Jaimala sunnewaale sabhi fauji bhaaiyon ko Shravan kaa, yaani ki
Nadeem Shravan ka namaskaar. main jaanta hoon ki aap Bambai se kitni
door rehkar hamaare desh Hindustaan ki rakshaa kar rahe honge,
jahaan par agar barf hai to barf ke siwaa kuchh bhi naheen,
registaan hain to ret ke siwaa kuchh bhi naheen, aur pahaaD hain to
pahaaDon ke siwaa kuchh naheen. aap jis nishThaa aur sankalp se
apnaa kaam kar rahe hain, mere paas to kya kisi ke bhi paas koi
shabd naheen. aaj main aapko meri pasand ke kuchh 'hit' gaane
sunenge. hamaari pehli 'hit' film thi Aashiqui jisse Nadeem Shravan
Nadeem Shravan bane. isse pehle humne 17 saal tak kaDaa sangharsh
kiyaa aur 17 saal baad eeshwar ne humein phal diya. to suniye
Aashiqui film ka geet jiske bol hain "saason ki zaroorat hai jaise
zindegi ke liye, bas ek sanam chaahiye aashiqui ke liye".

Song: bas ek sanam chaahiye (Aashiqui)

haan to fauji bhaaiyon, ab jo gaana main aapko sunwaane jaa raha
hoon, uske shabd hain 'dil hai ki maanta naheen'. yeh Aashiqui ke
turant baad hamaari doosri film thi. isey bhi sabne saraaha, sabne
pasand kiyaa. is film se juDaa ek vaakya main aapko bataana
chaahoonga. jin dino hum 'struggle' kar rahe the, ek din khaane
ki 'table' par baiThe hum dono khaaye jaa rahe the khaaye jaa rahe
the, bhhokh itni lagi thi ki hum bas khaaye chale jaa rahe the. meri
mummy ne aakar kahaa ki 'aur kitnaa khaaoge?'. to ek-aa-ek mere munh
se nikal gaya ki 'kyaa karen mummy dil hai ki maanta naheen'. jaise
hi yeh baat nikli to humein lagaa ki arey yeh to achchha jumla hai,
phir humne isey 'compose' kiya. yeh baat hai 1973 ki aur yeh
gaana 'record' huyaa 1989 mein. to isse yeh zaahir hotaa hai ki hum
log waqt se kitne aage the. yeh geet jab humne sunaaya to Bhatt
saahab ko, Gulshan ji ko, sabko pasand aaya aur itnaa pasand aaya ki
film ka 'title' hi rakhaa gaya 'Dil Hai Ki Maanta Naheen'.

Song: dil hai ki maanta naheen (Dil Hai Ki Maanta Nahin)

Jaimala sunnewaale fauji bhaaiyon aur 'specially' fauji bahenon, ab
jo geet main sunwaane jaa raha hoon, woh meri ek aur 'favourite
film' Phool Aur Kaante ka hai. is film mein Ajay Devgun ko pehli
baar 'hero' banne ka 'chance' milaa tha. bahut hi 'emotional'
aur 'youthful' film thi.ismein meraa bahut hi 'favourite' gaana hai,
jo Khaaskar hamaare fauji bahenon ke liye hai. "apni bhi zindegi
mein Khushiyon ka pal aayega, DhoonDenge ko mil jaayegaa".

Song: tumse milne ko dil kartaa hai re baba (Phool Aur Kaante)

fauji bhaaiyon aur fauji bahenon, jaisa ki maine aapko bataaya ki
1990 mein film Aashiqui se hamaari 'entry' huyi thi, phir uske baad
jaise jaise saal beet-te gaye, ek ek Khoobsoorat filmen aati gayeen.
Saajan aisi hi ek Khoobsoorat film thi jismein Sanjay Dutt, Salman
Khan aur Madhuri Dixit ne bahut achchha kaam kiya tha. film
ka 'last' gaana bachaa huya tha. humein ek aur mukhDaa soojhi
ki 'dekhaa hai pehli baar saajan ki aankhon mein pyaar'. yeh humein
pasand aa gaya aur humne poora gaana banaaya. hamaare
yahaan 'producers' chaahte hain ki film mein ek 'India style' kaa
gaana honaa chaahiye jo film ko 'hit' karaaye. yeh geet banaate
samay hum log 'confident' the ki yeh gaana zaroor 'superhit'
hogaa. 'producer' ne humein isey turant 'record' karne ko kahaa.
Sameer-ji ne isey likhaa aur Balasubrahmanyam-ji ko bulaaya gaya
kyun ki yeh gaana Salman Khan par filmaaya jaana tha. humne isey
Balasubrahmanyam aur Alka Yagnik ke aawaazon mein 'record' kiya. is
gaane ka humein bahut mazaa aaya aur ab aap bhi is gaane ka mazaa
leejiye.

Song: dekhaa hai pehli baar (Saajan)

fauji bhaaiyon aur fauji bahenon, ek aur kissa mujhe yaad aa raha
hai. 1980 mein jab hum bhaari 'struggle' kar rahe the, kaafi
saare 'producers' ko apni dhune sunaaya karte the. unmein se ek the
Tahir Hussain saahab, jo Aamir Khan ke pitaaji hain. hum unke paas
gaye aur kahaa ki 'sir, please humein chance de deejiye'.  humne
unko bahut saare geeton ki dhune sunaaee, pehlaa geet jo humne
sunaaya woh kaun saa tha yeh main aapko baad mein bataayunga, to hum
log 2-3 ghanTon tak unko dhune sunaate gaye. doosre din jab hum unke
paas gaye to unhone kahaa ki 'music achchha hai lekin 'maturity' ki
kamee hai'. hum 'upset' ho gaye ki Tahir saahab ne yeh kya keh diya,
humne itni mehnat kee thi in dhuno par. Khair, 20 saal baad jab
hamaari Aashiqui, Dil Hai Ki Maanta Nahin, aur Sadak 'hit' ho gayi,
to Tahir saahab ne humein bulaaya aur kahaa ki 'ek film saath mein
karte hain'. humne kahaa'Theek hai'. to unhone kahaa ki ek 'hit'
gaana chaahiye. to yeh wohi gaana hai jo humne 20 saal pehle sabse
pehle unko sunaaya tha. ab main aapko bataayunga ki yeh gaana kaun
saa hai, yeh gaana tha "ghunghaT ki aaDh se dilbar ka". is geet se
Alka Yagnik ko Filmfare Award milaa aut Tahir saahab bahut Khush
huye.  to is waaqya se humein yeh 'moral' milaa ki himmat kabhi
naheen haarnee chaahiye, ek na ek din 'victory' zaroor milegi.

Song: gunghaT ki aaDh se dilbar ka (Hum Hain Rahi Pyar Ke)

fauji bhaaiyon, aap sab jaante hain ki Aamir ke saath humne kai baar
kaam kiya hai, aur har baar humein saraaha gaya, aur Filmfare Award
bhi milte gaye. meri ek 'favourite' film hai Raja Hindustani jismein
Aamir Khan ne zabardast 'acting' kiyaa tha. Karishma Kapoor, jinki
ek 'western image' thi, Dharmesh Darshan-ji ne unhe 'Indian' libaas
mein bahut Khoobsoorti se prastut kiya. is film ka ek geet mujhe
bahut pasand hai.

Shravan sings "main yeh naheen kehti ke pyaar mat karna...."

Song: pardesi pardesi jaana naheen (Raja Hindustani)

bhaaiyon, aap sab jaante honge ki hamaari ek 'favourite' film hai
Subhash Ghai-ji ki Pardes jismein Hindustan ki baat hai, India ki
baat hai. is film mein humein Anand Bakshi-ji ke saath kaam karne ka
mauka milaa tha, unhe aur unke geeton ko log ab bhi pasand karte
hain. unke saath hamaara yeh ek hi film hai. agar is film ka yeh
geet aapko na sunaaya jaaye to kaaryakram adhuraa reh jaayegaa.

Sharavn sings "London dekhaa Paris dekhaa aur dekhaa Japan...."

Song: I love my India (Pardes)

to fauji bhaaiyon, aap se ab main vidaa lenaa chaahoonga. main
maalik se yahi 'pray' karoonga ki aapko tandurust rakhe. aap Hind ki
sevaa kar rahe hain, main sabhi Hindustaanion ki or se aapko
dhanyavaad detaa hoon aur aapse kehtaa hoon...JAI HIND!

THE END

sabhi sunnewaalon ko Kamal Sharma ka namaskaar. hamaare aaj ke
Sargam Ke Sitaare hain film jagat ke suprasiddha paarshwa-gaayak
Mohd Rafi.

Song: hai duniya usiki zamaana usikaa (Kashmir Ki Kali)

yun to Rafi saahab ne har tarah ke geet aur kai bhaashaaon mein
gaaye hain, lekin aaj hum unke gaaye sadaabahaar 'romantic' geeton
se unhe yaad karenge. yeh woh geet hain jinki kahin koi misaal
naheen milti.

The song "hai duniya usiki..." continues.

Mohd Rafi ki kaaljayee swargangaa mein jin bolon ne snaan kiya, we
pavitra ho gaye. Rafi saahab ke geet kabhi dard bankar, kabhi sadaa
bankar goonjte hain, jo hamaari aankhen nam kar jaati jain, aur
kabhi shokhi se bhare unke geet hamein madhosh kar dete hain.

Song: main nigaahen tere chehre se haTaayun kaise (Aapki Parchhaiyan)

1924 ke 24 December ko Kotla, Sultanpur mein janme Mohd Rafi ke baDe
bhai ke dost Hameed ne unmein chhipi sangeet pratibhaa ko pehli baar
pehechaana aur unhe is or protsaahit kiya. unhi ke saath yuvaa Rafi
mehfilon mein jaaya karte the jahaan we sansparsh mein aaye Barkat
Ali aur Feroz Nizami jaise fankaaron ke. Feroz Nizami ke sehyog se
13 baras ke Rafi ko Lahore Radio mein gaane ka mauka mil gaya. ek
baar Lahore mein K L Saigal saahab ke jalse mein bijli 'fail' ho
jaane ki wajah se Rafi ko 'stage' par khaDaa kar diya gaya. unke
gaaye geet ko sunkar Saigal saahab mantramugdha ho gaye. isi jalse
mein Shyam Sundar bhi shrotaa bane baiThe the, jinhone unki taareef
to kee lekin paarshwa gaayan ke liye intezaar karne ko kahaa. 1941
mein Mohd Rafi ne pehli baar Punjabi film Gulbaloch mein Zeenat
Begum ke saath ek geet gaaya, jiske bol the "soniye ni hiriye ni
teri yaad sataaye". aur yeh maukaa unhe diya tha Shyam Sundar ne hi.
Hindi filmon mein unhe pehlaa mauka diya tha sangeetkaar Naushad ne
film Shajjehan aur uske baad Pehle Aap mein. phir uske baad har
sangeetkaar ne unke aawaaz ko apne dhuno mein piroyaa. unki sunehri
aawaaz ki aabhaa na kabhi phiki paDee hai aur na kabhi paDegi.

Song: ek haseen shaam ko dil mera kho gaya (Dulhan Ek Raat Ki)

sadiyon mein koi ek Mohd Rafi paidaa hotaa hai aur sadiyon sadiyon
tak apne gaaye geeton se sunnewaalon ko sammohit kiye rakhta hai. ek
aawaaz ke kitne kitne andaaz. unke geeton se zamaane ne mohabat
seekhee aur seekhaa mohabbat ka andaaz.

Song: tumse izahaar-e-haal kar baiThe (Mere mehboob)

yeh Rafi saahab hi hain jo itni sahejtaa se kabhi shastriya sangeet
to kabhi sugam sangeet mein apni aawaaz ko yun Dhaal detaa hai ki
kahin aasmaan ko chhoota aalaap hai to kahin vaadiyon se chhal chhal
behti sarita jaisi yauvan. unke geet raat ke sannaaTe mein jaise
humein thapkiyon se jagaate hain, kabhi taDap, kabhi pylak aur kabhi
us meeThi si Khalish ko neend se jagaa deti hai.

Song: jaag dil-e-deewana (Oonche Log)

Rafi saahab kabhi filmi paarTiyon mein naheen jaaya karte the.
unhe 'badminton' khelne ka bahut shauk tha. naye ubharte fankaaron
ka hauslaa afzaaee karte the aur paison ka laalach to unke swabhaav
mein hi naheen tha. agar kabhi kisi nirmaata ne unhe zyaada paise de
bhi deeye hon to woh waapas lauTaa dete the. Rafi saahab swaron ke
baadshaah the aur unki yeh baadshaahat unke geeton ke zariye aaj tak
kaayam hai.

