and was forced to bring in another lyricist: Sampooran Singh Kalra or Gulzar. And yet, look at how well Shailendra delivered:
He chose the theme of the Bandini dreaming of naihar (parent’s place), her brother, her childhood, dolls etc, Quite simply the first three words: Ab ke baras fill us with a poignancy that we cannot get out of; he is talking of life-imprisonment for serious crime such as murder.
Lets just look at the following lines:
Bairan javaani ne chheene khilaune
Aur meri gudiya churaai
Baabul ki main tere naazon ki paali
Phir kyon hui main paraayi
Beete re yug koi chithiya na paati
Na koi naihar se aaye, re
Lets look at it on two planes: One is that she is married off and the parents just forget her because she is praayi now and the other is that she is in jail and they disown her! Shailendra was one of the greatest lyricists. I wonder if an ordinary lyricist (such as the ones associated with, say, Bappi Lahiri) would have gone this deep.
Nutan
The role of Kalyani was offered to Vyjayanthimala who had already done two movies with Bimal Roy: Devdas and Madhumati. She was busy and hence the role went to Nutan who then gave the performance of her life and walked away with the Best Actress Award.
Raag and Tal
Raag Pilu or Peelu in which this song was composed by SD Burman had been the favourite raag of OP Nayyar. Many delightful songs had been composed by OPN in this raag such as Piya O piya na laage mora jiya. However, here, Sachin da chose a poignant and melancholic song in the same raag. Dipchandi or Moghali was the Tal.
Please enjoy: Ab ke baras bhej bhaiya ko baabul…
I hope you liked my choice for the Shailendra Song of the Week #4.
These posts are reproduction and compilation of my daily posts (three in a day) on my Facebook Page called Lyrical since I have held Lyrics as my favourite part of the song.
So far, on Lyrical, I have taken up ten lyricists of great fame (not in any particular order or ranking):
1. Shailendra. The opening song that I selected was Kuchh aur zamaana kehta hai.
2. Rajinder Krishan with his Mujhase mat poochh mere ishq mein.
3. Kaifi Azmi with his Jaane kyaa dhoondati rehati hain ye aankhen mujh mein.
4. Sahir Ludhianvi with Aurat ne janam diya mardon ko.
5. Majrooh Sultanpuri with Teri aankhon ke siwa duniya mein rakha kyaa hai.
6. Jaan Nisar Akhtar with his Mujhape ilzaam-e-bewafai hai.
7. Hasrat Jaipuri with his Aansu bhari hain ye jeevan ki raahen.
8. Qamar Jalalabadi with his Ai meri zindagi tujhe dhoondun kahan.
9. Raja Mehdi Ali Khan with his Mera sundar sapna toot gaya.
10. Indeevar with his Bade armaan se rakha hai balam.
Tonight we take up the eleventh lyricist DN Madhok’s creation. Dina Nath Madhok, as most of you would be aware, is from the trio called ‘first generation of lyricists’ that also included Kavi Pradeep and Kidar Sharma.
He was born on 22 Oct 1902 in Gujranwala (now in Pakistan), nearly 14 years before Shakeel Badayuni. He arrived in Bombay in 1931 and in the very next year wrote lyrics for the songs of Radhey Shyam. He wrote – hold your breath – 29 songs for that film. He also helped in composing songs for the film but wasn’t given credit for it.
He was a very versatile personality. In the second year, after Radhey Shyam, he directed three movies, all with English names: Lure of Gold, Flame of Love and Three Warriors.
He continued directing movies, writing screen-plays, dialogues and lyrics; like Gulzar did many decades after him. He wrote lyrics for such movies as Nadi Kinare (1939), Musafir (1940), Pagal (1940), Ummeed (1941), Bansari (1943), Nurse (1943), Bela (1947), Bhakt Surdas (1942), and Tansen (1943).
Now here is something that would interest Shakeel Badayuni fans: Whilst Naushad Ali is credited with bringing Shakeel into the movies, DN Madhok was credited with bringing Naushad into the movies! Whilst Shakeel’s first lyrics were in Naushad’s film, the 1947 movie Dard, Naushad’s first song in the movies was on the lyrics of DN Madhok!
Day #1, Song #1 Man ka taar hila jaa more man ka taar hila jaa
The name of the 1940 movie was Prem Nagar that starred Prof Ramanand and Husna Banu (they sang for themselves). Here are the songs that Naushad composed in his first movie on the lyrics of DN Madhok:
1. Main Kali Baag Ki Tu Bhora Kaala
Husna Banu Naushad D N Madhok Husna Banu
2. Man Ke Taar Hila Jaa More Man Ke Taar
Prof. Ramanand Naushad D N Madhok Prof. Ramanand
3. Mat Bolo Bahaar Ki Batiyaan
Bimla Kumari, Prof. Ramanand Naushad D N Madhok
Bimla Kumari, Prof. Ramanand
4. Tum Bin Chain Na Aaye Sajni
Prof. Ramanand Naushad D N Madhok Prof. Ramanand
5. Ambua Pe Baitha Panchhi Kya Boli Bole
Prof. Ramanand, Husna Banu Naushad D N Madhok Prof. Ramanand, Husna Banu
Lets listen to the second song, if not for anything, but for the fact that Shakeel’s Mother India song: Nagri nagri dwaare dwaare had lyrics similar to it.
Please enjoy: Man ka taar hila jaa more man ka taar hila jaa….
man ke taar hila ja mere man ke taar hila ja
man ke ek taare par bande pritam pritam gaa le
man ke ek taare par bande pritam pritam gaa le
man ke taar baja kar murakh man ke taar baja kar murakh
jivan ka sukh pa le jivan ka sukh pa le
dag mag dole o more sajan dag mag dole o more sajan
naiya paar laga ja naiya paar laga ja
man ke taar hila ja mere man ke taar hila ja
nagri nagri dware dware jhum raha hai pritam pyare
koun nagriya ho more sajan koun nagriya ho more sajan
man ke taar hila ja mere man ke taar hila ja
man ke taar hila ja mere man ke taar hila ja
Day #1, Song #2
Is paap ki duniya se ab aur kahin le chal
We have just started with our 11th (not in any particular order or ranking) great lyricist: Dina Nath Madhok belonging to the trio of the first generation of lyricists in Hindi movies together with Kavi Pradeep and Kidar Sharma.
I always give you the first song as the song of my choice and then start chronologically.
Chronologically, his first movie as lyricist was 88 years ago, in the year 1932. The name of the movie was Radhey Shyam, directed by Anand Prasad Kapoor and Roshan Lal Shorey. It starred: Khurshid Begum, Sunita Devi, Mohan and Radha.
DN Madhok paired with Nawab Khan and made the following 29 songs (I couldn’t find one) for the movie:
1. Aaja Tu Mere Lal Tujhe God Khilaaun
2. Aao Gokul Kee Baar
3. Chatur Naar Bharmaya Maat Tohe
4. Chhalak Na Jaaye Gori Gagari
5. Chinta Na Karo Aayenge Yahi
6. Duniya Jhuti Duniya Khoti
7. Ghat Ghat Ratein Teen Lok
8. Hriday Me Thes Lagi Kaisi
9. Is Pyaari Booti Se Bhaiya Jo Prem Laga Lenge
10. Jai Yadav Raaye Om Jay Yaadav Raaye
11. Jamna Ke Neer Teer Gokul Ka Wasi
12. Jap Man Raadha Krishna Muraari
13. Jhoola Jhoolat Hai Nandlaal
14. Jhoola Jhulaaun Main Ban Ke Prem Bhikhari
15. Kaal Tero Gokul Me
16. Kaal Tero Gokul Mein
17. Kaise Guzaarun Ratiyan
18. Kaun Jogi Hue Kaanon Mein Munda
19. Kit Gaye Hain Baanke Bihaari
20. Kya Naam Hai Yah Pyaare
21. Loota Re Meraa Jaga Ke Joban
22. Main Nahi Samjhaa Mere Bhagwaan
23. Mero To Girdhar Gopal Dusra Na Koi
24. Naa Jaa Shyam Murari Sada Ji Dhadke
25. Naachat Hai Muralidhar Mohan
26. Om Om Sumaro Man Me Om Naam Pyaara
27. So Ja Tu Mere Jaaye
28. Sun Kuk Tihari Vishnu Ji
Okay, I solved the mystery of the missing song. At #16 and #17, I have given two songs staring with Kaal tero. Actually, there are three:
1. Kaal Tero Gokul Mein Nandlal Vruj bal kahaye.
2. Kaal Tero Gokul Mein paapi pootna maar mukaayi.
3. Kaal Tero Gokul Mein Vrindavan raas rachayen Gopi naar sang.
See, how I solved it. So there are actually 29 songs penned by him in his first movie Radhe Shyam.
None of the songs or lyrics are available.
He wrote ten songs for his next movie in 1933: Khubsurat Bala:
1. Aai Nainon Ki Bahaar
2. Baanke Gopal Laal Braj Ke Gopal Laal
3. He Govind He Gopal Tere Gun Gaoon
4. Humne Tumhein Pehchan Liya
5. Jag Ek Fasaana Kahaani Hai
6. Main To Preet Kiye Pachhtaai
7. Oh Baanke Chitvanwaali
8. Pyaasi Bilakh Rahi Barso Se
9. Us Mohini Ne Man Moh Liyaa
10. Zara Hamri Nagri Aaja Nainon Me
None are available.
His next movie for lyrics was in 1936: Jawalamukhi.
I couldn’t find any information.
His next movie in 1937 was Aladdin Aur Jadui Chirag. Yet another movie for which no information is available except to know that Navinchandra acted in it.