Song: jaan-e-bahaar husn teraa bemisaal hai (Pyar Kiya To Darna Kya)

Mohd Rafi na keval ek bahut oonche darje ke fankaar the, balki ek
behatareen insaan bhithe. paaq rooh waale is shakshiyat ke kareeb jo
bhi aaya mureed ho gaya. woh ubharte geetkaar aur sangeetkaaron ko
bhi sehyog dete the. maan gumaan unhe chhoo tak naheen sakti thi.
unki saadhana, unke lagan ne unhe wahaan pahunchaaya jahaan par koi
aur shaayad hi pahunch paaya ho. unke gaaye asankhya geeton mein se
kaun sa geet aapko sunwaayen samajh naheen aata. baher-haal aayiye
sunte hain chaudhveen ke chaand ki nooraani si unki aawaaz mein yeh
geet.

Song: dil mein ek jaan-e-tamanna ne jagah paayi hai (Benazir)
Rafi saahab ki gaayiki ki yeh Khoobi thi ki parde par jis kisi bhi
kalaakaar ke liye paarshwagaayan kiya, aisaa lagaa ki jaise woh Khud
gaane ko gaa rahe hon. phir chaahe woh Dilip Kumar, Bharat Bhushan,
Pradeep Kumar, Dharmendra, Rajendra Kumar, Shammi Kapoor, Shashi
Kapoor, Jeetendra ho, ya phir Johny Lever. har ek ke liye jaise unki
aawaaz Dhal gayi. unki aawaaz ki rumaaniyat ka aisaa rang tha ki
jiskaa jawaab naheen. geetkar aur sangeetkaar ke saath saath
sunnewaale bhi nihaal ho gaye.

Song: khuli palak mein jhooTha gussa (Professor)

Rafi saahab bahut kam bolte the, bahut dheeme swar mein bolte the,
lekin 'microphone' ke saaamne aate hi unki aawaaz poore ojh ke saath
baras paDte aur usmein bheegnewaala dhanya ho jaata. aisi aawaaz
jise sunkar sunnewaala besudh ho jaaye, sammohit ho jaaye, aur jaise
khud aanand hi rumaaniyat mein badal jaaye.

Song: chhoo lene do naazuk honThon ko (Kaajal)

Rafi saahab ke gaaye 'romantic' geeton ka kehna hi kya. nasheele
aise ki jis par uskaa suroor chaDhaa utar naheen paaya. phir chaahe
woh mehbooba se pyar ki pehli pehli Khalish ho, intezaar yaa phir
mehbooba ke husn ka zikr, unki har adaa anooThi hai, har adaa
bemisaal hai.

Song: yeh teri saadgi yeh teraa baankpan (Shabnam)

jeete jee 'legend' ban chukeRafi saahab ko peeDhiyon ne sune, aur
aage aanewaali peeDhiyaan sunte rahenge. unke geeton se subah jaagti
hai aur unhi ke gaane sunkar shaamen Dhalaa karti hain. aam-o-Khaas,
sabke honThon par thirakte hain unke geet.

Song: pehle mile the sapno mein aur aaj saamne paaya (Zindagi)

jaane kitne logon ne apne jeevan ki Khushiyon ko baanTa hogaa Rafi
saahab ke geeton se, pyaar mein Doobkar na jaane kitno ne mehfilon
mein gaaye honge unke naghmein. Mohd Rafi ke geet jeevan roopee hare
peD ki tarah hai jo har kisi ko samaan roop se apni sheetal chhaaya
pradaan karti hai. unke geeton mein woh jaadoo jo patjhaD ko bhi
Khoobsoorat mausam mein badal sakti hai, jinhe sunkar log jhoom
uThte hain.

Song: sau baar banaakar maalik ne sau baar miTaaya hogaa (Ek Raat)

Mohd Rafi sachmuch film jagat ke ek anooThe gaayak the jinhone sabhi
sangeetkaaron ke saath kaam kiya. bahu-aayaami Rafi saahab ke geet
zindegi ke har rang ko darshaati hai. geet chaahe kitne hi achchhe
likhe hon, sangeet kitnaa hi sureelaa banaa ho, jab tak gaayak usey
poori shraddha aur lagan se prastut naheen kartaa, woh geet
poornataa ko praapt naheen kar saktaa. Rafi saahab ne jab dard bhare
naghmein gaaye to aankhen bhar aayen, bhakti ras ka koi geet gaayen
to man param satta mein vileen ho jaaye, aur prem ras ke geet aise
ki man kaa ek ek taar tarangit ho jaaye.

Song: yeh jo chilman hai (Mehboob Ki Mehendi)

samay ke saath saath kai cheezon ka umra Dhalne lagtaa hai aur
saundarya mein kamee aane lagti hai. lekin waqt Rafi saahab se haar
gaye hain. unke geet jawaan rahe hain aur hameshaa rahenge. waqt ko
shikast dekar Mohd Rafi ke geet sadiyon tak goonjte rahenge aur
hamaare bheetar pyaar ki ooshmaa ko bachaaye rakhenge.

Song: meri aawaaz suno pyaar ka raag suno (Naunihal)

Sargam Ke Sitaare, paarshwagaayak Mohd Rafi ko samarpit is
kaaryakram ke nirmaan mein takneekee sehyog diya Subhash Bhavsar ne,
prastuti sehyog P K A Nair ka tha, is kaaryakram ko sanyojit kiyaa
Rakesh Joshi ne aur Vividh Bharati ki or se isey aapki sevaa mein
prastut kiya Kamal Sharma ne. ab deejiye ijaazat, namaskaar!

THE END

Sangeetkaar Madan Mohan ki Rachnaaon Mein Shastriya Sangeet
Part 3

Presented By: Dr Alka Dev Marulkar
----------------------------------

abhijaat sangeet, parishkrit sangeet, amarta sangeet ki paribhaashaa
kya hai yeh hum naheen jaante, lekin waisa hi hogaa jaisaa Madan
Mohan ke geet hain, jise hum kehte hain abhiruchi sampanna. aisa hi
ek aur geet film Dastak mein hai jise Majrooh saahab ne likhaa hai.

Dr Alka sings "hum hain mataay-e-koochaa-o-baazaar ki tarah".

is geet mein karoon vilaap hai, baazaar mein biknewaali kalaa ka
karoon vilaap hai ismein. isi film Dastak ka ek aur bahut hi
khoobsoorat geet hai "baiyaan na dharo o balmaa" jo ki aadhaarit hai
chaarukeshi raag par. chaarukeshi raag naTbhairav ka hi
ek 'variation' hai. dono mein antar yehhai ki chaarukeshi mein komal
nishaad hotaa hai aur naTbhairav mein shuddh nishaad. o chaliye
sunte hain Lataji ki aawaaz mein yeh amar geet.

Song: baiyaan na dharo o balmaa (Dastak)

film Adalat ke gaane Madan Mohan ki yaad bahut zyaada dilaate hain.
in geeton ki prashansaa shabdon se sambhav naheen hai.

Dr Alka sings "yun hasraton ke daaG mohabbat mein dho liye"

aise geeton ki prashansaa buddhi se naheen balki jazbaat se karni
chaahiye. naayikaa ki peeDaa ko aise purasar tareeke se prastut kiya
gaya hai ki geet sunkar har kisi ki 'waah' 'aah' mein badal jaati
hai. Adalat mein hi ek aur aisaa hi dard bhara geet hai, ismein
naayika ki shikaayat dekhiye ki "jaana tha humse door bahaane banaa
liye", naayika yeh shikaayat kar rahi hai. yeh waise to raag piloo
par aadhaarit hai, lekin piloo ab shaastriya raag naheen raha. ab
yeh Thumri ban chukaa hai. Khair, suniye ek baar phir Lataji ki
aawaaz mein yeh geet.

Song: jaana tha humse door bahaane banaa liye (Adalat)

yeh geet sunkar aapki aankhen bhar aayi hongi. ab main aapko piloo
par hi aadhaarit ek aur Madan Mohan ji ki rachnaa sunwaati hoon,
lekin iskaa 'mood' pichhle gaane se bilkul alag haT ke hai. yeh film
Dulhan Ek Raat Ki ka Holi geet hai, suniye.

Song: maine rang lee aaj chunariya (Dulhan Ek Raat Ki)

aap yeh soch rahe honge ki ab tak maine sirf Lataji ke hi gaaye
gaane sunwaaye hain. sach to yeh hai ki Lataji aur Madan Mohan-ji,
dono ek aatma hain, sangeet ka ek hi roop. lekin iskaa yeh matlab
naheen ki baaki kalaakaaron mein koi kamee hai. Asha Bhosle-ji ne
bhi kuchh geet gaaye hain unke liye, unmein se ek yeh hai...

Dr Alka sings "sabaa se yeh kehdo..."

Madan Mohan ke geeton ko gaane ke liye gaayakon ko kaafi tayyaari
karni paDti thi. taan, uska utaav chaDhaav, gaane mein bilkul Doob
jaana paDtaa tha. ab jis raag ka ullekh hum karenge, woh ek dakshin
Bhaaratiya raag hai. jee haan, raag kalaavati, is raag ka chalan aur
prakriti bahut hi sundar hai. film Adalat ka ek geet hai
(sings) "jaa jaa re jaa saajana kaahe sapno mein aaye", ismein
jo "kaahe" shabd hai uskaa ek alag hi sur Takraar hai, madhyam lagaa
hai jo kalaavati mein naheen aata hai, ek asahaay bhaav, aisaa sirf
Madan Mohan-ji hi kar sakte hain.

Song: jaa jaa re jaa saajana kaahe sapno mein aaye (Adalat)

ek aur kalaavati par aadhaarit naghma aapko sunwaana chaahoongi.
film Sanjog ke is geet ka aadhaar kalaavati hai lekin Madan Mohan-ji
ne isey bhi alag alag suron se sajaaya hai. suniye...

Song: chalaa hai kahaan duniya idhar hai teri (Sanjog)

TO BE CONTINUED...

Hi,

Thats really a bad news. But I would advise you to try Vividh
Bharati transmission on the short wave 31 meter band corresponding
to 10,330 kHz. There are 3 high power short wave transmitters for VB
broadcasting, one each located at Delhi, Chennai & Guwahati, which
cover the entire country. So, u should ideally get SW reception from
the Chennai transmitter.

If u r able to get it, then your Puraani Sangeet shall get replaced
by Bhoole Bisre Geet (7 to 7:30 am) :)

Sujoy

--- In vividhbharati@..., "M. Iqbal"
<m_iqbal_kochi@y...> wrote:
>
>
>
> The All India Radio Kochi F M station was broadcasting earlier,
> though it had limited time, the Purani Sangeet Programme
> from 7 am to 7.30 am, catering to the genuine need of the listeners
> of old golden melody film music. Last month the duration of it's
> captioned Rainbrow programme has been extended which was welcomed
> by the listeners in general. But what has happened is a jolt
> to the lovers of old golden music, is that the said Purani Sangeet
> programme has been withdrawn. As far as the listeners in Cochin
> area is concered for listening their beloved artists right from
> K L Saigal, it was the only receivable programme. We will not
> get usually the shortwave or the vivid bharati. Needless to say
> about Radio Ceylon, we wont get it. Now with the withdrawal of
> the Purani Sangeet the listeners are left in the lurch. They
> have sent their grievance to the local station, but no result.
>
> This is for your kind information.
>
> Regards,
>
> M.Iqbal, Cochin
>

The All India Radio Kochi F M station was broadcasting earlier,
though it had limited time, the Purani Sangeet Programme
from 7 am to 7.30 am, catering to the genuine need of the listeners
of old golden melody film music. Last month the duration of it's
captioned Rainbrow programme has been extended which was welcomed
by the listeners in general. But what has happened is a jolt
to the lovers of old golden music, is that the said Purani Sangeet
programme has been withdrawn. As far as the listeners in Cochin
area is concered for listening their beloved artists right from
K L Saigal, it was the only receivable programme. We will not
get usually the shortwave or the vivid bharati. Needless to say
about Radio Ceylon, we wont get it. Now with the withdrawal of
the Purani Sangeet the listeners are left in the lurch. They
have sent their grievance to the local station, but no result.

This is for your kind information.

Regards,

M.Iqbal, Cochin

Presented By: Dr Alka Dev Marulkar
----------------------------------

shaastriya sangeet ke raagon mein Dhalkar Madan Mohan ke geet
hamaari aatma ko chhoo jaati hai. ab jis raag ka zikr main karne jaa
rahi hoon woh hai raag nand jo Raipur, Jaipur aur Agra gharaano ki
khaasiyat thi. film Mera Saaya ke is geet mein geet raag nand par
aadhaarit hai lekin is geet mein jo vaadya-vrind hai woh bilkul alag
hai. Madan Mohan ke vaadyavrind mein Sonik aur Vipin Dutta jaise
kalaakaar shaamil the, Vipin Dutta to 12 saal tak unke saath rahe.
to suniye film Mera Saaya ka yeh geet, dekhiye ismein raag nand ka
kis shuddhata se prayog huyaa hai aur iske antare mein komalnishaad
ka prayog huya hai.

Song: tu jahaan jahaan chalegaa (Mera Saaya)

kisi geet ki safalta ke peechhe na keval achchhe sangeet ka haath
hotaa hai balki behatareen shaayri aur kavita bhi hoti hai. us
zamaane mein sangeetkaar ko bhi shaayri ki samajh hoti thi aur
isiliye sur woh baat keh jaate the jo bol na kahe paate. Madan Mohan
ghazal saamraagyi Begum Akhtar ke sohbat mein rahe hain, unhe sunte
aaye hain aur unkaa asar Madan Mohan ke geeton par bhi zaroor huya
hai. yun to Madan Mohan ke geeton ko zyaadatar Rajinder Krishan,
Raja Mehendi Ali Khan, Sahir Ludhianvi aur Majrooh ne likhe hain,
Naqsh Lyallpuri ne bhi bahut khoobsoorat geet unhe likhkar deeye
hain. film Dil Ki Raahen ka ek ghazal iskaa pramaan hai, "rasm-e-
ulfat ko nibhaayen to nibhaayen kaise, har taraf aag hai daaman ko
bachaayen kaise". is ghazal ko filmi ghazlon mein ek 'classic' maani
jaati hai aur yeh aadhaarit hai raag madhumanti par. kuchh kalaakaar
is raag mein komal nishaad ka bhi prayog karte hain. chaliye sunte
hain is geet ko.

Song: rasm-e-ulfat ko nibhaayen to nibhaayen kaise (Dil Ki Raahen)

shrotaaon, hum Madan Mohan ki sur rachnaaon mein gaayiki shabd ka
shodh kar rahe hain. gaayiki shabd shravan se juDaa huya hai. jo
sangeet vichaar prastutikaran mein laayi jaaye aur taaleem aur
abhyaas se nikhaari jaaye, usi ko hum gaayiki kehte hain. film
sangeet jaise bandhe huye sangeet mein sangeetkaar ko poorna
swatantrata bahut kam sangeetkaaron ko milti hai. Madan Mohan ne
apne sangeet mein anek raag-raaginiyon ka prayog kiya hai yeh aap ab
tak samajh hi gaye honge. film Hanste Zahm ka ek geet hai "aaj
sochaa to aansoo bhar aaye, muddaten ho gayi muskuraaye", yeh geet
jaunpuri ke swarvaakya se shuru hotaa hai, lekin baad mein kaafi aur
sindoora se iski sajaawaT kee gayi hai. ismein komal dhaiwat aur
shuddha dhaiwat, dono ka prayog kiya gaya hai. karun ras ke is geet
ko itni Khoobsoorti se Madan Mohan ne banaaya hai ki sunte hi
aankhen apne aap bhar aati hain.

Song: aaj sochaa to aansoo bhar aaye (Hanste Zakhm)

aur ab ahiri toDi ka chalan dekhte hain. geet hai "hai isi mein pyar
ki aabroo". ismein komal nishaad, komal gandhaar aur komal assaveri
ka istemaal unhone kiya hai. anek swar-panktiyon ka prayog huya hai,
kahin kahin bhairavi  ka bhi jhalak hai. naayika ki vedana ko
darshaane ke liye alag alag raagon ko prayog mein laaya hai Madan
Mohan ne.

Song: hai isi mein pyaar ki aabroo (Anpadh)

Madan Mohan se juDee ek vaakya aapko bataana chaahoongi. ek baar
unke vaadyavrind mein ek 'musician' besuraa bajaa rahe the. saazon
ki itni baDee bheeD mein bhi ek saaz ka besuraapan unse sahan naheen
huya aur woh us 'musician' tak pahunchne ke liye saamne ka 'glass'
toDkar aage nikal gaye. Lata-ji, jo wahaan pe maujood theen, unhone
phir unke haathon mein paTTi baandhee. isse yeh saabit hotaa hai ki
apni kalaa ke prati Madan Mohan ki kitni nishThaa aur shraddha thi.
chaliye ab baat karte hain raag bhimpalasi ki. Mera Saaya film mein
ek geet tha "naino mein badraa chhaaye". jab kisi ne mujhse yeh
kahaa ki yeh geet bhimpalasi par aadhaarit hai to main aashcharya ho
gayi. aise hi agar sunaa jaaye to koi bhi is raag ko is geet mein
DhoonDta reh jaayega, lekin bahut dhyaan se sunenge to pataa
chalegaa ki poore geet mein bhimpalasi ka ek valay chhaaya huya hai.
pehli pankti mein gandhaar madhyam ka prayog huya hai aur "aise mein
balam mohe" mein rishabh ka khaTkaa hai. to madhyam, jo bhimpalasi
ka mukhya aakarshan hai, aur rishabh ka khaTka, dono ka prayog is
geet mein huya hai, aap bhi suniye.

Song: naino mein badraa chhaaye (Mera Saaya)

TO BE CONTINUED...

FLASHBACK - A SPEAIAL SERIES CELEBRATING THE COMPLETION OF 75 YEARS
OF HFM

(Presented by Prabha Joshi on Vividh Bharati Pune)

EPISODE 5 (23/07/2006)
----------------------

Good morning listeners,

Hindi Film Music is a like a 75 year old banyan tree that has spread
its branches and roots over a vast area over all these years,
providing cool shadows to the listeners continuously. In today's
episode of Flashback, we shall discuss about the film music of 1945
and throw some light on the related incidents of the year.

1945 was the most happenning year for actress singer Noorjehan as
three of her best known musical films, namely, Zeenat, Gaon Ki Gori,
and Badi Maa were released. Directed by Master Vinayak, who was
earlier associated with the Prabhat, Badi Maa's songs composed by
Datta Koregaonkar (also known as K. Dutta), reached the heights of
popularity.

---------------------------------------------------------------
Song: haan intezaar hai teraa dil bekaraar hai meraa (Badi Maa)
---------------------------------------------------------------

Apart from being a hit Noorjehan film, the mention of Badi Maa is
highly significant for the fact that with this film two sisters had
made their debut in Hindi films, who created history in film music
with their careers of playback singing spanning over six decades
with undiminished popularity. Yes, we are talking about Melody Queen
Lata Mangeshkar and her sister Asha Bhosle. It is said that Asha had
playbacked few lines for Lata in this film in which young Lata had
played a small role. By the way, here is that evergreen song of this
film rendered fantastically by Noorjehan.

-------------------------------------------
Song: diya jalaakar aap bujhaaya (Badi Maa)
-------------------------------------------

Noorjehan became so much popular acroos the subcontinent that young
Lata too tried to sing in her style in her initial songs. Continuing
with Noorjehan's trio, the second this year was K. Amarnath's Gaon
Ki Gori starring Noorjehan, Durga Khote and others. This time
composer Shyam Sundar's songs made it to the top.

----------------------------------------------------------------
Song: baiThi hoon teri yaad ka lekar main sahaara (Gaon Ki Gori)
----------------------------------------------------------------

Shyam Sundar was Master Ghulam Haider's assistant in Lahore. Like
Ghulam Haider, similar Punjabi style of music composition is visible
in his music as well. How can one forget a song like this one!

-----------------------------------------------------------
Song: kis tarah bhooolegaa dil unkaa khayaal (Gaon Ki Gori)
-----------------------------------------------------------

In Bombay Talkies, singer Arun Kumar, who was known to give playback
for his cousin brother Ashok Kumar, turned composer this year and
scored music in Pratima that starred Dilip Kumar and Swarnlata.
Dilip Kumar had made his debut last year in Jwar Bhata made by this
same banner. After Pratima, Devika Rani sold her shares of Bombay
talkies to Amiya Chakraborty (Famous Studios) and married a Russian
painter on 23 August 1945 and left the film industry.
On the other hand, Ranjit Movietone was facing a tough financial
crisis as its founder Chandulal Shah had involved himself deeply in
race and betting.

Mukesh, who has been acting and singing for himself in a few films
since 1941, became a playback singer with the film Pehli Nazar, in
which he gave playback for Motilal. Anil Biswas made him sing "Dil
jalta hai to jalne de, aansoo na bahaa faryaad na kar" based on Raag
Darbari in more or less the Saigal style. This was Mukesh's first
popular song and after this there was no looking back for him. It is
heard that on the day of recording of this song, Mukesh did not
appear for the recording at the scheduled time. Anil Biswas, highly
angry on him went to his house and found him sleeping. He gave
Mukesh a tight slap after which Mukesh came to his senses, got up
immediately and recorded the song that changed his destiny.

----------------------------------------------
Song: dil jaltaa hai to jalne de (Pehli Nazar)
----------------------------------------------

After this film, Bulo C. Rani signed him up for Ranjit Cinetone's
Moorti and he once again became the screen voice of Motilal. In this
film, Mukesh sang with Khursheed and Hamida in the song "Badariya
baras gayi us paar".

------------------------------------------
Song: badariya baras gayi us paar (Moorti)
------------------------------------------

In 1945, director Chetan Anand made his entry into the film world
with Neecha Nagar, a film based on the slum-dwellers. Born in
Lahore, Chetan Anand had gone to England for education and after
coming back had joined IPTA. Neecha Nagar had songs composed by
another IPTA member Pandit Ravi Shankar. This is the same renowned
Sitarist, who in his young days had composed for few films. Neecha
Nagar had also made it to the Cannes' Film Festival.

In 1944, Noorjehan's filmmaker husband Shaukat Hussain had given
chance to new composer Sajjad in Dost. But he signed up Mir Saheb
and Hafeez Khan for Zeenat in 1945. Noorjehan once again proved her
versatility by singing a variety of songs in this film.

------------------------------------
Song: bulbulo mat ro yahaan (Zeenat)
------------------------------------

Based on a Muslim subject, Zeenat is well-known for a qawwali sung
by Noorjehan, Zohrabai and Kalyani, which is considered to be the
first popular qawwali of Hindi Film Music. Later Roshan made some of
the great qawwalis. Here is the qawwali from Zeenat.

---------------------------------------------
Song: aahen na bhari shikwe na keeye (Zeenat)
---------------------------------------------

In the New Theatres, Bimal Roy, who was working as a
cinematographer, made his directorial debut in the Bangla film 'Oder
Pothey', which was made as Humrahi in Hindi. Earlier he had made a
documentary film on the Bengal famine. Music composed by R C Boral,
Humrahi was the last major film of the New Theatres. Lets listen to
a rare song from this film sung by Binita Bose.

--------------------------------------------------------
Song: bahaar ke din aaye ek naya sandesa laaye (Humrahi)
--------------------------------------------------------

In 1943, Jayant Desai had directed Tansen starring K L Saigal and
Khursheed that became a huge hit. In 1945, Jayant Desai teamed up
again with Saigal but Khursheed was replaced by Suraiyya. The film
was Tadbir. But Tadbir could not  get the same acclaim that Tansen
had got. Lal Mohammad was the composer. Here is a duet from this
film.

---------------------------------------
Song: raani khol de apne dwaar (Tadbir)
---------------------------------------

Like others, Suraiyya was a great fan of Saigal. Once Saigal saw and
heard her recording a song for the film Samrat Chandragupt. He was
so much impressed with her singing that he suggested to choose her
as the heroine in Jayamt Desai's next film Tadbir. And in this way,
Suraiyya got the opportunity to work with her idol.

Suraiyya speaks: Ek zamana tha jab main filmi duniya mein naheen
aayi thi aur us waqt main Saigal sahab ki filmon ko bade shauk se
dekhti thi. Unki gaano ne mujhpar jadoo ki tarah asar kiya tha aur
main akele mein unhi ke geet gaati rehti thi. Yeh kabhi socha bhi na
tha ki unke saath meri filmen bhi banengi. Lekin Saigal sahab ke
saath meri teen filmen banee, Tadbir, Umar Khaiyam, aur Parwana.
Mujhe fakr hai ki maine unke saath kaam kiya aur bahut kuchh seekha.
Ek baar maine unse poochha, "Saigal sahab, aap itna achchha kaise
gaa lete hain?" to Saigal sahab ne jawaab diya, "Hum jis gaane ko
gaate hain, pehle uske jazbaat ko samajhte hain, uske bhaavnaaon
mein doob jaate hain aur tab wohi bhaavnaayen suron mein dhalkar
nikalti hain".

--------------------------------
Song: jaag ae sonewaale (Tadbir)
--------------------------------

Singer Jagmohan Mitra's name might have disappeared from our daily
lives, but once he had become highly popular for his non-film songs.
Like most of the singers of that time, Mitra was also highly
influenced by Saigal's tstyle of singing. The non-film song "yeh naa
bataa sakoongaa main tumse hai mujhe pyaar kyun" had rose to the
lips of the masses. In 1945, Jagmohan Mitra got the opportunity to
sing in the Debaki Bose directed film Meghdoot, under the music
direcion of Kamal Dasgupta. Here is that beautiful song from
Meghdoot.

------------------------------------------
Song: o varshaa ke pehle baadal (Meghdoot)
------------------------------------------

Omkar Prasad Nayyar of Lahore was highly influenced by the melody of
songs produced by the New Theatres of Calcutta, and the Punjabi folk
rhythms of Master Ghulam Haider's songs. He used to sing in the
Children's programmes on Lahore Radio. When he was only 18 years
old, C H Atma helped him get into HMV and Omkar Prasad Nayyar, ie, O
P Nayyar composed his first non-film song "preetam aan milo" which
was sung by C H Atma. And from here started a musical journey and
later Nayyar became the Rhythm King of HFM.