His next movie in 1937 Dilfarosh was directed by him and starred Ishwarlal and Malti.Banne Khan composed his following songs:
1. Saanch Kahoo Sajne Mere Baat Sune Koi, Yaar Bahoot Jag Mein Par Saath
2. Tope Sautan Ne Kaise Jaadu Kiye, Baire Sautan Ka Tu To Ho Liya
3. Bhar Gaye Jeb Musafir Chala Safar Pe Tann Ke Gaade Jode
4. Pardesi Ab Desh Sidhaaro, To Bin Kahoo Na Aaye Hai, Swagat Karo Mere
5. Aa Pardanashi Tujhko Main Aankhon Mein Bithaa Loo, Pardo Mein Chupaa
6. Baake Chitvan Teekhe Naina, Surat Bholi Bhale Hai, Naagan Kali
7. Mann Ka Musafir Chala Safar Pe Tann Ke Gaade Jode, Aatam Raam Chalaane
8. Saanch Kahoo Sajne
9. Duniya Ek Musafirkhana Koi Jaaye Aur Koi Aaye, Aatam Ram
None of these are available.
His next movie in 1937: Shama Parwana was again directed by him and starred Ishwarlal and Dixit.
He wrote the following songs for Banne Khan:
1. Phursat Kabhi Paaoge Bhi Shokhee Se Ada Se, Ye Chand Ke Tukade
2. Daman Mein Chupaa Le Prem Jyot Pagle, Kahe Bhujh Na Jaaye
3. Chande De Chandani Chande Kane, Mandaa Na Bolana Bhande Kane
4. Gokul Ke Gwaalan Aaye Hai Gokul Ke Gwaalan, Dudh Mein Dhuhoo
5. Khandge Naaz Pahloo Mein To Paikka Dil Mein Rahne Do, Sitam Ke Yaad
6. Mujhse Na Pooch Hale-Hale Andalee Bezaar, Kaliya Bhi Khoon Rotee Hai
7. Ab Rayin Bhaye Saajan Na Ja, Jaana Hai To Jaana Bhor Bhaye
8. Tassvar Mein Mere Kal Raat Hai Aur Yaar Ke Aankhen, Hiran Ke Masti
9.Nigaahe Naaz Bhare Vaye Vaye, Chale Aate Hai Pare Vaye Vaye
10. Shama Ke Baat Na Maane Kabhi Parwane Ne, Zindagi Phuk Ke Rakh De
Still none of the songs are available.
That brings us to the year 1938.
(Poster courtesy: Cinestaan)
Zamana was his first movie in 1938 and indeed the only one. It was a Ram Daryani movie starring Nazir and Padmadevi.
There were following ten songs of the movie composed by Sunder Das and penned by Deena Nath Madhok:
1. Saawan Ke Ruth Bhaaye Sajaniyaa, Saawan Ke Ruth Bhaaye Hai
2. Sote Mein Humse Milaa Hai Preetam Pyaara, Sune Sakhee Kaan Mein Pyaara
3. Kyon Neha Ho Lagaaye Kyon Jaan Jalaaye, Ye Dard Anokha Hai
4. Pheko Ye Chaay Todo Ye Choolha, Chande Ke Rasse Sone Ka Jhulaa
5. Mehandi Ke Hare Paat, Radharani Ke Mann Bhaaye
6. Aaj Hamare Pyaare Hum Sang Jhule, Jeevan Ke Dukh Bhoole
7. Honee Hai Balwaan Jagat Mein Honee Hai Balwaan, Chanchal Mann Aakash
8. Ye Dard Jara Dam Le, Karwat To Badlane De
9. More Aangana Mein Banse Bajaa Na, Tann Mann Ke Sudh Bisara Ja
10. Is Paap Ke Duniya Se Ab Aur Kahe Le Chal
We shall be taking two songs of the movie today.
(Pic courtesy: in.bookmyshow,com)
Lets take song #10 sung by Amirbai Karnataki (indeed, most of the songs were sung by her). She doesn’t need any introduction. However, it is worth recalling that she won the heart of Mahatma Gandhi with her rendition of Vaishnav jan to tene kahiye and it became his favourite hymn after that.
Please enjoy: Is paap ki duniya se ab aur kahin le chal…
Is paap ki duniya se
Ab aaj kahi le chal
Is paap ki duniya se
Ab aaj kahi le chal
Cheet chain jahaan paaye
Cheet chain jahaan paaye
Le chal tu wahin le chal
Is paap ki duniya se ab
Aaj kahi le chal
Logo ki jafaao se
Duniya ki nigaaho se
Logo ki jafaao se
Duniya ki nigaaho se
Aa door kahi le chal
Aa door kahi le chal
Ab aaj kahi le chal
Is paap ki duniya se
Ab aaj kahi le chal
Is paap ki duniya se
Ab aaj kahi le chal
Cheet chain jahaan paaye
Cheet chain jahaan paaye
Le chal tu wahin le chal
Is paap ki duniya se
Ab aaj kahi le chal
Is paap ki duniya se
Ab aaj kahi le chal.
Day #1, Song #3
Aye dard zara dam le
You would have noticed that after starting chronologically from his first movie in 1932: Radhe Shyam it has been tough going. Until the 1938 movie Zamana, his seventh one, except to find out the titles of songs and cast, I couldn’t find much information or to find sound tracks at least in audio.
Zamana was a movie directed by Nazir and Padmadevi and with Jeevan in another role. However, most of the sites (including IMDb) bring out that the lead cast of the movie was Jeevan and Padmadevi!
I noticed this fact long time back; if one site has got something wrong, all of them without exception, also get it wrong (the pitfalls of copy-paste). Very often the lyrics of songs are particularly the case in point.
We were fortunate that some of the songs of 1938 movie are available. I gave you a beautiful one sung by Amirbai Karnataki.
Here is another.
This too was sung by Amirbai Karnataki.
Please enjoy: Aye dard zara dam le…
Aye dard zara dam le
Karwat to badalne de
Aye dard zara dam le
Karwat to badalne de
Armaan bhare dil ko
Armaan bhare dil ko
Pahloo mein sambhalne de
Aye dard zara dam le
Karwat to badalne de
Dam le ke mere armaan
Aankho mein utar aaye
Dam le ke mere armaan
Aankho mein utar aaye
Ro kar hi mere dil ke
Ro kar hi mere dil ke
Armaan nikalne de
Aye dard zara dam le
Karwat to badalne de
Parwaane ke jalne se
Jalti hai tu kyun shamaa
Parwaane ke jalne se
Jalti hai tu kyun shamaa
Likhaa hai agarche hi
Likhaa hai agarche hi
Jaltaa hai to jalne de
Aye dard zara dam le
Karwat to badalne de
Aye dard.
Day #2, Song #4
Kyon prem ka baag lagaya
Now that I have given you two songs from the 1938 Ram Daryani movie Zamana starring Nazir and Padmadevi, you would have straightway noticed two things:
1. The quality of lyrics by Deena Nath Madhok and composition by Sunder Das Bhatia are rather good.
2. DN Madhok belonged to the first generation of lyricists in Hindi films industry together with Kavi Pradeep and Kidar Sharma. He is the one who simplified the lyrics so that in short lines these went straight to your heart.
I knew the going would be very tough because we were to deal with 1930s and information won’t be available. I have tried to dish out as much as I could.
By this time, other than the first song for the 1940 movie Prem Nagar after which we started chronologically, I found 68 songs of his seven movies and I could give you only two!
(Courtesy: Cinestaan)
His next movie in the year 1939 was Nadi Kinare, a Manubhai Vyas movie starring M Kumar and Indubala. DN Madhok and PL Santoshi penned the following 13 songs that were composed by Gyan Dutt:
1. Hum Jal Ke Pariyaa, Jal Main Hai Sansaar Hamara, Lahro Ke
2. Mere Mann Ke Been Bajaa, Been Bajaa, Kuch Ga, Sur Se Sur
3. Duniya Deewane, Duniya Deewane, Koi Kahe Hai Jigar
4. Woh Dil He Nahe Jismein Na Ho Chaah Kise Ke, Woh Aankh
5. Nadi Pukare Aao Sajan Nadi Kinare, Gode Mein Le Chand Ko
6. Saajan Nikle Chor, Meethe Meethe Kar Mose Batiyaa, Jiya Chrayo More
7. Mann Kyon Na Dhara Tune Dheer, Zaahir Kar De Kyon Deewane
8. Yaad Tere Aaye Hai, Kali Ghata Chaye Hai, Mere Sajanwaa Aa
9. Kyon Ye Khayaale-Yaar Hume Sataaye Hai, Beete Huye Ke Yaad
10. Aaraam Kaha Dil Jo Pada Gairo Ke Paale, Muflis Ko
11. Kyon Prem Ka Baag Lagaaya Pagle, Aasha Ke Sunder Phoolo Se
12. Toot Gaye Woh Taar Pyaare Toot Gaye
13. Banaau Chaah Masaaledaar
To start with lets take us Indubala singing song #11. She is the lead cast of the movie and hence singing for herself.
Please enjoy: Kyon prem ka baag lagaya…
kyo o o o o o on
prem kaa baag lagaaya
pagle ae ae
kyon prem kaa baag lagaaya
pagle ae ae
kyon prem kaa baag lagaaya
aasha ke sundar phoolon se
kyon toone sajaaya aa aa
aasha ke sundar phoolon se
kyon toone sajaayaa
kyon prem kaa baag lagaaya
pagle…..ae ae
jab tak a a maali
prem se seenche ae
tere ban ki ee kyaari
tab tak khili rahengi kaliyaan
phooli rahe ae ae phulwaa aa aari
pagle ae ae
jab wo maali chala jaayega
tera gulshan ujad jaayega
jab wo maali ee ee chala jaayega
tera gulshan ujad jaayega
phir hai ae arun (??)
aahen bharna
khoye huye prem pe parinda
khoya prem jagat mein pagle
kab hai kisne paaya
khoya prem jagat mein pagle
kab ha…i
kisne paaya
kyun un un ah
prem kaa…aa
baag
lagaa aa aaya
Day #2, Song #5
Duniya deewaani, duniya deewaani, koi kahe haaye jigar, koi kahe dil, koi kahe chori chori aa ke sajan mil
Today, we started taking up songs of the 1939 Manibhai Vyas movie Nadi Kinare starring M Kumar, Indubala, Sitara Devi.