-------------------------------------------------------
Song: preetam aan milo dukhiya jiyaa bulaaye (Non-film)
-------------------------------------------------------

8 September 1945. The World War came to an end. The two cities of
Japan were totally removed from the world map by the two powerful
atom bombs. The mysterious disappearance of Netaji Subhash Chandra
Bose and his suspected death in the Taipei plane crash were the hot
topics. The Indian struggle for independence was in full force. The
film industry was also not untouched by the devastating World War. A
steep rise in industry activity to manufacture guns, bombs and
ammunitions resulted in huge monetary profits, and the profit-makers
identified filmmaking as the best option to translate this money to
further huge profits. Film stars started getting huge fees and a
part of it being `tax-free' as well. And this eventually made those
stars bigger than the studios that once had given them the platform
to showcase their talent. Big studios like the New Theatres and
Bombay Talkies gradually declined.

-----------------------------------------------------------------
Song: aandhiyaan gham ki yun chalee baag uja ke reh gaya (Zeenat)
-----------------------------------------------------------------

After the end of the World War, the speed of film making increased
again as the restrictions regarding the raw films were withdrawn.
Due to the death of V G Damle of Prabhat Studios and resignation of
Devika Rani from the Bombay talkies, these two big banners landed up
on a big crisis, not to restore again. So, dear listeners, this was
the story of Hindi Film Music during the year 1945. We shall return
back next week same time with yet another episode of Flashback. Good-
Bye!

END OF EPISODE 5

SANGEET SARITA

Series Title: Sangeetkaar Madan Mohan Ki Rachnaaon Mein Shastriya
Sangeet
-----------------------------------------------------------------
Broadcast Date: 14 July onwards daily
-------------------------------------
Presented by: Dr Alka Dev Marulkar
Produced by: Kanchan Prakash Sangeet
------------------------------------

Dr Alka sings "bahaaren humko DhoonDegi na jaane hum kahaan honge"

Sangeet Sarita ke shrotaaon, sangeetkaar Madan Mohan bhale hi
hamaare beech mein aaj naheen hain lekin woh apni aatma yaheen pe
chhoD gaye hain. unke geeton ke zariye unke afsaane bayaan hote
rahenge. san 1975 tak ka samay Hindi Film Sangeet ka sunehra yug
maana jaata hai aur Madan Mohan bhi 1950 se lekar 1975 tak hamein ek
se ek naayaab moti deeye hain. unki Khaasiyat yeh rahi hai ki film
sangeet ko shastriya sangeet ke rang se aise sajaaya hai ki sunkar
aatma tript ho jaati hai. apne shuruwaati safar mein Madan Mohan
sangeetkaar Anil Biswas, Khemchand Prakash aur C Ramchandra se kaafi
prabhaavit the. to aayiye shuru karte hain ek aise geet se jo Anil
Biswas ke sangeet se prabhaavit jaan paDti hai. film Nirmohi ke is
geet mein raag gaur saarang ka prayog huyaa hai lekin Madan Mohan ne
alag alag swaraavaliyon se geet ko sajaaya hai.

Song: dukhiyaari naina DhoonDe piya ko (Nirmohi)

Hindustaani sangeet mein 10 ThaaT hain. yeh hain kalyaan, bilaawal,
khamaaj, bhairav, bhairavi, asaaveri, toDi, poorvi, maarva, aur
kaafi. jo geet main ab sunwaane jaarahi hoon woh aadhaarit hai
alhaiya bilaawal par aur jaisa ki aapko bataaya ki bilaaval ka
aadhaar ThaaT hai. film Manmauji ke ek geet mein Madan Mohan ne is
alhaiya bilaawal ka sundar prayog kiya hai. woh kisi bandish ki
rachna naheen balki geet banaa rahe the. unhone ismein andar tak
pahunchkar raag ke alag alag aayaamon ko DhoonDa hai. is geet mein
teevra madhyam ka bhi prayog huya hai aur maaru vihaag ka prabhaav
bhi jhalaktaa hai.

Song: chandaa jaa chandaa jaa re (Manmauji)

Madan Mohan ke sohbat mein kitne hi naamcheen fankaar aaye, jaise
Ustad Vilayat Khan, Ustad Amir Khan, Begum Akhtar. in sabkaa
prabhaav to unpar paDnaa hi tha. aayiye ab baat karte hain raag
yaman ka. yaman ko shringaar ras ka adhishThata maana jaata hai. is
raag ko bahut se sangeetkaaron ne bahut se geeton mein prayog kiya
hai. yaman koi raag naheen balki ek mahaasaagar hai. aayiye sunte
hain film Anpadh ka yeh geet raag yaman par aadhaarit.

Song: jiyaa le gayo ji mora saanvariya (Anpadh)

yaman raag ka ek aur roop hai jise hum yaman kalyaan kehte hain.
yaman aur yaman kalyaan mein fark yeh hai ki yaman teevra madhyam
hai jabki yaman kalyaan mein teevra madhyam ke saath saath shuddha
madhyam bhi hai. suniye kis khoobsoorti se yaman kalyaan raag ka
prayog Madan Mohan ne film Haqeeqat ke is gaane mein kiya hai.

Song: zaraa si aahat hoti hai (Haqeeqat)

shaastriya sangeet kabhi puraana naheen hotaa, yeh nitya natoon
lagtaa hai. Madan Mohan ke geeton mein bhi shaastriya sangeet yun
ghulmil gaya hai ki unke rache geet bhi ajar amar ban gaye hain.
main aapko ek kissa sunaati hoon. ek baar Pune mein Ustad Vilayat
Khan saahab 2 ghanTe ka programme pesh kar rahe the. wahaan Madan
Mohan bhi shrotaa bane baiThe the. Madan Mohan yeh dekh hairaan ho
gaye ki Khan saahab ne 2 ghanTe tak sirf raag raageshwari hi gaaye
lekin har baar ek naye andaaz mein, unhone kisi bhi hakat ka dohraav
naheen kiya. programme khatam hone ke baad Madan Mohan Khan saahab
se lipaT gaye. Khan saahab ne unse kahaa ki 'log kehte hain ki Madan
Mohan ke sangeet mein gehraaee hai. yeh gehraaee kahaan se aayi aaj
pataa chalaa'. shrotaaon, aayiye ab zikr karte hain mausami raag
malhaar ka. Madan Mohan ne megha malhaar mein mein shahaDa kannaDa
ka prayog kar is khoobsurat geet ki rachna kee thee.

Song: chhaayi barkhaa bahaar (Chiraag)

ek aur khoobsoorat geet jiska zikr na karen to is raag ki charcha
adhuri reh jaayegi. yeh hai raag miya malhaar. suniye is geet mein
ek taraf to jalne ki baat ho rahi hai, aur doosri taraf malhaar raag
ka prayog kiya gaya hai. film Jahan Ara ka yeh naghma pesh hai.

Song: woh chup rahen to mere dil ke daaG jalte hain (Jahan Ara)

TO BE CONTINUED...

doston, aaj ke fankaar hain mashoor sangeetkaar-joDi Jatin Lalit.

Clip: tum paas aaye yun muskuraaye (Kuch Kuch Hota Hai)
Clip: baahon ke darmiyaan do pyar mil rahe hain (Khamoshi)
Clip: tujhe dekhaa to yeh jaana sanam (Dilwale Dulhaniya Le Jayenge)

in geeton ki jhalkiyaan sunkar aap yeh mehsoos kar rahe honge ki
itne khoobsoorat gaane lekin us waqt in geeton ke sangeetkaar Jatin
Lalit 'limelight' mein kyun naheen aaye bhalaa? yahi to, yahi to,
Jatin Lalit ne katai apne kaam ke baare mein bolnaa naheen chaahte,
kyunki unkaa kaam hi sab kuchh bol detaa hai unki pratibhaa ke baare
mein.

Song: aaj main upar aasmaan neeche (Khamoshi)

Hindi cinema ke itihaas mein kai sangeetkaar joDiyaan hamaare zehen
mein base huye hain, inmein se ek naam Jatin Lalit bhi hai. unke
geet sunkar unkaa naam hamaare dil ke darwaaze par dastak detaa hai.

Song: mere khwaabon mein jo aaye (DDLJ)

Jatin Lalit, dono bhaai hain lekin bataur sangeetkaar in dono ne
shuruwaat kee thee 1992 mein banee film Yaara Dildara ke saath.

Song: bin tere sanam mar miTenge (Yaara Dildara)

lekin inki Khaas pehchaan banee 1992 mein hi banee film Khiladi se.

Song: vaada raha sanam honge judaa na hum (Khiladi)

aur 1992 mein hi unki silsilevaar filmen aati gayeen, Jo Jeeta Wohi
Sikander.

Song: pehlaa nashaa pehla Khumaar (JJWS)

Jatin Lalit ke geeton ko sunkar log chaunke, sangeet premee is soch
mein paD gaye ki yeh 'compositions' aaKhirkis sangeetkaar ka hai?
jaisa ki humne pehle aapse kahaa ki Jatin Lalit ke liye unkaa kaam
hi boltaa hai aur kyun na bole? unhe sangeet viraasat mein jo milee
hai. we Pratap Narayan ke suputra hain aur 'classical music'
ke 'grand-master' Pandit Jasraj ke bhateeje hain. apne pitaa ke
alaawaa in dono ne Pt Ram Prasad se taaleem haasil kee aur Piano aur
Guitar mein inhe mahaarath haasil hai.

Song: kya yahi pyaar hai (Mohabbaten)

Jatin Lalit ke 'filmography' par agar nazar Daanejaayen to soochee
kaafi lambee ho jaayegi, lekin unke kuchh geeton ki jhalkiyon ko
sunkar aap unmein kho jaayenge, yeh hamaara yakeen hai.

Clip: taubaa tumhaare yeh ishaare (Chalte Chalte)
Clip: humko humhi se churaalo (Mohabbaten)
Clip: suraj huya madhyam chaand jalne lagaa (Kabhi Khushi Kabhie
Gham)

doston, vaise to har sangeetkaar ka apnaa 'style' hotaa hai, apni
shaili hoti hai, chaahe woh Shankar Jaikishen ho ya Laxmikant
Pyarelal. JatinLalit ne bhi apni shaili behatareen tareeke se
tayyaar kee hain. ummeed hai ki film Fanaa ke baad bhi unke sureele
geeton ka silsilaa jaari rahegaa, jo hamein behlaata rahegaa,
thirkaata rahegaa.

Song: mere haath mein teraa haath ho (Fanaa)

to doston, aaj ke fankaar the sangeetkaar Jatin Lalit, ab deejiye
ijaazat, namaskaar!

THE END

PART 2

sabhi sunnewaalon ko Kamal Sharma ka namaskaar. Sargam Ke Sitaare,
aaj is kaaryakram mein hum aapko sunwaa rahe hain film jagat ke
suprasiddha sangeetkaar Madan Mohan ke sangeetbaddha keeye geeton
par aadharit kaaryakram ka doosra aur antim bhaag.

Madan Mohan speaks: har Fankaar ko jazbaati honaa hi chaahiye naheen
to kahin na kahin woh gumraah ho jaayega, bhool karegaa, sirf
kalaakaar ko hi naheen har insaan ko jazbaati honaa chaahiye.

ek achchhi dhun ke peechhe hoti hai samarpan ki dhun, saadhana ki
dhun. sangeetkaar Madan Mohan bhi aise hi dhuno ke dhani the.

Song: main bhalaa hosh mein kaise rahoon (Suhagan)

Madan Mohan speaks: kyunke silsilaa sureele gaano se shuru kiya hai,
main ek aur chhoTi si badtameezi karoonga, apna ek aur gaana
sunaayunga. is gaane ke liye mujhe 'National Award' tak milaa hai.
sabhi ko yeh pasand aaya, aapko bhi shaayad pasand ho, film
Dastak, "baiyaan na dharo o balmaa"

Song: baiyaan na dharo o balmaa (Dastak)

yun to film sangeet ki pehchaan 'romantic' gaane hain lekin aise
gaane bhi hain jo hamaare akelepan ke saathi hain. jab dil se koi
hook si aawaaz uThti hai, raat ki tanhaaiyaan kaaTne dauDti hain,
aise mein door se koi aisaa geet goonjne lagti hai jo smritiyon ke
jangal ko haraa kar jaata hai aur jinpe kandhaa rakhkar hum apne dil
ke bojh ko halkaa kar dete hain. Madan Mohan ke geeton mein aisaa hi
jaadoo hai.

Song: woh bhooli daastaan lo phir yaad aa gayi (Sanjog)

Madan Mohan ke shastriya sangeet par aadhaarit geeton mein saazon ki
aisi bheeD bhi naheen hai jisse gaane ki aatma hi kho jaaye. unke
dhuno ki swardhaara parvat se utarti hai aur sr-sarita mein vileen
ho jaati hai. dhaaraaon mein dhaara samaane lagte hain, aisi hi kisi
dhaara mein nahaakar aatma tript ho jaati hai.