A total of thirteen songs were penned by DN Madhok and PL Santoshi and composed by Gyan Dutt. We took up one sung by Indubala for herself: Kyon prem ka baag lagaya.
Now, here we have one sung by Sitara Devi and Kantilal.
Please enjoy: Duniya deewaani, duniya deewaani, koi kahe haaye jigar, koi kahe dil, koi kahe chori chori aa ke sajan mil..
Day #2, Song #6
Sajan nikle chor
Gyan Dutt (Pic courtesy: veethi.com)
We have taken two songs of the 1939 Manibhai Vyas movie Nadi Kinare. These songs were from a list of 13 songs written by Deena Nath Madhok and Pyarelal Santoshi and composed by Gyan Dutt.
Here is now a song sung by Gyan Dutt, Rajkumari and Indubala.
Please recall Rajkumari Dubey started singing even before Naushad made his debut in Hindi movies.
Hence, on the sets of Pakeezah, when Naushad saw her singing in a chorus because of the difficult times she was going through, he gave her a solo to sing in Pakeezah: Najariya ki maari.
Those were the hard days of Hindi movies. A class singer like Rajkumari Dubey didn’t have enough to make both ends meet. These days, there are playback singers who have just one hit song in their lives and they have enough to last a lifetime!
Please enjoy: Sajan nikle chor…
Day #3, Song #7
Dagaa de ke chale gaye
After starting from the year 1932 on first day (after the first post of 1940 movie Prem Nagar) with his first ever movie Radhey Shyam, we took up, on Day #2, three really delightful songs of 1939 (his seventh as lyricist) movie Nadi Kinare.
His next movie in 1940 was a Jayant Desai movie Aaj Ka Hindustan starring Prithviraj Kapoor, Rose, Sitara Devi, Ishwarlal, Noor Mohammad Charlie. Except for Prithviraj Kapoor, they all sang for themselves.
He wrote the following songs that were composed by Khemchand Prakash.
Ladies and gentlemen, you already know about Khemchand Prakash, composer of so many KL Saigal songs and rated as the best composer. He was also one of those in Hindi films who died young, at the age of 41 (on 10 Aug 1949), of Cirrhosis.
1. Dagaa De Ke Chale Gaye Ho Baalam Jamna Ke Pool Paar, Ghar Aaja
2. Hai Paape Jiya Naahi Maane, Naahi Maane Re, Peer Paraye Koi Na Jaane
3. Ye Pyaare Chahat, Ye Meethe Ulfat, Hamare Tumse, Tumhare Humse
4. Baala Joban Naahi Maane, Pade Na Mohe Chain Saiya, Sola Baras Dukh
5. Charakha Chalaao Bahno, Katho Ye Kache Dhaage, Dhaage Ye Kah Rahe Hai
6. Aaj Ban Than Ke Unko Rijaaunge, Kuch Kahenge To Main Ruth Jaaunge
7. Bhanwara Matlab Ko Pehchaane, Preet Karan Ke Reet Na Jaane, Pyaar Ke
8. Itnaa Dukh Sahne Pe Bhi Devi Mere Gambheer Hai, Main Sarapa Zulm Hoo
To start with lets enjoy Sitara Devi singing: Haay paapi jiya nahin maane… (Please listen to the long prelude lasting 48 seconds):
haye paapi jiya nahi maane
haye paapi jiya nahi maane
nahi maane re hay paapi jiya nahi maane
peer parayi koi na jane peer parayi koi na jane
paapi jiya nahi maane hay paapi jiya nahi maane
nahi maane re hay paapi jiya nahi maane
nahi maane re
dekho ji papiha bole dekho ji papiha bole
ambuaa pe hole hole
dekho ji papiha bole ambuaa pe hole hole
piya piya hoko bakhane piya piya hoko bakhane
papi jiya nahi mane haye papi jiya nahi mane
nahi maane re hay paapi jiya nahi maane re
nahi maane re
sine me huk uthi koyal bhi kuk uthi
haye dard bhre mere gaane
sine me huk uthi koyal bhi kuk uthi
haye dard bhre mere gaane
haye dard bhre mere gaane
mere gaane mere gaane
haye dard bhre mere gaane
haye paapi jiya nahi maane
haye paapi jiya nahi maane
nahi maane re hay paapi jiya nahi maane
Day #3, Song #8
We have just started taking up the songs of the 1949 Jayant Desai movie Aaj Ka Hindustan. Eight of Deena Nath Madhok’s songs were composed by Khemchand Prakash.
Sitara Devi: Actress, Singer and Kathak Dancer (Pic courtesy: amarujala.com)
The second and the last song from the movie that I am giving you was also sung by Sitara Devi but this time with Kantilal.
Please enjoy: Dagaa de ke chale gaye ho baalam…
dagaa de ke chale gaye ho baalam jamuna ke us paar
dagaa de ke chale gaye ho baalam jamuna ke us paar
ghar aaja nanad ke bhayiya ho ghar aaja nanad ke bhayiya
tere jhuthe bhaye ikrar ghar aaja nanad ke bhayiya
tere jhuthe bhaye ikrar tohe ram dohayi hoy
tohe ram dohayi hoy tohe ram dohayi
koi tikhi nazriya bataye re
koi tikhi nazriya bataye re
more sayiya ke potho magaye de
more sayiya ke potho magaye de
ho nanadiya ho nanadiya karo ikrar ha jmuna ke us paar
ho nanadiya karo ikrar ha jmuna ke us paar
tohe ram dohayi hoy tohe ram dohayi
dhan pake aur nimbua pake dhan pake aur nimbua pake
dekho sajnwa aage dekho sajnwa aage
bichhad gaye kheto ke duniya bichhad gaye kheto ke duniya
soutan ke dar jage balam soutan ke dar jage
aake balamuaa lo ye bakhar jamuna ke us paar
aake balamuaa lo ye bakhar jamuna ke us paar
tohe ram dohayi hoy tohe ram dohayi
ghar aaja nanad ke bhayiya ho ghar aaja nanad ke bhayiya
tere jhuthe bhaye ikrar ghar aaja nanad ke bhayiya
tere jhuthe bhaye ikrar tohe ram dohayi hoy
dagaa de ke chale gaye ho baalam jamuna ke us paar
dagaa de ke chale gaye ho baalam jamuna ke us paar
Day #3, Song #9
Ghar ghar deep jale ghar ghar shobha chhayi
We just took up two songs of the 1940 Jayant Desai movie Aaj Ka Hindustan. Coincidentally, the next movie in which DN Madhok’s songs featured was another 1940 Jayant Desai movie Diwali starring Madhuri, Motilal, Vasanti and Ishwarlal.
Following songs written by DN Madhok, PL Santoshi and Pandit Sudarshan (I couldn’t make out which song is whose) were composed by Khemchand Prakash:
1. Aaj tujhako ek nayi duniya dikhayun.
2. Barsaat chhidi hove aur chandni ho raaten.
3. Chale jaanewale chale jaa rahe hain.
4. Ghar ghar deep jale ghar ghar shobha chhayi.
5. Ha ha taare chamke panchhi gayen.
6. Hamko lagi hai tumse kuchh aisi lagan hai.
7. Jal deepak diwali aayi.
8. Kaale panchhi bawariya rona raag sunaye.
9. Kaise chikne hain paise fisalte huye.
10. Khushi mein phool uthe phool bahar aayi.
11. Kit gaye hamare sainyan ajahun na aaye.
12. Man khushi mana.
13. Mera chooran hai mastana.
14. Ye bade sahib ka topa hai ye mem sahib ka baaja.
We shall take up some songs tomorrow.
Tonight we shall take up one last song. This has a prelude even longer than the first one by Khemchand Prakash today: Haay paapi jiya nahin maane (49 secs). This prelude is 1 min 13 seconds!
Please enjoy: Ghar ghar deep jale ghar ghar shobha chhayi…
Day #4, Song #10
Hum ko lagi hai tumse
In the first three days, not counting the opening song from the 1940 movie Prem Nagar, the debut movie of Naushad, we finished with 103 delightful songs of Deena Nath Madhok from 10 movies.
We had taken up one of 14 songs of the 1940 movie Diwali composed beautifully by Khemchand Prakash.
Lets take the next one.
Please enjoy: Hum ko lagi hai tumse…
Humko lagi hai tumse
Humko lagi hai tumse
Humko lagi hai tumse
Kuchh aisi lagan haaye
Aavo to behal jaaye
Aavo to behal jaaye
Jaavo to jiyaa jaaye
Aaye bhi aur chale bhi
Aaye bhi aur chale bhi
Sadke chalaa-chali ke
Sadke chalaa-chali ke
Tum dillagi hi samjhe
Tum dillagi hi samjhe
Dil ki lagi ko haaye
Aavo to bahal jaaye
Aavo to bahal jaaye
Jaavo to jiyaa jaaye
Tum hum se ho pareshaan
Tum hum se ho pareshaan
Hum dil se hain pareshaan
Hum dil se hain pareshaan
Tum ko koi sataaye
Tum ko koi sataaye
Hum ko koi sataaye
Humko lagi hai tumse
Humko lagi hai tumse
Kuchh aisi lagan haaye
Aavo to bahal jaaye
Jaavo to jiyaa jaaye.
Humko lagi hai tumse
Humko lagi hai tumse
Kuchh aisi lagan haaye
Aavo to behal jaaye
Aavo to behal jaaye
Jaavo to jiyaa jaaye
Aaye bhi aur chale bhi
Aaye bhi aur chale bhi
Sadke chalaa-chali ke
Sadke chalaa-chali ke
Tum dillagi hi samjhe
Tum dillagi hi samjhe
Dil ki lagi ko haaye
Aavo to bahal jaaye
Aavo to bahal jaaye
Jaavo to jiyaa jaaye
Tum hum se ho pareshaan
Tum hum se ho pareshaan
Hum dil se hain pareshaan
Hum dil se hain pareshaan
Tum ko koi sataaye
Tum ko koi sataaye
Hum ko koi sataaye
Humko lagi hai tumse
Humko lagi hai tumse
Kuchh aisi lagan haaye
Aavo to bahal jaaye
Jaavo to jiyaa jaaye.
Day #4, Song #11
Kit gaye hamaare saiyaan ajahoon na aaye
Throughout the day I was listening to the beautiful songs of the 1940 Jayant Desai movie Diwali starring Motilal, Madhuri, Ishwarlal and Vasanti and yet another time realised what a great pair DN Madhok and Khemchand Prakash were; both considered two of the greatest in their fields.
The next one was sung by Miss Iqbal and Kantilal.
Please enjoy: Kit gaye hamaare saiyaan ajahoon na aaye…
(The stills in the video are NOT from this movie but from the 1935 movie Anarkali)
Day #4, Song #12
Apni shaam bayi aur jagwalon ka hua savera
As I said, DN Madhok wrote all of 14 songs for the 1940 Jayant Desai movie Diwali. Left to myself I would want to give you most of them, if not all of 14.
(Poster courtesy: Cinestaan)
But, after giving you three, it is time to move on to the next movie in 1940: Musafir, a Chandubhuj Doshi movie starring Noor Mohammad Charlie, Khursheed, Ishwarlal, Yakub, and Vasanti.
Songs of this movie were composed by Gyan Dutt and DN Madhok wrote ten of them:
1 “Apni Shaam Bhai Aur Jagwaalon Ka Hua Savera” Kantilal
2 “Aankh Kahe Main Teer Chalaun” Brijmala
3 “Akeli Na Jaiyo Radhe Shri Jamuna Ke Teer” Vasanti
4 “Gaoongi Main Toh Girwar Ke Gun Gaoongi” Gulab, Vasanti
5 “Khatmal KI Hai Basti” Charlie
6 “Gori Tera Nirmal Joban Yun Ganga Ka Paani” Vasanti
7 “Kisne Haara Hai Mora Bhola Mann” Khursheed, Vasanti
8 “Piya Nahin Laage Jiya” Khursheed, Vasanti
9 “Topiwale Babuji” Brijmala
10 “Woh Bisari Kahani Sun” Vasanti
Lets take the first one tonight sung by Kantilal.
Please enjoy: Apni shaam bayi aur jagwalon ka hua savera…
Once again the movie stills are not from this movie but from from GHAR JAMAI (1935).
Day #5, Song #13
Akeli na jaiyyo Radhe Shri Jamuna ke teer
On the 4th day, with the 12th song, we were into the ninth year of Deena Nath Madhok’s career that started with the 1932 movie Radhe Shyam. Unfortunately, I couldn’t access any of the 29 songs of the movie even in audio form.
On 4th day we covered 11 of his movies with 113 songs (not counting the first song from 1940 movie Prem Nagar that I gave you out of chronological order).
When we broke, we had just started accessing the songs of 1940 movie Musafir. Out of his ten songs, we had taken up just one.
Vasanti (Pic courtesy: bharatlyrics.com)
Here is another one written by him, composed by Gyan Dutt and sung by Vasanti (you may find parallel with later day songs copying this one): Akeli na jaiyyo Radhe Shri Jamuna ke teer…
Ha ha ha ha ha ha ha ha ha
Ha ha ha ha ha ha ha ha ha
Akeli na akeli na
Jaiyyo ho raadhe
Shree jamuna ke teer
Akeli na akeli na
Jaiyyo ho raadhe
Shree jamuna ke teer
Shree jamuna ke teer
Shree jamuna ke teer
Jamuna ke kaahe adheer
Jamuna ke kaahe adheer
Haan haan kaahe adheer
Haan haan kaahe adheer
Shree jamuna ke teer
Shree jamuna ke teer
Shree jamuna ke teer
Akeli na akeli na
Jaiyyo ho raadhe
Shree jamuna ke teer
Shree jamuna ke teer
Shree jamuna ke teer
Jamuna ke tat par
Khade hathhi harihar
Jamuna ke tat par
Khade hathhi harihar
Pehne peetaambar
Shyaam shareer
Pehne peetaambar
Shyaam shareer
Raadhe kaahe adheer
Raadhe kaahe adheer
Shree jamuna ke teer
Shree jamuna ke teer
Shree jamuna ke teer
Akeli na akeli na
Jaiyyo ho raadhe
Shree jamuna ke teer
Shree jamuna ke teer
Shree jamuna ke teer
He he he chali radhika raani
Hans ke saj dhaj
Sundar saari
Jabhi dekhan aawen
Naari he he he ko roka
Jamuna ke kaahe adheer
Haan haan kaahe adheer
Haan haan kaahe adheer
Shree jamuna ke teer
Shree jamuna ke teer
Shree jamuna ke teer
Akeli na akeli na
Jaiyyo ho raadhe
Shree jamuna ke teer
Shree jamuna ke teer
Shree jamuna ke teer.
Day #5, Song #14
Main kali baag ki tu bnanvra kaala
AR Kardar
That brings us to the 1940 AR Kardar movie Pagal starring Prithviraj Kapoor, Madhuri, Sitara Devi, Noor Mohammed Charlie, Khatoon, Trilok Kapoor and Sunalini Devi.
Prithviraj Kapoor played a doctor with psychological problems in a lunatic asylum.
What are his problems? Because of circumstances, he has to marry the sister of a woman he loves. This eventually makes him insane.
You may recall his son playing a similar role in Pagla Kahin Ka with a very good song by Hasrat Jaipuri and Shankar Jaikishan combine: Tum mujhe youn bhula na paoege. Hindi movies never let go of stories and songs.
In this movie DN Madhok paired with Khemchand Prakash and made the following songs.
Incidentally M Sadiq and SU Sunny were assistant directors to AR Kardar in the movie; both later turned into independent directors of some fame.
Kamal Amrohi was the story writer for the movie.
1. Prem Badariya Chaye Sakhee Re Prem Badariya Chaye, Le Kar More Mann
2. Choti Bade Suiyaa Re Jaale Ka Mora Kathana, Ek Sukh Paayo Maine
3. Sajan Hum Tum Bin Bhaye Udaas, Dekho Je Barsaat Hai Aaye, Mann Mein
4. Navaajhish Chahiye Itnee Jamine-Kuye-Jaana Ke, Ki Main Choti Se Ek
5. Baaman Ke Chori, Angiyaa Ko Atar Lagaa Ke Chale, Baaman Ke Chori
6. Main Kaun? Main Kaun? Main Kaun Bataaye Koi, Tum Ho Mere Raja
Unfortunately, I couldn’t find any of the songs.
Naushad
That brings us to the 1940 movie Prem Nagar, one of whose songs we started with in our journey in the career of Deena Nath Madhok.
I already mentioned to you that whereas Naushad was responsible for bringing lyricists Majrooh Sultanpuri and Shakeel Badayuni into the movies. In this movie DN Madhok who was already established for the last nine years gave a break to Naushad as composer and Music Director.
The movie starred Husna Banu as Maya and Rai Mohan as Chandu.
Prem Nagar is “a small, happy and contented village somewhere in India. A tiny spark of anger flared up a misunderstanding, a quarrel, jealousy, and greed: So grew envy. This envy burst out into a flame and the flame nearly destroyed the whole village.”
Mohan Bhavnani directed the movie.
DN Madhok and Naushad made the following songs:
1. Mat Bole Bahar Ke Batiyaa, Dhadak Gaye More Chatiyaa
2. Ramjee Chaalya Seeta Saath Ban Mein, Laxman Sang Mein Jaaye
3. Ambuvaa Pe Baitha Panchi Kya Bolee Bole, Jeevan Ka Raag
4. Main Kali Baag Ke Tu Bhauraa Kala, Mera Dukh Daridra Mitaa
5. Mann Ke Ek Taare Pe Bande Preetam Preetam Gaa Le
6. Aaye Re Pee Ke Nagariya Se Aaye Re, Saajan Ke Naina Se Naina
7. Tum Ho Aasha Ka Sansaar, Tum Ho Jeevan Ke Aadhar
8. Tum Bin Chain Na Aaye Sajnee, Tum Bin Chain Na Aaye
9. Ha-Ha Tu Mera Chelaa, Ha-Ha Tu Mere Chele, Ha-Ha Tu
10. Tum Bhaago Mahare Dilraakho Bhraata, Mera Dukh Daridra Mitaa
11. Mann Ke Taar Hilaa Ja, More Mann Ke Taar Hilaa Ja
12. Shyaam Kya Jaane Mahare Preet, Gopiyo Mein Baal Kunwaara Re
13. Gopiyaa Vallabh, Radheshyam, Jaanki Jeevan Seetaram
Ladies and gentlemen, songs of this movie are important to us as these are the first 13 songs composed by Naushad.
Husna Bano (Pic courtesy: cineplot.com)
To start with lets take up Song #4 sung by Husna Bano for herself. We already took up Song #11: Mann ka taar hila jaa on the very first day as very first song with DN Madhok.
Please enjoy: Main kali baag ki tu bnanvra kaala…
mai kali bag ki mai kali bag ki
tu bhavra kala tu bhavra kala
mai madira ki pyali aur tu matvala
mai madira ki pyali aur tu matvala
mere naina balam kare ishare mero joban
mero joban sajan ankhiya mare
par tu bhola bhala par tu bhola bhala
mai kali bag ki tu bhavra kala
himmat hai kisi ki jo koi aankh mila le
himmat hai kisi ki jo koi aankh mila le
ban jaye hamara ban jaye hamara ya hame koi apna banale
ujadi hui basti hai mere man ki basa le
ujadi hui basti hai mere man ki basa le
mai kali bag ki mai kali bag ki
tu bhavra kala tu bhavra kala
Day #5, Song #15
Ambua pe baitha panchhi kya boli bole
Ladies and gentlemen, today, listening to the songs of 1940 M Bhavnani movie Prem Nagar overwhelmed me again. I don’t mind telling you that once again eyes got moist.
The reason is that this was the debut movie of Naushad, eight years after DN Madhok made his entry into Hindi movies with the 1932 movie Radhey Shyam.