Song: jo humne daastaan apni sunaaee aap kyun roye (Woh Kaun Thi?)

vyaktigat anubhav ke star par har shrota ko koi sangeetkaar,
geetkaar ya gaayak doosron se zyaada pasand aate hain jinki koi
mauliktaa unhe prabhaavit kar jaati hai. Madan Mohan ke sangeet mein
bhi mauliktaa hai. film sangeet ek kalaa hone ke saath saath
vyaavsaay bhi hai jismein kai baar kalaakaaron ko samjhautaa karnaa
paDtaa hai. Madan Mohan jaise sangeetkaar ko bhi kahin kahin
samjhauta karna paDaa hai, lekin kalpanasheel sangeetkaar woh hain
jo koi na koi raasta zaroor nikaal letaa hai aur har baar apna
chhaap chhoD jaata hai. Madan Mohan unmein se ek hain.

Song: khelo naa mere dil se o mere saajana (Haqeeqat)

Madan Mohan ke dhuno ki mohini mein kabhi prem ka samarpan hai,
kabhi maadakta se bhari hain, kabhi virah ki vedana hai aur kabhi
swar-lehri se bhar deti hain dil ko jiskaa madhyam madhyam nashaa
hai.

Song: har taraf ab yehi afsaane hain (Hindustan Ki Kasam)

shastriya raagon ka baDa hi lubhaavna prayog Madan Mohan ne apne
sangeet mein kiya hai. filmi sugam sangeet mein bhi hum raagon ka
miThaas anubhav karte hain.

Song: main to tum sang nain milaake (Manmauji)

priya shrotaaon, apne 'radio set' par is samay aapne 'tune' kiya hai
Vividh Bharati ka kaaryakram Sargam Ke Sitare jismein hum aapko
sunwaa rahe hain film jagat ke suprasiddha sangeetkaar Madan Mohan
ke sangeetbaddha keeye geeton par aadharit kaaryakram ka doosra aur
antim bhaag.

naye daur ka sangeet maano kisi ki kalapanasheelata ke bajaaye
kisi 'factory' mein tayyaar kee gayi hai jismein jism to hai par koi
praan naheen. jis gati se inkaa nashaa chDhta hai, usi gati se utar
bhi jaata hai. aise mein Madan Mohan kaa sangeet tez dhoop mein koi
ghanee chhaaya jaisi lagti hai jo tan aur man dono ko sheetal kar
detee hai.

Song: masti mein chheD ke taraana koi dil ka (Haqeeqat)

meeThe aur madhur geet, shokh aur chanchal geet, khoobsoorat
khayaalonwaale geet aur jazbaat bhare geet Madan Mohan ke dhuno mein
Dhalkar aur bhi sundar ho gaye hain.

Song: ek haseen shaam ko dil mera kho gaya (Dulhan Ek Raat Ki)

gaayak Bhupinder ne Madan Mohan ke sangeet nirdeshan mein kai geet
gaaye hain. unhi ka gaaya ek geet sunte hain lekin usse pehle suniye
Bhupinder ke udgaar:

Bhupinder speaks: kuchh lamhe, kuchh log, jinhe dil hameshaa
DhoonDta rehtaa hai. unmein se ek hain Madan Mohan. aaj woh hamaare
beech mein naheen hain lekin unkaa sangeet aaj bhi unhe talaash
karti hai. woh mujhe laaye the, aaj bhi main unhe yaad kartaa hoon,
unke saath guzre un lamhon ko.

Song: dil DhoonDta hai fursat ke raat din (Mausam)

Madan Mohan ki pratibha ko anya kalaakaaron ne bhi kai kai baar
sweekaara hai. Vividh Bharati ke 'srudio' mein ek baar Asha Bhosle,
R D Burman aur Gulzar tashreef laaye the. us baat-chit mein bhi
Madan Mohan ka zikr chalaa tha. sunte hain usi baat-chit ka woh ansh
(AB: Asha, GZ: Gulzar, RD: Pancham):
--------------------------------------
GZ: "dil DhoonDta hai fursat ke raat din, baiThe rahe yunhi tasavvur
re jaana kiye huye", Ghalib ka yeh sher maine istemaal kiya tha,
kuchh sheron mein maine is tarah ke nazmon ka istemaal kiya hai. woh
kaise fursat ke din honge jiski talaash Ghalib kar rahe the? Is
gaane ke liye film mein 'hero' chhuTTiyon ki talaash kar raha hai,
isliye maine Ghalib ki is sher ko le liya.

RD: Waah!

AB: "fursat" shabd bahut khoobsurat lagta hai is gaane mein

GZ: Yeh Madan Mohan saahab ka kamaal tha, woh to ustaad the

RD: Bahut hi achchhe 'music director' the

AB: Ek baat hai, Madan bhaiya ne ghazal, Thumri, kajri par bahut
gaane banaaye hain.

RD: woh Akhtari Bai, Siddheshwari Bai jaise kalakaaron ko itna sunte
the, aur ek aur baat, woh khaana bhi bahut achchha banaate the, aap
ko pataa hai?

GZ: main to swaad se bataa detaa tha ki yeh Madan bhaisahab ne
banaaya hai.

RD: woh mere pitaji ke liye banaakar laate the, TinDe gosht

AB: maine to bhinDi gosht khaaya hai
-----------------------------------------

kabhi waqt ke lamhe hamein ateet mein le jaate hain, hum aisi yaadon
ke lehron ke saath saath chalte hain, guzre dino ke khayaalon ki
baarish mein bheegte chale jaate hain. Madan Mohan ke yeh geet bhi
humein kuchh aise hi ahsaas karaate hain.

Song: jab yaad kisi ki aati hai (Title Song)

dard ki raagini ho ya prem se labaalab geet, bhakti ras par
aadhaarit bhajan, Madan Mohan ke geeton mein woh har ek baat hai jo
geet ko har drishti se paripoorna karti hai. yun to yudh ki
prishThabhoomi par aadhaarit kai filmen banee hain aur unmein veer
ras ke kai gaane bhi shaamil huye hain, lekin film Haqeeqat ke is
veer ras se ot-prot naghme ko sunkar ek ajeeb si anubhooti hoti hai.
na chaahte huye bhi aankhen bhar aati hain, rongTe khaDe ho jaate
hain, yeh geet un jaanbaaz sainikon ke liye humein apnaa sar
shraddha se jhukaane par vivash kar deti hain.

Song: kar chale hum fidaa jaan-o-tan saathiyon (Haqeeqat)

jab jab kabhi sureele geeton ki baat chalegi, dil ko chhoo lenewaale
geeton ki baat chalegi, tab tab mehfil mein zikr chhiDegaa Madan
Mohan ka.

Song: rang aur noor ki baaraat kise pesh karoon (Ghazal)

Sargam Ke Sitaare, abhi aap is kaaryakram mein sun rahe the film
jagat ke suprasiddha sangeetkaar Madan Mohan ke sangeetbaddha keeye
geeton par aadharit kaaryakram ka doosra aur antim bhaag. is
kaaryakram ke nirmaan mein takneeki sahaayak the Kailash Nath
Varlikar, prastuti sehyog tha Parineeta Naik ka, aur Vividh Bharati
ki or se isey aapki sevaa mein prastut kiyaa Kamal Sharma ne. ab
deejiye ijaazat, namaskaar!

THE END

fauji bhaaiyon ko Manhar Udhas ka pyar bhara namaskaar. aaj main
behad Khush hoon ki aapse milne ka sunehra maukaa milaa hai. aaj
main aapko kuchh aisi baaten bataayungaa jinse aap waakeef naheen
hain par juDe huye zaroor hain. maine apna 'career' 24 saal pehle
shuru kiya tha aur jis gaane se shuru kiya tha woh tha D D kashyap
ki film Vishwas mein. geetkaar the Gulshan Bawra, sangeetkaar
Kalyanji Anandji aur isey maine Suman kalyanpur ke saath milkar
gaaya tha. ek jhalak pesh hai...

Song: aap se humko bichhDe huye ek zamaana beet gaya (Vishvas)

fauji bhaaiyon, ab main aata hoon us baat par jo aap se juDee huyi
hai. muhe 'school' mein aur phir 'engineering college' mein NCC aur
ACC mein kaafi dilchaspi thi. aalam yun tha ki dono mein 'C'
certificate mein paas huya, NCC mein to CQMS tak pahunchaa. main ek
fauji afsar banna chaahta tha, dil mein ek junoon sawaar ho gaya
tha. mere is junoon ko dekhkar mere gharwaale pareshaan ho gaye aur
mujhe ijaazat naheen dee. chaliye ab ek geet aur sun lete hain.

Song: hum tumhe chaahte hain aise (Qurbani)

mujhe ek fauji afsar bankar desh ki sevaa karne ka mauka naheen
mila, is baat ka afsos mujhe zaroor hai, lekin ek gaayak bankar
sunnewaalon ke dilon mein ek Khaas jagah banaaya hai. apni awaaz se
apnaa naam roshan karnaa, yeh bhi garv ki baat hai. meri yeh
Khushnaseebi hai ki swargeeya Sachin Dev Burman ke saath mujhe kaam
karne ka mauka milaa. geetkaar Majrooh Sultanpuri ka likhaaa yeh
geet jise maine Lata Mangeshkar-ji ke saath film Abhimaan mein gaaya
tha, aap bhi suniye...

Song: looTe koi man ka nagar (Abhimaan)

1980 mein mashoor 'producer-director' Subhash Ghai ne ek nayee film
ek naye 'hero' Jackie Shroff ke saath banaaee. film thi Hero. ismein
mujhse Laxmikant Pyarelal ne behad Khoobsoorat gaane gawaaye. uske
baad to Laxmikant Pyarelal ne kai filmon mein mujhse amar geet
gawaaye. suniye Anand Bakshi ka likhaa film Hero ka ek geet jise
maine Anuradha Paudwal ke saath milkar gaaya tha.

Song: tu meraa jaanoo hai (Hero)

iske baad Anand Bakshi, Laxmikant Pyerelal, Subhash Ghai aur Jackie
Shroff ke saath meraa ek aTooT rishtaa ban gaya. Hero se lekar
Khalnaayak tak humne ek saath kaam kiya.ab film Khalnaayak ka ek
geet pesh hai jise Alka Yagnik ke saath maine gaaya hai.

Song: der se aana jaldi jaana (Khalnaayak)

jab bhi kabhi muDkar main peechhe dekhtaa hoon to aisi cheezen nazar
aati hain jinse yaadon ka silsilaa barkaraar hai aur main fakr
mehsoos kartaa hoon. sangeetkaar Rajesh Roshan mere achchhe dost
hain jinhone mujhse kai arthpoorna geet gawaaye hain. film Gunaah
mein mahaan saahityakaar Kavi Neeraj-ji kaa likhaa ek amar geet
maine gaaya hai jise maine apne yaadon ke khazaane mein bahut
sambhaalkar rakhaa hai.

Song: ek musaafir hoon main (Gunaah)

mujhe yeh kehte huye khushi ho rahi hai ki meri aawaaz keval filmi
geeton tak seemeet naheen rahi. Hindi aur Gujarati ghazal aur Sai
Baba ke bhajan maine Khoob gaaye hain. ab main aapko Sheikh Adam
Abuwala la likhaa nazm sunaata hoon, shaayad aapke dilon ko bhi yeh
chhoo jaaye!

Song: ab rone se kya faayda kyun sehra mein barsaat karen (Non-film
Ghazal)

sangeetkaar Bappi Lahiri 'western' aur 'pop music' mein maahir maane
jaate hain lekin jab woh Hindustani rang ka koi gaana banaate hain
to woh bhi dil ko chhoo jaata hai. woh bhi mere achchhe dost hain
aur unke lye bhi maine geet gaayen hain. suniye film Mera Dharam ka
ek geet jise maine Asha Bhosle-ji ke saath gaaya hai.

Song: DhoonDti hai tujhe meri tanhaaiyaan (Mera Dharam)

naye daur ke sangeetkaaron mein Nadeem Shravan ek aisaa naam hai
jisne sangeetkaaron mein ek halchal paidaa kar diya hai. unke
banaaye gaane to Theek-Thaak hote hi hain, film bhi 'hit' ho jaati
hai. dehiye na kitnaa sundar geet unhone mujhse film Sadak mein
gawaaya tha.

Manhar Udhas sings "hum tere bin kahin reh naheen paate"

Song: hum tere bin kahin reh naheen paate (Sadak)

THE END

1975

mere baDe achchhe fauji bhaaiyon, bahut arse ke baad aap se phir
mulaaqaat ho rahi hai. aaj ke 'programme' ko maine kuchh soch kar
chunaa hai. jo geet maine chune hain, sabhi sureele hain, Hindustani
hain, aur jazbaati hain. main jaanta hoon ki aapki zindegi bhi
jazbaati hai kyunki jo desh ki rakshaa karte hain, unhe jazbaati
honaa zaroori hain. pehlaa geet sangeetkaar S D Burman ka banaaya
huya hai. unse meri mulaaqaat bahut puraani baat hai. jab woh pehli
baar 'picture' mein aaye the mere pitaaji (Rai bahdur Chunnilal)
ke 'studio' mein, woh kaam karte the, main unse miltaa tha, kaam bhi
seekhta tha. to unkaa geet "piyaa bina basiya baaje na" suniye, film
hai Abhimaan.