Even in the beginning, Naushad’s songs are so typically Naushad. I have already given you two: Man ka taar hila jaa on the first day as Song #1 and Main kali baag mein tu bhanvra kaala.
Prof Ramanand and Husna Bano
The next one that I am giving you has also been sung by Husna Bano and Prof Ramanand for themselves.
Please enjoy: Ambua pe baitha panchhi kya boli bole…
ambua pe baitha panchhi kya boli bole
ambua pe baitha panchhi kya boli bole
aa, jivan ka raag sunaye par haule haule
jivan ka raag sunaye par haule haule
ambua pe baitha panchhi kya boli bole
ambua pe baitha panchhi kya boli bole
kaun desh ka panchhi hai ye kaun desh ki boli
kaun desh ka panchhi hai ye kaun desh ki boli
panchhi man ka panchhi samjho
boli man ki bole khud ro le
ambua pe baitha panchhi kya boli bole
ambua pe baitha panchhi kya boli bole
tu rona kahta hai jisko main kahti hu gana
tu rona kahta hai jisko main kahti hu gana
tu gana kahti hai jisko wo hai geet rulana
tu gana kahti hai jisko wo hai geet rulana
bhed jiya ke khole
bhed jiya ke khole
bhed jiya ke khole
bhed jiya ke khole
ambua pe baitha panchhi kya boli bole
Day #6, Song #16
Dhak, dhak, Nis din saanjh sabere rehti hai dil mein mere
I covered for you in the last five days Deena Nath Madhok’s career from 1932 (Radhey Shyam) to 1940 (Prem Nagar); a total of 14 movies with 132 songs. Please recall that for the first five movies no songs were available on the net and hence we missed out on these.
Noor Mohammad Charlie (Pic courtesy: cinestaan.com)
As we enter the year 1941, the tenth year in the career of DN Madhok, we come across the very first movie Dhandora (no Hindi movie with this name was ever made after this) directed by the actor-singer Noor Mohammad Charlie and starredHusn Banu, E. Billimoria, Shamim, Dixit, Ghory, Bhagwandas, and Kesari.
There were nine songs in the movie and all nine were penned by DN Madhok and composed by Gyan Dutt:
1. Chambila Koli Mara Na Goli
2. Haath Jodkar Araj Karu
3. Main na Jaungi ha ha main na jaungi.
4. Nis Din Sanjh Sabere Rehti Hai Dil Me Mere
5. Yaad Tumhari Aaye Hai
6. Ek Do Teen Char Panch Barah Teri Nazar Ne Mujhe Mara
7. Hame Darr Lage Bhale Joban Se
8. Makhmoor Nigaho Me
9. O Hitler Aye Hitler Left Right
All were sung by Noor Mohammad Charlie (sometimes with Shamim) except song #7 that was sung solo by Husn Banu.
Lets first take up Song #4 which has a recurring Dhak dhak.
Please enjoy Noor Mohammad Charlie and Shamim singing (for themselves): Dhak, dhak, Nis din saanjh sabere rehti hai dil mein mere…
Day #6, Song #17
Ek do teen chaar…barah teri nazar ne mujhe maara
(Poster courtesy: osjanama.com)
We just started with the 1941 Noor Mohammad Charlie movie Dhandora. Guan Dutt composed nine of his songs and we took up one: Dhak, dhak, nis din saanjh sabere.
The next too has been sung by Noor Mohammad Charlie.
Please enjoy: Ek do teen chaar…barah teri nazar ne mujhe maara…
Day #6, Song #18
Mori atariya hai sooni Mohan nahin aaye
(Poster courtesy: cinestaan.com)
Pardesi was his next movie in 1941, the tenth year of his career.
It was a Chaturbhij Doshi movie starring Motilal, Khursheed, Sneh Prabha, E Billimoria, Kesarbai, Bhagwan Das, and Durgesh.
He paired with Khemchand Prakash to make the following songs:
1. Mori Atariya Hai Suni Mohan Nahi Aaye
2. Bhabhi Ke Nakre Bade
3. Hath Me Hogi Khali Jholi
4. Pahale Jo Mohabbat Se Inkaar Kiyaa Hotaa
5. Bhula Bhula Man Phirta Hai
6. Jawani Me Aake Duniya Badal
7. Mere Bhaiya Ko
8. Nanadi Ho Nanadi Kaha Tore Bhaiya
9. Dahi Wali O Dahi Wali
10. Do Nain Tumhare
11. Kaha Chali Gori Naino Ke Jadu Tan Ke
12. Toot Gayi Dali
13. Jata Hai Kaha Tu Khud Hi Na Jaane
14. Mera Murga Bada Ladaka Re
15. More Angana Me Ambuva Ki
To start with lets listen to Snehprabha Pradhan and Khursheed singing for themselves: Mori atariya hai sooni Mohan nahin aaye…
mori atariya hai suni mohan nahi aaye
mori atariya hai suni mohan nahi aaye
man ki peed hui dugni mohan nahi aaye
man ki peed hui dugni mohan nahi aaye
mohan nahi aaye mohan nahi aaye
mori atariya hai suni mohan nahi aaye
barkha ki rut hai sawan ka mahina
mere madho bina kaise jina
aao ji aao ji aao ji
dhan me badal chhaye mohan nahi aaye
dhan me badal chhaye mohan nahi aaye
mohan nahi aaye mohan nahi aaye
mori atariya hai suni mohan nahi aaye
naino me lali hai man me yu chale
aaja mere preet kale aao ji aao ji aao ji
raah me nain bichaye mohan nahi aaye
raah me nain bichaye mohan nahi aaye
mohan nahi aaye mohan nahi aaye
mori atariya hai suni mohan nahi aaye
mori atariya hai suni mohan nahi aaye
Day #7, Song #19
Haath mein hogi khali jholi
Today is our seventh day with Deena Nath Madhok; amongst the first generation of lyricists in Hindi films together with Kavi Pradeep and Kidar Sharma.
Lets take stock:
Considering that the first Indian movie ever made was Raja Harishchandra in 1913 and first talkie was Alam Ara in 1931, I have covered his lyrics from 1932 onwards; the first movie being: Radhey Shyam in which 29 of his songs appeared.
The playback singing started with Dhoop Chhaon in which Rai Chand Boral used the playback technique to replace the recording of songs by actors themselves as their dialogues used to be recorded since 1931 movie Alam Ara.
Hence, as you have already made out, DN Madhok is for us, one of the most important lyricists in the history of Hindi cinema.
Yesterday I gave you a song from the 1941 Chaturbhujh Doshi movie Pardesi starring Motilal, Khursheed, Sneh Prabha, E Billimoria, Kesarbai, Bhagwan Das, and Durgesh. Despite playback singing having been introduced in 1935 by RC Boral, most of the actors sang for themselves. I gave you one song: Mori atariya hai sooni Mohan nahin aaye sung by Snehprabha Pradhan and Khursheed.
Snehprabha Pradhan (Pic courtesy: cineplot.com)
We have 15 songs in this movie composed by one of the greatest composers: Khemchand Prakash. I have been listening to these songs since yesterday and I liked this second one immensely for its lyrics and composition. This too was sung by Snehprabha Pradhan.
Please enjoy: Haath mein hogi khali jholi…
हाथ में होगी खाली झोली
मुँह में दुआएँ हज़ार
दौलत का सौदा क़िस्मत से होगा
जाऊँगी बीच बज़ार
मांगूँगी दामन पसार
हाथ में होगी …
ताम्बे का टुकड़ा दे दे मेरे दाता
ताम्बे का देता वो सोने का पाता
दे दे मेरे बाबू, दे दे मेरे दाता
इस पर भी जो दया नहीं आई
तोडूँगी अँसुवन का हार
जाऊँगी बीच बज़ार
पानी की क़ीमत में बेचूँगी मोती
करूँगी अनोखा बेपार
मांगूँगी दामन पसार …
Day #7, Song #20
Pehle jo mohabbat se inkaar kiya hota
Yesterday, we started taking up songs of the 1941 Chaturbhuj Doshi movie Pardesi and continued today.
So far, we have taken up two songs: Meri atariya hai sooni Mohan nahin aaye rendered beautifully by Snehprabha Pradhan and Khursheed (I have listened to it several times since). The second one was also a Snehprabha Pradhan song: Haath mein hogi khali jholi.
Here is a third one that is as well sung as the first two.
Khursheed Bano (Pic courtesy: imdb.com)
This was sung by Khursheed.
Please enjoy: Pehle jo mohabbat se inkaar kiya hota…
pahle jo mohabbat se
pahle jo mohabbat se inkaar kiya hota
pahle jo mohabbat se inkaar kiya hota
yu humko na duniya se bejaar kiya hota
ab tere siwa koi aankho me nahi jachta
ab tere siwa koi aankho me nahi jachta
do roj to pardo me
do roj to pardo me guljaar kiya hota
do roj to pardo me guljaar kiya hota
pahle jo mohabbat se
maalum agar hota anjaam mohabbat ka
na dil hi diya hota
na dil hi diya hota na pyar kiya hota
na dil hi diya hota na pyar kiya hota
pahle jo mohabbat se inkaar kiya hota
main teri hu main tera, kaano mere kahna
aur bhag ke duniya se aankho me meri rahna
itna jo samajhte hum, chupke se tera baalma
na dil hi diya hota
na dil hi diya hota na pyar kiya hota
na dil hi diya hota na pyar kiya hota
pahle jo mohabbat se inkaar kiya hota
Day #7, Song #21
Do nain tihaare
Now here is a last song from the 1941 Chaturbhuj Doshi movie Pardesi starring Motilal, Khursheed, Sneh Prabha, E Billimoria, Kesarbai, Bhagwan Das, and Durgesh.
We have already enjoyed three of the 15 songs of the movie composed really superbly by Khemchand Prakash.
This fourth one was sung by Khursheed and Kanti Lal.