Song: piya bina basiya baaje na (Abhimaan)

doosra gaana jo main pesh karne jaa raha hoon usey sangeetkaar
Naushad ne sangeetbaddha kiya hai. Naushad ki shakhsiyat ajeeb
shakhsiyat hai, ek jazbaati insaan, nek insaan, sachche insaan. unke
liye mere dil mein bahut jagah hai. film Baiju Bawra ka geet
suniye "mohe bhool gaye saanvariya", gaayika hain Lata Mangeshkar.

Song: mohe bhool gaye saanvariya (Baiju Bawra)

teesra gaana jo maine aapke saamne pesh karne jaa raha hoon, usey
mere ek aziz dost ne swarbaddha kiya hai. woh bahut hi seedhe insaan
hain, phir jazbaati bhi hain. aap soch rahe honge ki main har baat
mein jazbaat ka zikr kar raha hoon. sach to yeh hai ki har Fankaar
ko jazbaati honaa hi chaahiye naheen to kahin na kahin woh gumraah
ho jaayega, bhool karegaa, sirf kalaakaar ko hi naheen har insaan ko
jazbaati honaa chaahiye. bhagwaan ne kuchh Fankaaron ko zyaada
jazbaati banaaya hai. main baat kar raha hoon Jaidev ki jo bahut hi
seedhe insaan hain. woh hamein kabhi mile lekhak ke roop mein,
kabhi 'painter' ke roop mein, lekin hain woh sangeetkaar. yeh geet
hai film Prem Parbat se "yeh dil aur unki nigaahon ke saaye".

Song: yeh dil aur unki nigaahon ke saaye (Prem Parbat)

agle gaane mein main thoDi si GustaaKhi karoonga, main apnaa hi ek
geet bajaayunga jo mujhe bahut pasand hai. is geet mein ek ajeeb si
kaifiyat hai, dard bharaa huya hai. phir dard bhi to zindegi ka hi
ek hissa hai. kab tak koi dard se door bhaag saktaa hai? "rasm-e-
ulfat ko nibhaayen to nibhaayen kaise". film Dil Ki Rahen, isey ek
baar phir Lata Mangeshkar ne gaaya aur bahut Khoobsoorti se gaaya
hai.

Song: rasm-e-ulfat ko nibhaayen to nibhaayen kaise (Dil Ki Rahen)

iske baad aapke saamnepesh hai R D Burman ka ek geet.unhe 'westenrn
music' dene ka shauk hai, lekin iskaa matlab yeh naheen ki woh
Hindustani 'music' naheen de sakte. bahut achchha dete hain. main
jaanta hoon ki woh S D Burman ke beTe hain, jab baap mein itni
kaableeyat hai tounmein bhi hogaa hi. lekin agar woh haTke 'music'
den to bahut achchha kar sakte hain. suniye film Amar Prem ka
geet "raina beetee jaaye".

Song: raina beetee jaaye shyaam na aaye (Amar Prem)

kyunke silsilaa sureele gaano se shuru kiya hai, main ek aur chhoTi
si badtameezi karoonga, apna ek aur gaana sunaayunga. is gaane ke
liye mujhe 'National Award' tak milaa hai. sabhi ko yeh pasand aaya,
aapko bhi shaayad pasand ho, film Dastak, "baiyaan na dharo o balmaa"

Song: baiyaan na dharo o balmaa (Dastak)

aglaa gaana jo main pesh karne jaa raha hoon woh log kehte hain ki
mere 'style' se zara haTke hai. zyaada shor sharaaba hai.ab aaj aap
jahaan jaayem shor hi shor hai, 'bus' mein 'trum' mein, shor se door
bhaagna mushkil hai. film Hanste Zakhm mein 'situation' aisa tha ki
laDka 'taxi driver' hai, woh ek laDki se pyar karta hai, woh jab
uske pyaar ko manzoor karti hai to woh bahut khush hotaa hai. isey
Mohd Rafi ne gaaya hai "tum jo mil gaye ho".

Song: tum jo mil gaye ho (Hanste Zakhm)

yeh gaana kuchh mujhpe ajeeb kaifiyat karti hai. ek bahut baDi
sachchaai keh jaati hai. isey mere bahut hi aziz dost, marhoom
Roshan ne banaaya tha. unkaa zikr karte huye galaa bhi jawaab de
deta hai kyunki woh aaj idhar naheen hain.

Song: taal mile nadi ke jal mein (Anokhi Raat)

aakhri gaana jo main pesh karne jaa raha hoon woh gair filmi hai,
isey marhooma Begum Akhtar ne gaaya hai jo mere zindegi ka bahut
baDa hissa theen. unhone mere kaam ko izzat bakhshi theen. aaj woh
humse door chali gayeen hain lekin ek aisi shakhsiyat theen jo kabhi
bhulaayi naheen jaa sakegi. phir Ghalib se mera ek ajeeb rishtaa
hai. ab to aisa lagta hai ki jo film Ghalib pe banaayi jaayegi woh
mujhe hi karni paDegi kyunki maine unko bahut paDhaa hai aur unse
kaafi mutaasir bhi raha hoon. jis Khoobsoorti se Begum Akhtar ne
Ghalib ki is ghazal ko gaaya hai, aap khud hi suniye...

Song: aur phir bayaan apna ban gaya raqeeb (Non-film ghazal)

to mere aziz fauji bhaaiyon, yeh kuchh sureele gaane the jo aaj
maine pesh keeye. sur bhagwaan ki den hai, usko pesh karnaa, sunna,
apnaana bahut baDi baat hai. yeh kudrati cheez hai jo aadmi seekhta
naheen balki mehsoos karta hai. aaj jitne gaane maine pesh keeye
ummeed hai aapko pasand aaye honge. ab aap mujhe ijaazat deejiye,
Jai Hind!

THE END

On 7/22/2006 11:45 PM India Time, _soojoi_india_ wrote:

> Hi,
>
> If anyone of u can upload or send me the recording of episode 5 of
> UUYK, it wud be great as I cud not listen to it that day. Without
> trascripting ep-5, I am not able to post ep-6 & 7, so pls help me in
> getting either the recording or it wud be great if anyone of u can
> transcript the ep-5.

Hi Sujoy,

As I said, I have got 20 minutes of part 5 recorded, and then I have got
full part 6 (last sunday) and part 7 (today) recorded.

the files are 191 MB, 291 MB and 281 MB respectively. I will convert it
to lesser size using soundforge and send it.

If you already have part 6/7 recorded, or have even already transcribed
it, please drop me a line.

Sorry that I am not finding time to do it. Probably I am doing is
excessively thoroughly, so it takes a lot of time, and that is what is
discouraging me. How to do it fast?

--
Rawat

On 7/19/2006 2:19 PM India Time, _Anup Manchalwar_ wrote:

> Trick to record programs...
>
> You need - Radio set, Headphone with mic, Computer and dictaphone.
>
> Download the dictaphone from: http://www.nch.com.au/express/index.html
>
> You can keep your mic in front of the radio speaker in silent zone. That
> software does rest of thing.
>
> I did it, in any complications, please ask me: 0-9860-452-036
>
> Anup Manchalwar,
> Pune

Whatever precautions you take, the above arrangement is going to pick
nearby noises.

In any case, it will be analog to digital recording which will be of
poor quality.

The best option is to get a internal tuner installed. Nowadays, the
tuners are cheap and have options of terretrial TV channels as well as
FM. My typhoon internal tuner cost me some Rs 1200 and it gives DD,
DDnews, vividhbharti FM and radio mirchi FM that is local here. The
quality is stereo. and it works in the back of my pc while I do my other
work. Very convenient. fully digital recording supported or audio/
video. you can even schedule it to record while you are away.

In any case, if you don't want to go this way, you should bye a
connecting cord from the MIC or headphone socket of your radio/
transistor to the LINE-IN socket of your pc. It costs some Rs 45 for a
stereo chord. Then, you can use free software like dbpoweramp to record
anything played on your instrument (radio, cassette, record) on your pc.
It will be analog to digital, but it will be stereo if your player has
that, and it will not pick any noise.

hope it helps.
--
Rawat

Hi,

If anyone of u can upload or send me the recording of episode 5 of
UUYK, it wud be great as I cud not listen to it that day. Without
trascripting ep-5, I am not able to post ep-6 & 7, so pls help me in
getting either the recording or it wud be great if anyone of u can
transcript the ep-5.

Thanks,

Sujoy

NB: Transcript of ep-6 is ready for posting :)

FLASHBACK - A SPEAIAL SERIES CELEBRATING THE COMPLETION OF 75 YEARS
OF HFM

(Presented by Prabha Joshi on Vividh Bharati Pune)

EPISODE 4 (16/07/2006)
----------------------

Good morning listeners,

Film Music is a commercial commodity but at the same time it is an
art-form as well. Over the years, this field of entertaining art has
undergone  astronomical progress in every possible way. Let us begin
tioday's episode of Flashback!

1943 saw the release of 3 big films, namely Kismet, Tansen and
Shakuntala. With these, Bombay started becoming the main center of
film-making in the country leaving Calcutta behind. After leaving
Prabhat and founding Rajkamal Kalamandir last year, V. Shantaram
released the first film of this banner. Based on Kalidasa's famous
play Abhigyan Shakuntalam, Shankuntala was a runaway hit and became
the first film from India to be commercially released abroad. Highly
successful with the Indian audience, it ran in Bombay for two years
at a stretch. Vasant Desai, who was in touch of Shantaram since his
Kolhapur days, was very dear to him and their mutual tuning was so
fine that Desai followed Shantaram to Prabhat in Pune and then to
Rajkamal in Bombay. Though Desai was working as an actor and
assistant in various fields of filmmaking in Prabhat, Shantaram gave
him break in Shakuntala when he was offered to independently score
its music. Starring Jayashree and Chandramohan, two songs of this
film by Jayshree that became hugely popular are "jhooloongi
jhooloongi jeevan bhar yeh jeevan jhoola" and "Jeevan ki naao na
dole haan yeh hai tere hawaale".

-----------------------------------------
Song: jeevan ki naao na Dole (Shakuntala)
-----------------------------------------

Prakash Pictures' Ram Rajya is the only Hindi film that Father of
the Nation Mahatma Gandhi had watched in his lifetime. Directed by
Vijay Bhatt and starring Prem Adeeb and Shobhna Samarth, Shankar Rao
Vyas composed the music for it. Based on Raag Bhimpalasi,  "Beena
madhur madhur kachhu bol" by Saraswati Rane shows the tight grip of
both Vyas and Rane over classical music.  Vishnupati Pagnis and
chorus describe the painful story of Seeta in "Bharat ki ek sannari
ki hum katha sunaate hain". Despite being a mythological film, the
songs of Ram Rajya appealed to the masses in a big way. A number of
composers have worked in mythological films, but Shankar Rao Vyas
was always out of the crowd in such films. Manna Dey had sung his
first song in this film. Let us listen here the Saraswati Rane
rendered number.

------------------------------------------------
Song: beena madhur madhur kachhu bol (Ram Rajya)
------------------------------------------------

Bombay Talkies released two films in 1943 – Hamari Baat and Kismet.
Hamari Baat, starring Devika Rani and Jairaj, was the first official
film of composer Anil Biswas for the company. With compositions of a
very superior quality that are beautifully sung by his sister, Parul
Ghosh, the songs of this film brought great applause to both the
singer and the composer. Hamari Baat was the last film of Devika
Rani as an actress. This film also had Suraiyya as a singing actress
and it was her singing and dancing in this film that had actually
brought her to limelight. "Ghar humne le liya hai" was her popular
number in this film. Here is the Parul Ghosh rendered number.

----------------------------------------
Song: main unki ban jaayun (Hamari Baat)
----------------------------------------

The other film of Bombay Talkies, Kismet, proved enormously
successful both as a film and in terms of its music. The film,
starring Ashok Kumar and Mumtaz Shanti, broke all previous box
office records and, besides celebrating many jubilees all over
India, ran continuously in regular shows for 3 years (196 weeks) in
a single theatre (Chitra Plaza) in Calcutta — a record that has been
broken only by Ramesh Sippy's Sholay in the seventies. This film
also started the trend of `lost and found formula' theme.

---------------------------------------
Song: meraa bulbul so raha hai (Kismet)
---------------------------------------

Musically, Kismet can be considered as the biggest success of Anil
Biswas at Bombay Talkies. By now playback singing had started taking
momentum and trained singers were entering the Film Industry
allowing Music Directors to try out advanced compositions. Among the
female singers, Amirbai Karnataki has always been Biswas's first
choice and in this film too, he made immense use of Amirbai's full-
throated voice with 6 out of 8 songs in her voice. The patriotic
number "Aaj Himalaya ki choti se phir humne lalkaara hai, door hato
ae duniyawaalon Hindustan hamara hai" sung by Amirbai and chorus,
can be considered the first popular film patriotic song that became
highly popular and contributed substantially in boosting the spirits
of freedom movement among the countrymen. To bypass the Censor
Board, kavi Pradeep used the words "door hato ae duniyawaalon"
for "German ho yaa Japani", but the target was the British.