Please enjoy: Do nain tihaare…
do nain tihaare, do nain tihaare
aapas me more sajan lad gaye
ha lad gaye, haay lad gaye
do nain tihaare, do nain tihaare
aapas me more sajan lad gaye
ha lad gaye, haay lad gaye
mere dil me, mere jigar me
mere dil me, mere jigar me
tihaare naina gad gaye
tihaare naina gad gaye
aapas me more sajan lad gaye
ha lad gaye, haay lad gaye
aise na hume dekhe ja dil ki nazar waale
aise na hume dekhe ja dil ki nazar waale
mehmaan ko lutenge kaise hai ye gharwaale
mehmaan ko lutenge kaise hai ye gharwaale
aankho ki ladai me kyu dil ka bura ho
aankho ki ladai me kyu dil ka bura ho
khele hai koi daav koi pasia koi juaa
khele hai koi daav koi pasia koi juaa
sadke teri aankhe ke ajab vaar kiya hai
sadke teri aankhe ke ajab vaar kiya hai
yaha chot lagi, haay
yaha dard hua hai
yaha chot lagi, haay
yaha dard hua hai
mere dil me, mere jigar me
mere dil me, mere jigar me
tihaare naina gad gaye
tihaare naina gad gaye
aapas me more sajan lad gaye
ha lad gaye, haay lad gaye
do nain tihaare, do nain tihaare
aapas me more sajan lad gaye
ha lad gaye, haay lad gaye
do nain tihaare, do nain tihaare
Day #8, Song #22
Ik meethi nazar banke
We are starting the second week with this great lyricist Deena Nath Madhok who started his professional career in Hindi movies with the 1932 movie Radhey Shyam for which he wrote 29 songs but I couldn’t locate any.
I just finished giving you four songs from the 1941 Chaturbhuj Doshi movie Pardesi.
(Poster courtesy: osianama.com)
His next movie in 1941 was also a Chaturbhuj Doshi movie Sasural starring Motilal, Rajkumari, Madhuri, Noorjehan, Kantilal, Kasam, Bhagwan Das, Urmila Iqbal, and Iqbal.
Once again Gyan Dutt composed following songs penned by him:
1. Wo Apna Jadu Nigaho Se Azma Rahe Hai
2. Aankho Me Aa Gaye Ho
3. Bhanwara Kara Kaliyo Ko Kare Ishare
4. Chalo Sajan Chalo Sajan Dur Kahi Jaaye
5. Is Aankh Me Jadu Hai
6. Kaise Kategi Ratiya Tum Waha Hum Yaha
7. Tohe Motor Me Baitha Du
8. Ik Meethi Nazar Banke
9. Baala Joban Beet Jaaye
10. Bibi Bole Nahi Kunda Khole Nahi
11. Do Rangi Duniya Se Hum Dur
12. Kab Tak Rahegi Kanwari Guiya
13. Panghat Se Liye Aati Hu Pani Ka Ghada Me
To start with lets listen to a Rajkumari Dubey song.
Please enjoy: Ik meethi nazar banke…
ek miti najar ban ke chhede
ek miti najar ban ke
aankho me sama ja more
ek miti najar ban ke
aankho me sama ja more
dar hai mujhe duniya ki
dar hai mujhe duniya ki
najaro me na aa jao
dar ha mujhe duniya ki
najaro me na aa jao
samjhaye na samjhe hai
mane na manne se
arman bhare dil ko
arman bhare dil ko
pehlu me sula ja
arman bhare dil ko
pehlu me sula ja
kuch bairi kismat
haan maan kiye hote
haan maan kiye hote
kuch meri to sunke
haan maan kiye hote
dard kyu rakha hai
Day #8, Song #23
Wo apna jaadu nigahon se aazma rahe hain
We had just started taking up songs of the 1941 Chaturbhuj Doshi movie Sasural, penned by DN Madhok and composed by Gyan Dutt.
The film was a romantic comedy about wrongful identification of a groom by his wife-to-be in a household consisting of a father, step-mother step-son some friends and several servants. It earned a good review.
The second song that I am giving you is also a Rajkumari song.
Please enjoy: Wo apna jaadu nigahon se aazma rahe hain…
wo apna jadu wo apna jadu
nigaho se aajma rahe hai
nigaho se aajma rahe hai
wo un se chup hai
wo un se chup hai
wo un se chup hai
maje mahobbat ke aa rahe hai
maje mahobbat ke aa rahe hai
najar mila ke wo aankho aankho me
kar rahe hai dilo ke ishare
najar mila ke wo aankho aankho me
kar rahe hai dilo ke ishare
wo unki aankho me chha rahe hai
wo unki aankho me chha rahe hai
wo unki aankho me chha rahe hai
wo unki aankho me chha rahe hai
ajab ladai ajab ladai
ajab ladai hajaro aankho ke ladane wale
lada lada ke wo unko apna bana rahe hai
wo unko apna bana rahe hai
wo unko apna bana rahe hai
wo unko apna bana rahe hai
wo un se chup hai
wo un se chup hai
wo un se chup hai
maje mahobbat ke aa rahe hai
maje mahobbat ke aa rahe hai
Day #8, Song #24
Is aankh mein jaadu hai
We are taking up songs of the 1941 movie Sasural. Please don’t forget that it was a romantic comedy at that time when tragedies did better at the box office.
The reviews, however, praised Motilal for his skill at this light-hearted genre’. Actress Nur Jahan (not to be confused with Noorjehan, singer) too earned accolades for her portrayal of a maid. Even her singing was praised.
Motilal (actor and singer) (Pic courtesy: medium.com)
For the third song, therefore, I am giving you a Motilal Sharma song.
Please enjoy: Is aankh mein jaadu hai…
is aankh me jadu hai ek aankh mein masti hai
is aankh me jadu hai ek aankh mein masti hai
in pardo mein poshida yaaro meri hasti hai
in pardo mein poshida yaaro meri hasti hai
is aankh me jadu hai ek aankh mein masti hai
jis maag mein khoi hai duniya hee mere dil ki
jis maag mein khoi hai duniya hee mere dil ki
in julf ke pecho mein in julf ke pecho mein
bhigi si wo kashti hai
in julf ke pecho mein bhigi si wo kashti hai
in pardo mein poshida yaaro meri hasti hai
is aankh mein jadu hai ek aankh mein masti hai
haye ram mein kya karo
kano mein sunane ki ek neeti kahani hai
kano mein sunane ki ek neeti kahani hai
bas is dile bismil mein
bas is dile bismil mein
hasrat hee barsti
in pardo mein poshida yaaro meri hasti hai
in pardo mein poshida yaaro meri hasti hai
is aankh me jadu hai ek aankh mein masti hai
Day #9, Song #25
Bhigoi mori saari re
In the last eight days, I have covered 169 songs from his 16 movies and I gave you 24 of them.
(Poster courtesy: cineplot.com)
After the comedy movie of 1941: Sasural with Motilal in the lead role, his next movie in 1941 was Shadi.
It was a Jayant Desai movie starring Madhuri, Motilal, Khurshid, Ishwarlal, and Ghori.
He paired with Khemchand Prakash and they made the following songs:
1. Bhigoi Mori Saari Re
2. Ghir Ghir Aayi Badariya
3. Kit Jau Re Mana Kit Jau Re Mana
4. Pati Charanan Gun Gau
5. Wo Hame Bulaye Gori
6. Jhulo Jhulo Kanhaiya Ji Jhulna
7. Pee Aur Maze Se Pee
8. Bhulne Wale Dil Kaha Le Jau
9. Hari Ke Gun Gau Mai
10. Koi Kisi Se Dil Na Lagaye
11. Tera Anokha Singar Ri
12. Chail Chabila Banha Byahan Aaya
13. Meri Araj Su
Naturally, you want to hear the first one, a Holi song sung by Khursheed and Ishwarlal.
If you see the parallel between this tune and a latter day Amitabh Bachchan song, it is only because it is a popular folk tune.
Amitabh Bachchan enacting Holi song Rang Barse
Please enjoy: Bhigoi mori saari re…
bhigoi mori sari re dekho bhige na choli
bhigoi mori sari re dekho bhige na choli
sambhal sambhal ke pichakaari wali
sambhal sambhal ke pichakaari wali
khelo hamse holi
bhigoi mori sari re, khelo hamse holi
bhigoi mori sari re dekho bhige na choli
bhigoi mori sari re dekho bhige na choli
jug jug khele tumse holi
bhar gayi aaj man ki jholi
jug jug khele tumse holi
bhar gayi aaj man ki jholi
tan man se mere man ke raja
tan man se mere man ke raja
holi ke din teri holi
bhigoi mori sari re holi ke din teri holi
bhigoi mori sari re dekho bhige na choli
bhigoi mori sari re dekho bhige na choli
bhigoi mori sari re dekho bhige na choli
tan naache man naache ho gori
tan naache man naache ho gori
mohe nahi kuchh sudh ab mori
mohe nahi kuchh sudh ab mori
naino me naina jaga le balam ne
naino me naina jaga le balam ne
mare sharm nahi boli na boli na boli
mare sharm nahi boli na boli na boli
bhigoi mori sari re dekho bhige na choli
bhigoi mori sari re dekho bhige na choli
Day #9, Song #26
Hari ke gun gayun main
We are taking up songs of the 1941 Jayant Desai movie Shadi starring Motilal, Khursheed, Ishwarlal, Madhuri.
We took up one of the 13 songs.
Here is the next one. This too was sung by Khursheed.
Please enjoy: Hari ke gun gayun main…
hari ke gun gaau main, gaau main
prabhu ke gun gaau main, gaau main
man ki aasha puri karo sab
mori vipdaa aan haro
man ki aasha puri karo sab
mori vipdaa aan haro
dagmag dole mori naiya
dagmag dole mori naiya
aap hari aa bano khiwaiya
bal bal jaau main, gaau main
bal bal jaau main, gaau main
prabhu ke gun, hari ke gun
prabhu ke gun gaau main, gaau main
hari ke gun gaau main, gaau main
kisko man ki baat sunaau
kiske dwar prabhu main jaau
kisko man ki baat sunaau
kiske dwar prabhu main jaau
pal me maro, pal me taaro
pal me maro, pal me taaro
aap bigado aap sanwaro
aap bigado aap sanwaro
kis bigdi jaau main, gaau main
kis bigdi jaau main, gaau main
prabhu ke gun, hari ke gun
prabhu ke gun gaau main, gaau main
hari ke gun gaau main, gaau main
Day #9, Song #27
Koi kisi se dil na lagaye
And now for the last song today of the 1941 Jayant Desai movie Shadi starring Motilal and Khursheed with Ishwarlal and Madhuri.
This was sung by Kanti Lal.
Please enjoy: Koi kisi se dil na lagaye…
koi kisi se dil na lagaye
koi kisi se dil na lagaye
koi kisi se dil na lagaye
koi kisi se dil na lagaye
din ka chain, raato ki nindiya
din ka chain, raato ki nindiya
kaahe koi gawaye, kaahe koi gawaye
koi kisi se dil na lagaye
koi kisi se dil na lagaye
koi kisi se dil na lagaye
mere pahlu me bhi
ek chhota sa dil hota tha
mere pahlu me bhi
ek chhota sa dil hota tha
un dino aah na bharta tha
na main rota tha
aankh milte hi gaya
aankh milte hi gaya
dil jo paraye bas me
aankh milte hi gaya
dil jo paraye bas me
yaad baaki hai mere dil ki
meri nas nas me
yaad baaki hai mere dil ki
meri nas nas me
dil lutakar yahi shikwa hai jaba par haye
dil lutakar yahi shikwa hai jaba par haye
koi kisi se dil na lagaye
koi kisi se dil na lagaye
koi kisi se dil na lagaye
koi kisi se dil na lagaye
koi kisi se dil na lagaye
Ladies and gentlemen, DN Madhok was among the first generation of lyricists in India and hence, a very important lyricist for me to cover. I have covered more than 850 songs of his from over a hundred movies from the year 1932 to 1969 (from Radhey Shyam to Samay Bada Balwan).
Out of these over 850 songs, I selected 156 of his best songs. I shall be covering these in six parts.
I hope you liked my selection of songs for Part I.
Hasrat Jaipuri Song of the Week (HJSOW) (This post appeared on YKDN on 24 Jan 2020)
Shammi Kapoor, the Quintessential Romantic Hero
When we were boys, we were not allowed to watch Shammi Kapoor movies. He enacted his romantic roles with such intensity that we would tend to believe that Love and Romance were the two most important objectives of life. On top of that, he enacted the title roles of bad sounding names such as Bluff-Master, Budtameez, Janwar, Laat Sahib and even Pagla Kahin Ka.
His sensuous roles and songs would certainly make us feel – well – uncomfortable. I saw the 1964 movie Rajkumar and I watched him perform on Is rang badalti duniya mein with Sadhana and my first reaction as a mere ten year old was that why wasn’t such sensuousness censored! He filled each word of Hasrat Jaipuri’s song with meaning that was dying to come out and be seen.
And this was going to be the first movie in colour and how could we see Shammi Kapoor in his true colours, so as to say?
Therefore, I saw the 1961 Subodh Mukherjee movie Junglee, 55 years after it was released, on my computer. Primarily, I wanted to see him enacting the songs Chahe koi mujhe Junglee kahe and Ai ai aa suku suku. However, the song that I remembered the most after seeing the movie was this, sung by Mohammad Rafi for him.
There wasn’t any brashness in the song at all. There was only gentlemanliness and gentleness. Just like in Kashmir Ki Kali, he was heir to a rich family and expected to be a spoiled brat. As soon as Love dawned on him like a benign sun, he became as far from spoiled brat behaviour as he could get. No wonder his heroines adored him.
Mohammad Rafi Singing for Shammi Kapoor
Mohammad Rafi had a great talent in that he could sing for his heroes in the style of the hero and not in any characteristic Rafi style. Hence, when he sang for Shammi Kapoor, these songs instantly became Shammi Kapoor songs and less Rafi songs. As an example, if you listen to Kashmir Ki Kali’s Deewana hua baadal, you feel as if Shammi is actually singing.
Incidentally, some of the best songs of Rafi are picturised on Shammi Kapoor and Hasrat ji had a lot to do about them (of course there would be a rare, say, Qamar Jalalabadi number too such as Main bewafa nahin hoon tere pyar ki kasam.
Shankar Jaikishan
I thought I would steer clear from their Raaga based songs since on my blog I have quite a few of them under ‘Raaga Based Song of the Day’. Indeed, my first two posts are of both Hasrat Jaipuri and Shankar Jaikishan:#1 Tum mujhe youn bhula na paoge(Raag Jhinjhoti, Tal Kaherava) and #2 Unake khayal aaye to aate chale gaye(Gara, Kaherava).
However, it is difficult avoiding such songs. This one is in Raag Kalyan, with the commonest of Tals Kaherava. Kalyan is the basic and first raag taught to lovers of classical music.
As seen by me, the #1 song of Lata Mangeshkar happens to be in Shuddha Kalyan belonging to the Kalyan Thaat and that too was penned by Hasrat Jaipuri.
S-J’s composition here is so good that you want to enter the screen, get hold of Saira Bano and make her take Shammi Kapoor seriously!
Hasrat Jaipuri
I take it that scenario of a song with it fitting into the overall scheme of things of the director would be explained to the lyricist two to three years before the movie is shot. He has the difficult job at hand to convert the scenario into the spoken emotions of the protagonist (s), often in line with a tune that has already been given by the composer. I am sure that HJ had been explained that Shammi Kapoor belongs to a family wherein laughter is strictly prohibited. Saira Bano makes him laugh but the misunderstanding between them makes him sad. So, he comes up with the best lines of the song:
Tumne mujhako hasana sikhaya,
Rone kahoge ro lenge ab;
Aansu ka hamare gham na karo,
Ye behte hain to behne do…
Terrific indeed. Love does it to lovers frequently. In another song, a lover had this to say:
Jo tumko ho pasand wahi baat kahenge,
Tum din ko kaho raat to hum raat kahenge.
Basically, Love makes you forget your own importance and you are ready for:
(By the way, Kalyan literally means ‘good luck’ and whether he sang to her and later she sang to him, good luck ensued)
Ehsaan tera hoga mujh par
Dil chahta hai vo kahne do
Mujhe tumse muhabbat ho gayi hai mujhe
Palkon ki chhao mein rahne do
Ehsaan tera hoga mujh par
Dil chahta hai vo kahne do
Mujhe tumse muhabbat ho gayi hai mujhe
Palkon ki chhaon mein rahne do
Tumne mujhko hasna sikhaya aa oo
Tumne mujhko hasna sikhaya
Rone kahoge ro lenge ab
Rone kahoge ro lenge
Aansu ka hamare gam na karo
Vo bahate hain to bahane do
Mujhe tumse muhabbat ho gai hai mujhe
Palkon ki chhaon mein rahne do
Ehsaan tera hoga mujh par
Chahe bana do chahe mita do
Chahe bana do chahe mita do
Mar bhi gaye to denge duayen
Mar bhi gaye to denge duayen
Ud ud ke kahegi khaak sanam
Ye dard-e-muhabbat sahne do
Mujhe tumse muhabbat ho gayi hai mujhe
Palkon ki chhaon mein rahne do
Ehsaan tera hoga mujh par
Dil chahta hai vo kahne do
Mujhe tumse muhabbat ho gayi hai mujhe
Palko ki chhaon mein rahne do
Ehsaan tera hoga mujh par
I hoped you liked my choice of Hasrat Jaipuri Song of the Week #4.
We have a Facebook group called Yaad Kiya Dil Ne (YKDN). It is a group for songs and music. For most people on Facebook, a group is just a group of like minded people engaged in a common activity. For us, YKDN is akin to a family; everyone is emotionally involved.
This year due to continued lock-down since 25 Mar, it wasn’t possible to have our Annual Live Fest at Kandaghat. Most of us were saddened.
There is a saying that ‘When the going gets tough, the tough get going’. I have often been teased and taunted because of my devotion towards my sisters in the YKDN family. No more; because, my sisters came to our rescue. My behna Manik Lakhkar Chava came up with an idea that a Fest could be held on Video Conferencing. And who was there to execute this idea? Well, my sister Suman Saxena. Even though Manik was already networking with her larger family on Zoom, Suman suggested that Zoom wasn’t a reliable application. She suggested Go To Meeting and diligently went about inviting and netting people to a Fest on Video Conferencing on Sunday, 26 Apr 20.
Whilst it was sheer hard-work for Suman, very quickly the excitement started building up. We decided on the following:
The Fest would be an occasion to pay homage to Jaswant Singh Lagwal whom we lost prematurely and tragically on 25 Mar 20. He is survived by his wife Kavita (who has often cut the YKDN cake during our meets, she being the youngest) and sons Niraj and Pankaj.
Since Jaswant was a great fan of Dharam paaji (actor Dharmendra), the songs selected for singing by us would be Dharmendra songs.
This is how we went about it preparing for the Fest:
We formed a Whats App group that we named FOG or Fest Op Group and made Suman and Manik Admins of the group in addition to me. All those participating were made as members of the group. Unlike all other groups that are formed for specific purposes but finally come down to being just social groups, it was decided and made clear that this group would be used only for operating instructions of Fests.
The programme was planned. It was decided that during the first one hour we’d stick to paying homage to Jaswant and later on we would have an off-the-cuff sing song session.
The first one hour was to have six songs including our group anthem ‘Yaad kiya dil ne kahan ho tum’. I downloaded the Karaokes for all the songs and shared with other so that we’d be on common footing.
For the final group song ‘Yeh dosti hum nahin todenge’, I made a video with pictures of Jaswant and family and shared it on You Tube.
I also made a poem for him titled ‘Yeh dosti hum nahin todenge.
Suman, meanwhile, was busy in networking all participants on Go To Meeting. Most people were to use it for the first time. She, therefore, with great patience and thoughtfulness sorted out people’s individual and collective problems.
We even invited Jaswant’s family to join.