----------------------------------------
Song: door haTo ae duniyawaalon (Kismet)
----------------------------------------

Apart from Anil Biswas, few more music directors created history
this year with their musical masterpieces. One of them was Khemchand
Prakash, who generated waves in the world of film music in Tansen.
Made by Ranjit Cinetone and starring K.L. Saigal and Khursheed, the
music of Tansen not only brought forward the genius in Khemchand but
also did full justice in portraying the Sangeet Samrat effectively.
Khemchand utilized both his Dhrupad style of singing and Rajasthani
folk music, and composed the songs full of `Raag-Raaginis' including
Raag Shankara, Megh Malhar, Deepak, Sarang, Darbari, Tilak Kamod and
Mia Malhar.

--------------------------------------------
Song: rumjhum rumjhum chaal tihaari (Tansen)
--------------------------------------------

The extra-ordinary trio of Khemchand, Saigal and Khursheed created
magic in Tansen. Here is a duet based on Raag Tilak Kamod.

-------------------------------------
Song: more baalpan ke saathi (Tansen)
-------------------------------------

"Sapta suran teen graam" based on the `bandishen' of Ustad Allahdiya
Khan's Dhrupad was fantastically expressed by Saigal in this film.

-------------------------------------
Song: Sapta suran teen graam (Tansen)
-------------------------------------

Both Saigal and Khursheed have done a marvellous job in Tansen. It
is indeed difficult to say who performed better.

-----------------------------------------------------
Song: ghaTa ghanghhor ghor mor machaave shor (Tansen)
-----------------------------------------------------

Lakhs of the Indian audience had experienced the magic of the Indian
Classical music in this film with the expertise of Khemchand Prakash
and K L Saigal.

--------------------------------------------
Song: diya jalaao jagamaga jagamaga (Tansen)
--------------------------------------------

Mehboob Khan left National Studios and founded his independent
Mehboob Productions and released two films this year – Najma and
Taqdeer. Rafiq Ghaznavi was given the responsibility of music in
both these films. A R Kardar Productions released three films in
1943, namely, Kanoon, Namaste and Sanjog, all of whose music was
directed by Naushad. Though "Aaye bhi woh gaye bhi woh" by Parul
Ghosh in Namaste got some notice, in general, songs of these films
could not draw much attention of the audience.

-----------------------------------------
Song: aaye bhi woh gaye bhi woh (Namaste)
-----------------------------------------

Motivated from the success of Punjabi style films like Khazanchi and
Khandaan, Prabhat Film Company signed composer Shyam Sundar to
compose songs in the Punjabi folksy style in Nai Kahani. Written by
Wali Saheb, here is a nice song sung by G M Durrani.

-----------------------------------------------
Song: neend hamari khwaab tumhaare (Nai Kahani)
-----------------------------------------------

The Indian People's Theatre Association was formed during the Quit
India Movement in 1942. Upon its formal inauguration in 1943-44,
IPTA took upon itself the challenge to bring theatre to the people
with the objective of building awareness about social responsibility
and national integration. IPTA soon became a movement and swept the
length and breadth of India with its socialistic and nationalistic
fervour. IPTA was founded by stalwarts like KA Abbas, Dr. Bhabha,
Anil de Silva, Ali Sardar Jafri and Dada Sharmalkar. Over the last
six decades many prominent artistes, writers, musicians, directors,
dancers and singers have been a part of IPTA. These include Kaifi
Azmi, Majrooh Sultanpuri, Sahir Ludhianvi, Balraj Sahni, Shailendra,
Prem Dhawan, and many many more.

In 1944, Pune's Prabhat Film Company released its ambitious and
highly expensive historical film Ramshastri, based on the biography
of Ramshastri Prabhune, the Chief Justice at the Court of Mashavrao
and a major figure in the development of an indigenous legal code.
Gajanan Jagirdar was the director of this film with V.G. Damle as
the music director and Qamar Jalalabadi as the lyricist. To remind
the readers, V.G. Damle was one of those partners of V. Shantaram
who laid the foundation of Prabhat in Kolhapur. Ramshastri was the
last major film of Prabhat. The year 1944 is also memorable for the
fact that the concept of `Music Director Duo' had come into effect
for the first time with Husnlal Bhagatram flagging off their musical
career working as a pair in the film Chand made by Prabhat Film
Company. One song of this film, "do dilon ko yeh duniya milne hi
naheen deti" sung by Manju is considered to be the first hit song of
Husnlal Bhagatram.

---------------------------------------------------------
Song: do dilon ko yeh duniya milne hi naheen deti (Chand)
---------------------------------------------------------

1944 was the `turning point' year for composer Naushad. His songs in
Gemini Pictures' Rattan became the most popular songs of the day and
after this he did not have to `turn' back again. He made Zohrabai
Ambalewali sing "Akhiyaan milaake jiya bharmaake chale naheen jaana"
that had reached the height of popularity and proved to be a
trendsetter song.

----------------------------------------------
Song: Akhiyaan milaake jiya bharmaake (Rattan)
----------------------------------------------

Directed by M. Sadiq and starring Swarnlata and Karan Diwan, Rattan
was a massive hit across the country. The duet by Zohrabai and Karan
Diwan, "Saawan ke baadalon, unse yeh jaa kaho, taqdeer mein yahi tha
saajan mere naa ro", was another highly successful number of the
film.

----------------------------------------------------
Song: Saawan ke baadalon, unse yeh jaa kaho (Rattan)
----------------------------------------------------

In 1942, Ashok Kumar, S. Mukherjee, Rai Bahadur Chunnilal and Kavi
Pradeep had left Bombay Talkies and formed Filmistan. The first film
of this banner, Chal Chal Re Naujawan, got released in 1944.
Directed by Gyan Mukherjee and starring Ashok Kumar and Naseem Bano,
Ghulam Haider was signed up for the music direction. It was also the
first film of Haider in Bombay.

In 1944, one actor appeared on the silver screen and ruled the
industry as one of the topmost heroes. Dilip Kumar was the discovery
of Devika Rani. She met him in Nainital and advised him to come down
to Bombay and meet her. Md. Yusuf Khan obeyed her and she turned him
into Dilip Kumar by giving him lead role in Bombay Talkies' Jwar
Bhata. Anil Biswas's outstanding music once again enthralled the
listeners with numbers such as "Saanjh ki bela panchhi akela" sung
by Arun Kumar.

-----------------------------------------------
Song: saanjh ki bela panchhi akela (Jwar Bhata)
-----------------------------------------------

Though Prithviraj Kapoor has been associated with the films since
Alam Ara, his first love has always been the theatre. As a result of
this love, he founded Prithvi Theatres in 1944 and started
experimenting on Hindi plays.

In 1944, Ranjit Movietone came with Bhartruhari and Bhanwra. The
thumri based "Chanda des piya ke jaa, saajan humre bhoole humko unhe
manaakar laa" from Bhartruhari is considered as one of the most
popular tracks of both Amirbai and Khemchand.

------------------------------------------
Song: Chanda des piya ke jaa (Bhartruhari)
------------------------------------------

Kidar Sharma, after leaving New Theatres, joined Ranjit and directed
Bhanwara. Composed by Khemchand Prakash, here is a duet by Saigal
and Amirbai Karnataki.

--------------------------------------
Song: kya humne bigaaDa hai (Bhanwara)
--------------------------------------

1944 saw the debut of music director Sajjad Hussain. He got the
opportunity to work with composer Pt Hanuman Prasad and scored music
with him in N.R. Desai Productions' Gaali. The two songs that Sajjad
had composed in this film are "Aag lage saawan mein" and "Ab aaja
dil na lage", both rendered by Nirmala Devi. Hanuman Prasad had once
said that Sajjad was a one-man orchestra. Anil Biswas too honored
Sajjad with the title of `the only original music director'.
According to him, everybody else, including himself, had some source
of inspiration or the other but Sajjad always believed in
fundamentals. After Gaali, in the same year, Shaukat Hussain gave
him chance in his film Dost in which he proved his excellence with
the Urdu poetic Shams Lucknowi written Noorjehan number "Badnaam
mohabbat kaun kare aur ishq ko ruswa kaun kare". This song turned
out to be one of the memorable songs of Noorjehan.

---------------------------------------
Song: badnaam mohabbat kaun kare (Dost)
---------------------------------------

New Theatres's My Sister (Meri Bahan) was the last film in which
Saigal worked. Saigal went back to Calcutta to work in My Sister,
whose success at the box office is largely due to Saigal's songs.
Written by Pandit Bhushan and composed by Pankaj Mullick, the songs
of this film can be considered as one of the most popular albums of
Saigal.

--------------------------------------------------------
Song: chhupo na chhupo na ho pyaari sajaniya (My Sister)
--------------------------------------------------------

You might remember the song "main kyaa jaanoo kya jaadoo hai" based
on Raag Yaman in the film Zindagi. In My Sister also, a Yaman based
song was included, here is it.

--------------------------------------------------------------
Song: do naina matwaale tihaare hum par julum kare (My Sister)
--------------------------------------------------------------

Though 1944 was yet another memorable year in terms of film music,
the year had begun with the demise of the Father of Indian Cinema,
Dada Saheb Phalke on 16 February. He struggled throughout his life
but could not get much attention. But today, his contribution is
recognized by all. The first full-length story film of India, Raja
Harishchandra, was also made by him, that had released at the
Coronation cinema, Bombay on 21 April 1913. His other memorable
films are Lanka Dahan (1916), How Films Are Made (1917), Shri
Krishna Janam (1918), Kalia Daman (1919), and Bhakt Prahlad (1926).
In his memory, the highly prestigious Dada Saheb Phalke Award has
been instituted under the National Awards in the year 1970, which is
given to one film personality every year for his/her outstanding
contribution to Indian cinema.

Dear listeners, now we come to an end of today's episode. We end
this programme with this immortal bhairavi from My Sister sung by
non other than K L Saigal. Good-bye!

----------------------------------------------------------
Song: ae qaatib-e-taqdeer mujhe itnaa bataa de (My Sister)
----------------------------------------------------------

END OF EPISODE 4

sabhi sunnewaalon ko Kamal Sharma ka namaskaar. Sargam Ke Sitaare,
aaj is kaaryakram mein hum us sur saadhak ki baaten karne jaa rahe
hain jinkaa andaaz tha sabse judaa, jinka sangeet kaano se hote huye
seedhe rooh mein samaa jaata hai. woh sangeet jo kabhi prem, kabhi
virah, kabhi peeDaa to kabhi pyar mein samarpan ki bhaavna jagaati
hai. apne sangeet se shrotaaon ko besudh kar denewaale is sur-
gandharv kaa naam hai Madan Mohan.

Song: maai ri main kaa se kahoon peer apne jiya ki (Dastak)

san 1924 mein Iraq ke Baghdad mein janme Madan Mohan ko dwitiya
vishva-yudh ke samay fauji banakar bandook thaamna paDaa tha. lekin
bandook ki jagah saazon ko thaamne ki unki bechaini unhe sangeet ke
kshetra mein aaKhirkaar le hi aayi. 1946 mein All India Radio
Lucknow mein we kaaryarat huye aur waheen woh sampark mein aaye
Ustad Bade Ghulam Ali Khan sahab aur Begum Akhtar jaise naami
fankaaron ke. 1950 mein Devendra Goel ki film Ankhen mein unhone
bataur swatantra sangeetkaar pehli baar sangeet diya. Film Madhosh
ke ek geet mein unhone pehli baar Lata Mangeshkar aur Talat Mahmood
ko ek saath laaye the. 1980 mein unke sangeet se sajee film aayi thi
Chaalbaaz. 1950 se 1980 ke in 30 saalon mein unhone ek se baDhkar ek
dhune banaaee aur sunnewaalon ko mantramugdha kiya.

Song: meri yaad mein tu na aansoo bahaana (Madhosh)

Madan Mohan ne geetkaar Raja Mehendi Ali Khan ke likhe anek geeton
ko sangeetbaddha kiya tha. Film Anpadh ke ek geet ke baare mein aisa
kahaa jaata hai ki iski dhun Madan Mohan ne apne ghar se 'recording
studio' jaate waqt 'taxi' mein baiThe baiThe 10 'minute' mein banaa
liyaa tha. suniye woh man ko chhoo lenewaali amar rachna Lata
Mangeshkar ki aawaaz mein.

Song: aapki nazaron ne samjhaa pyar ke qaabil mujhe (Anpadh)

Anpadh film ke is geet ki tarah anya kai gaane unke aise hain jinko
samajhne ke liye ahsaas ki zabaan hi kaafi hai. Madan Mohan ke
sangeet mein samundar si gehraaee hai, raat ki tanhaaee hai, unke
dard bhare gaane bhi meeThe lagte hain.