Finally, the day arrived. We started netting in from 3:30 PM and soon had the following: Amit Lambah, Anil Koshti, Anila Bhatia, Anindya Chatterjee, Ashwani Khanna, Ashwani Sharma, Jojy Kunchattil, Maj Vishwas Mandloi, Manik Lakhkar Chava, Milind Madhav Hastak, Mona Maharaj Singh, Nimmi Iyer, Nikkilat Bajwa, Nitin Shringarpure, Pavan Malhotra (he left half way through), RPS Josen, me, Raj Dutta (he left soon after joining), Rajendra Kumar Tandon, Rekha Mittal, SK Iyer, Sukhvinder Deol, Suman Saxena, Sumedha Nair, Sumona Jaswant Grewal, Surekha Saini, Surinder Grewal, VIS Bal, Vipan Kohli.
All the participants could make it and at one time we had 33 participation points. Since most people were with their spouses, we had a gathering of more than 40 people. Most people had earlier physically participated in one Fest or the other except for Milind Madhav Hastak, Nitin Shringarpure, Pavan Malhotra, Raj Dutta and Sumona Jaswant Grewal. Jaswant’s family couldn’t join in. However, the complete recording of the Fest was sent to it.
This is how we went about it:
I welcomed all participants and recalled milestones in the life of Jaswant Singh Lagwal ending with his sad demise on 25 Mar 20. I read out the poem especially made for the occasion: ‘Yeh Dosti Hum Nahin Todenge‘.
Jaswant Singh LagwalVenkat Gullapalli
We had a one minute silence for him as well as for Evani Leela’s younger brother Venkat Gullapalli whom we shockingly lost just two days before the Fest, on 24 Apr 20.
We began with a round of applause for Manik and Suman who conceived the Fest and made it possible.
We sang the YKDN Anthem: Yaad kiya dil ne kahan ho tum. In the last five years of Fests, whenever we commenced a Fest we have always sung this song put together by Hasrat Jaipuri, Shankar Jaikishan, Hemant Kumar (singing for Dev Anand) and Lata Mangeshkar (singing for Usha Kiran) for the 1953 Amiya Chakrabarty movie Patita.
We sang the song Ek haseen shaam ko (Raja Mehdi Ali Khan, Madan Mohan, Mohammad Rafi) for the 1966 DD Kadhyap movie Dulahan Ek Raat Ki starring Dharmendra and Nutan.
For the next song Pal pal dil ke paas tum rehati ho, Suman had shared an audio of the song sung by Jaswant himself. Originally, it was sung by Kishore Kumar on the lyrics of Rajinder Krishan and composition of Kalyanji Anandji for the 1973 Vijay Anand movie Blackmail starring Dharmendra and Rakhee.
The next song to sing was very nostalgic for us: Gaadi bula rahi hai seeti baja rahi hai. It was sung by Kishore Kumar for the 1974 Dulal Guha movie Dost on the lyrics of Anand Bakshi and composition of Laxmikant Pyarelal. When Jaswant came to know that his favourite Dharmendra was in the train from Shimla to Kandaghat when this song was sung in the movie, he reenacted the song whilst arriving for the 2018 Kandaghat Live Fest.
The next song to sing was Aaj mausam bada beimaan hai from the 1973 A Bhim Singh movie Loafer starring Dharmendra and Mumtaz (Anand Bakshi, Laxmikant Pyarelal and Kishore Kumar). By this time we had discovered that synchronization with so many people singing simultaneously was making the song fall flat. So, we decided that we would allow individual singers to sing whilst others would mute their microphones. This song was sung by Mona with RPS Josen joining in.
The last group song from 1975 Ramesh Sippy movie Sholay starring Dharmendra, Amitabh Bachchan, Hema Malini, Jaya Bahaduri, Sanjeev Kumar, Amjad Khan, Asrani and Jagdeep had Jaswant’s video shared with everyone. Most had moist eyes.
After completing the planned programme as above, it was decided to give individuals a chance to sing. The following sang and sang rather well: RPS Josen, Rekha Mittal, SK Iyer, Nimmi, Mona, Jojy Kunchattil, Surinder Grewal, and Ashwani Sharma.
In the end, another round of applause was called for Manik and Suman. Mona said a few thoughtful words from all of us for Jaswant and Kavita. Everyone agreed that the Fest was a great success especially with all the restrictions during COVID 19 Lockdown.
There were, of course, a few lessons for future Fests with video conferencing:
Group songs with a number of participants is not a viable option since there are insurmountable problems of synchronization.
People need to maintain group discipline in that they should mute their microphones when not speaking.
For singing in built microphones of the computers and cellphones are not the answer; one requires good compatibility external microphones.
Those who couldn’t attend the Fest can download the complete recording of the Fest by clicking on the following link:
In addition to thanking Manik and Suman for the video conferencing idea, permit me to thank all participants for their enthusiastic and meaningful participation in this unique Fest.
In the last song and elsewhere many times before, I have mentioned that the most memorable songs of Lata Mangeshkar were composed by her bhaiya Madan Mohan. These were penned either by Raja Mehdi Ali Khan or by Rajinder Krishan.
Adornment of music makes the lyrics come alive and add to their meaning. You have to give it to S-J, as always that their composition and music help you complete the picture of the protagonist’s emotions, in this case Rajendra Kumar. No one could have done a better job.
In such a scenario, I think, Rajinder Krishan can be excused for letting the hero (Biswajeet) notice on the wet body of the heroine (Rajshree), of all the things, Zulf. Many around the world would say: “Hair today, gone tomorrow.” But, as far as Indians are concerned hair are here to stay forever and ever.
Ravi was one music director who learnt music by observation but managed to learn far better than those formally trained. What is more he even learnt Hindustani classical music and many of his songs are raaga based. This one is in Raag Pilu or Peelu, Tal Kaherava. Pilu is, as it is a raag of devotion and piety and if you look at the hero Biswajeet, you would notice that he is full of these two feelings and not seduction which would be the case, say, in Shammi Kapoor’s song Is rang badalti duniya mein insaan ki neeyat theek nahin (Hasrat – Shankar Jaikishan – Mohammad Rafi) or Joy Mukherjee singing to Asha Parekh: Aa ja re aa zara (Love In Tokyo).
This 1964 movie was produced and directed by SD Narang and is not based on a musical instrument or on the lifetime of a musician. On the other hand, the film is about n IAF pilot’s widow who goes through hardship and loneliness in order to fulfil her husband’s last wish to make her son an Air Force pilot. It is anybody’s guess as to why they named it Shehnai!
Bimal Roy‘s handling of the theme and not just the name Bandini (Imprisoned or In Bondage) has been handled with great sensitivity. Nutan as Kalyani is in prison for most part of the movie due to a murder she committed (more by accident than design). She longs of freedom because she is young and has dreams of her own. However, in the end she herself chooses bondage over freedom offered to her as two choices: Dharmendra as the kind hearted jail-doctor: Deven who cares for her and Ashok Kumar as freedom-fighter (master stroke by Nabendu Ghosh who wrote the screenplay) Bikash who leaves her in the village pining for him but never returns back. In the end, like I said, because of a chance meeting at a railway station, she chooses to be Bandini to Ashok Kumar as the notes of another Shailendra song play: Mere saajan hain us paar.
The role of Kalyani was offered to Vyjayanthimala who had already done two movies with Bimal Roy: Devdas and Madhumati. She was busy and hence the role went to Nutan who then gave the performance of her life and walked away with the Best Actress Award.
Tonight we take up the eleventh lyricist DN Madhok’s creation. Dina Nath Madhok, as most of you would be aware, is from the trio called ‘first generation of lyricists’ that also included Kavi Pradeep and Kidar Sharma.
The name of the 1940 movie was Prem Nagar that starred Prof Ramanand and Husna Banu (they sang for themselves). Here are the songs that Naushad composed in his first movie on the lyrics of DN Madhok:
Chronologically, his first movie as lyricist was 88 years ago, in the year 1932. The name of the movie was Radhey Shyam, directed by Anand Prasad Kapoor and Roshan Lal Shorey. It starred: Khurshid Begum, Sunita Devi, Mohan and Radha.
His next movie in 1940 was a Jayant Desai movie Aaj Ka Hindustan starring Prithviraj Kapoor, Rose, Sitara Devi, Ishwarlal, Noor Mohammad Charlie. Except for Prithviraj Kapoor, they all sang for themselves.
He wrote the following songs that were composed by Khemchand Prakash.
When we were boys, we were not allowed to watch Shammi Kapoor movies. He enacted his romantic roles with such intensity that we would tend to believe that Love and Romance were the two most important objectives of life. On top of that, he enacted the title roles of bad sounding names such as Bluff-Master, Budtameez, Janwar, Laat Sahib and even Pagla Kahin Ka.
Mohammad Rafi had a great talent in that he could sing for his heroes in the style of the hero and not in any characteristic Rafi style. Hence, when he sang for Shammi Kapoor, these songs instantly became Shammi Kapoor songs and less Rafi songs. As an example, if you listen to Kashmir Ki Kali’s Deewana hua baadal, you feel as if Shammi is actually singing.
I thought I would steer clear from their Raaga based songs since on my blog I have quite a few of them under ‘Raaga Based Song of the Day’. Indeed, my first two posts are of both Hasrat Jaipuri and Shankar Jaikishan: 
There is a saying that ‘When the going gets tough, the tough get going’. I have often been teased and taunted because of my devotion towards my sisters in the YKDN family. No more; because, my sisters came to our rescue. My behna Manik Lakhkar Chava came up with an idea that a Fest could be held on Video Conferencing. And who was there to execute this idea? Well, my sister Suman Saxena. Even though Manik was already networking with her larger family on Zoom, 
Suman suggested that Zoom wasn’t a reliable application. She suggested Go To Meeting and diligently went about inviting and netting people to a Fest on Video Conferencing on Sunday, 26 Apr 20.
The Fest would be an occasion to pay homage to Jaswant Singh Lagwal whom we lost prematurely and tragically on 25 Mar 20. He is survived by his wife Kavita (who has often cut the YKDN cake during our meets, she being the youngest) and sons Niraj and Pankaj.