Song: naina barse rimjhim rimjhim (Woh Kaun Thi)

Madan Mohan kuchh behda lokpriya filmi ghazlon ke liye bhi jaane
jaate hain. ab hum aapko aisa ek ghazal sunwaane jaa rahe hain,
lekin usse pehle suniye ghazal gaayiki se sambandhit Madan Mohan ke
udgaar:

Madan Mohan speaks: Ghazal gaayaki mein kai 'styles' rah chuke hain,
jaise ki Begum Akhtar kaa apna ek 'style' hai. film sangeet ke liye
Ghazal banaate huye, ham yeh dhyaan rakhte hain ki dhun ko dheere-
dheere thoDaa aasaan banaayaa jaaye, taaqi logon ko dhun gungunaane
mein zyaadaa kaThinaee na ho, jaise ki yeh Talat Mahmood-saahab ki
gaayi huyi Ghazal, Raag Baageshwari mein...

Song: ham se aayaa na gayaa, tum se bulaayaa na gaya (Dekh Kabira
Roya)

sangeet wohi hai jiski sangati dil ko moh le. sangeet jo sirf kaano
mein hi naheen dilm mein bhi ras ghol de. Madan Mohan ki dhuno ka
suroor kuchh aisa hi hai.

Song: main nigaahen tere chehre se haTaayun kaise (Aapki Panchhaiyan)

Madan Mohan ke pitaa Rai Bahadur Chunilal Bombay Talkies
ke 'Production Controller' the aur uski sthaapna mein unkaa baDa
sehyog tha. apne pitaa ka rachanaatmak prabhaav to Madan Mohan par
paDna hi tha. unke sangeet ne sammohan ka ek jaise valay saa paidaa
kiya, aaspaas ke halchalon se hamein beKhabar kar detaa hai unkaa
sangeet.

Song: hai isi mein pyaar ki aabroo (Anpadh)

priya shrotaaon, Vividh Bharati par is samay aap sun rahe hain film
jagat ke mahaan sangeetkaar Madan Mohan ke sangeetbaddha keeye
geeton par aadhaarit Sargam Ke Sitaare kaaryakram. filmon aur film
sangeet ko manaoranjan ka halka phulka maadhyam samajhnewaale logon
ko Madan Mohan ke dhune ne apne raai badalne par majboor kar diya.
unhone yeh saabit kar dikhaaya ki film sangeet bhi madhur, meeTha
aur stariya ho sakti hai.

Madan Mohan speaks: is geet mein ajeeb si kaifiyat hai, dard bhara
hai, lekin dard bhi to zindegi ka hi ek hissa hai, kab tak ko dard
se door bhaag saktaa hai.

Song: rasm-e-ulfat ko nibhaayen to nibhaayen kaise (Dil Ki Rahen)

prem jeevan ki kamalatam anubhooti hai. kahin se koi aaya aur prem
ka beej dil ki miTTi mein dabaakar chalaa gaya. jab yeh beej ankurit
hotaa hai to jo sukhad anubhav hotaa hai uski anubhooti keval wohi
jaan saktaa hai. Madan Mohan ke geeton ne kai baar hamen aisi hi
anubhooti karwaaee hai, unke geet hamen ek alag lok mein le jaati
hai.

Song: tumse kahoon ek baat paron se halki halki (Dastak)

shabdon ke daaman mein soye geet Madan Mohan ke dhuno se jaagne
lagte hain. aisaa lagtaa hai ki jaise kohre ki chaadar oDhe sooni
raat mein chaandni bhare aasmaan se jhaD rahe hon os ki boonden.

Song: jaana tha humse door bahaane banaa liye (Adalat)

Madan Mohan ka manmohak sangeet film sangeet ke swarnyug ka ek
sureela adhyaay hai. unhone bahut zyaada filmon mein sangeet naheen
diya hai. baawjood iske unki har rachna bejoD hai. unke geeton mein
hamaari sanskriti ki anugoonj sunaaee deti hai. unke sangeet mein
hai raagon ka anuraag, sangeet ka woh ras bhara sansaar ki jismein
har waqt dubki lagaane ko jee chaahta hai.

Song: qadar jaane na mera baalam bedardi (Bhai Bhai)

film sangeet ki duniyaa se juDe sangeetkaaron ki is duniya mein
Madan Mohan alag hi nazar aate hain. film Hanste zakhm ka yeh geet
unke prayog-dharmi hone ka ahsaas karaata hai. kahaa jaata hai ki is
geet ke 'background' mein 'situation' ke anuroop dhwani-prabhaav ki
zaroorat thi. geet ke bol saazon ke saath bahut hi khoobsoorti se
ghulmil gaya hai. is geet ke 'recording' mein lage the 22 ghanTe.

Song: tum jo mil gaye ho (Hanste Zakhm)

sangeetkaar beshaq ek daur mein apni sangeet yaatra poori kar chalaa
jaata hai lekin unka sangeet kaal aur samay se pare hotaa hai. Madan
Mohan ka sangeet bhi kaal-jayee hai aur rahega jo saaya ban hameshaa
hamaare saath chalegaa aur baanT-ta rahegaa hamaari Khushiyaan,
hamaare gham.

Song: tu jahaan jahaan chalegaa meraa saaya saath hogaa (Mera Saaya)

Sargam Ke Sitaare, aap sun rahe the film jagat ke mahaan sangeetkaar
Madan Mohan ke sangeetbaddha keeye geeton par aadhaarit is
kaaryakram ka pehlaa bhaag. is kaaryakram ke nirmaan mein takniki
sehyog diyaa Dinesh Dabholkar ne aur Vividh Bharati ki or se isey
aapki sevaa mein prastut kiya Kamal Sharma ne. ab deejiye ijaazat,
namaskaar.

END OF PART 1

-
what is silent zone?
-- In vividhbharati@..., Anup Manchalwar
<anupmanchalwar@y...> wrote:
>
> Trick to record programs...
>
>   You need - Radio set, Headphone with mic, Computer and
dictaphone.
>
>   Download the dictaphone from:
http://www.nch.com.au/express/index.html
>
>   You can keep your mic in front of the radio speaker in silent
zone. That software does rest of thing.
>
>   I did it, in any complications, please ask me: 0-9860-452-036
>
>   Anup Manchalwar,
>   Pune
>
>
>
>
> Lata Mangeshkar Fan club
>
>
>
>
> ---------------------------------
> How low will we go? Check out Yahoo! Messenger's low  PC-to-Phone
call rates.
>

FLASHBACK - A SPEAIAL SERIES CELEBRATING THE COMPLETION OF 75 YEARS
OF HFM

(Presented by Prabha Joshi on Vividh Bharati Pune)

EPISODE 3 (09/07/2006)
----------------------

Welcome to the third episode of Flashback. In the last episode, we
saw the developments in film music during the late thirties, ie,
from 1938 to 1940. The New Theatres in the east and the Prabhat in
the west ruled the industry during these first 9 years. I 1941, New
Theatres released Nitin Bose directed Lagan starring K L Saigal and
Kanan Devi. Based on Raag Kaafi, here is a Saigal jewel from this
film composed by R C Boral.

------------------------------------
Song: kaahe ko raaD machaayi (Lagan)
------------------------------------

After Lagan, Saigal left New Theatres and headed for Bombay. Not
only Saigal but most of the renowned artistes left Calcutta as the
east was getting more and more politically unstable. The other
release of this banner this year was Doctor starring Pankaj Mullick
and Kanan Devi. Pankaj Mullick's tunes in Doctor got wide
recognition. The popular Mullick numbers of this film are "Aayi
bahaar aaj aayi bahaar", "Bhayi jagat ujiyaari", "Mahek rahi
phulwari hamari", and "Chale pavan ki chaal".

-----------------------------------
Song: chale pawan ki chaal (Doctor)
-----------------------------------

After Saigal left, Pankaj Mullick's popularity continued in Bengal.
His acting, singing and composing abilities had brought 'bahaar' in
the New Theatres.

------------------------------------------
Song: aayi bahaar aaj aayi bahaar (Doctor)
------------------------------------------

In 1941, the Britsh troupes had kept Netaji Subhash Chadra Bose
under house arrest. But clever Netaji fled to Afghanistan via
Peshawar. Sohrab Modi of Minerva Movietone came up with film
Sikander with high relevance to the ongoing World War. In this film
the powerful characters of Sikander and Porous were played by
Prithviraj Kapoor and Modi respectively. The marching song of this
film sung by Khan Mastana and chorous fills our heart with optimism.

-----------------------------------------------------------
Song: zindegi hai pyar se pyar mein beetaaye jaa (Sikander)
-----------------------------------------------------------

Sikander was a huge hit and was dubbed in western languages. But the
British law banned the film in the cantonment areas.

A striking difference was observed in Bombay Talkies in 1941 when
Pannalal Ghosh was roped into the company by Devika Rani to score
the music of Anjaan starring Ashok Kumar and Devika Rani herself.
Anjan was directed by Amiya Chakraborty, who later gave hits like
Daag and Seema. Talking about the songs of Anjan, "Mere jeevan ke
path par chhaayi yeh kaun" is a duet sung by this pair having all
properties of a typical Bombay Talkies song. Pannalal Ghosh either
was motivated to follow the footsteps of Saraswati Devi or was asked
to do so.

------------------------------------------------------
Song: mere jeevan ke path par chhaayi yeh kaun (Anjan)
------------------------------------------------------

Saraswati Devi once again created magic with her songs in Jhoola.
Starring Ashok Kumar and Leela Chitnis, with the successful formula
of the earlier hit Kangan, this film became a hit and also its
songs. Sung by Arun Kumar and Rehmat Bano, here is a popular track.

-----------------------------------------------
Song: main to dilli se dulhan laaya re (Jhoola)
-----------------------------------------------

Here is one more song of Jhoola sung by Ashok Kumar which is one of
the most popular songs of the actor.

---------------------------------------------------
Song: chali re chali re meri naao chali re (Jhoola)
---------------------------------------------------

Naya Sansar, the third release of Bombay Talkies this year, marks
the entry of writer Khwaja Ahmed Abbas (K.A. Abbas) into the company
as story-writer. The under-current of freedom struggle continued to
flow in Kavi Pradeep's songs as he writes "ek naya sansaar sajaa le,
aisa ek sansaar ke jismein dharti hai azaad".

--------------------------------------------
Song: ek naya sansaar sajaa le (Naya Sansar)
--------------------------------------------

Lyricist Kidar Sharma stepped into the field of direction in 1941
and directed his first film Chitralekha under the banner of Film
Corporation of India. Based on the famous novel by Bhagwati Charan
Verma with the same name published in 1934, this film moved into
high controversy over the bath scene of actress Mehtab. It was the
first Hindi film to depict a bath scene. Chitralekha was a novel
first of its kind in which love, beauty, lust, all were portrayed in
a new way, in a more open-minded manner. Though it invited
controversy but at the same time became highly popular among the
masses and proved to be the largest selling novel of the country.
Kamayani and Madhushala, published in the following year, followed
similar concept. Composed by Ustad Zande Khan and A.S. Ghani, all
songs of this film are in Raag Bhairavi; one song of Chitralekha
sung by Ramdulari, "Tum jaao jaao Bhagwaan bade, insaan bano to
jaane" has quite unconventional lyrics that compel us to think! Here
is one more song by Rajkumari.

--------------------------------
Song: neela kamala (Chitralekha)
--------------------------------

V. Shantaram's association with the Prabhat Film Company of Pune
ended this year with the release of his last directed film for this
company, Padosi. Based on the traditional antagonism between the
Hindus and the Muslims, the two protagonists depicted in this film
are old friends and neighbours, who must die together in a communal
riot. In the climax of the film, the scene of blowing up of a dam
proved the technical ingenuity. Master Krishna Rao was the music
director.

------------------------------------------------------
Song: saari duniya musaafir aao rahen pyar se (Padosi)
------------------------------------------------------

After this film Shantaram left Prabhat over certain differences and
founded his own independent film company, Rajkamal Kalamandir. The
tag line of Prabhat films "Remember, its a Prabhat Film" gradually
lost its meaning. During 1935 to 40, the Southern Film Industry had
also started producing good number of films. Up acroos the north,
artistes from Punjab like Noorjehan, Shamshad Begum, Khursheed and
Ghulam Haider had put their feet. The year 1941 was a very important
year for film music. D.M. Pancholi's Khazanchi, directed by Moti
Gidwani and starring M. Esmail, Ramola, and Narang, was released.
Its music, composed by Ghulam Haider, proved to be revolutionary.
Film music had started to get monotonous with too much concentration
of pure classical music. Haider took out his musical horse from the
common crowd racing fast leaving the entire crowd behind.
Khazanchi's refreshing music was a fusion of classical ragas and the
Punjabi rhythmic folk music. It will not be wrong if the music of
this film is considered to be the defining structure of the present
day film music.  Needless to say, the success of Khazanchi was
attributed to its music composer. However, any pioneering work in
any field has never taken place without criticism and Haider also
had to face similar situation. But the ultimate truth is that the
river of film music had changed its course. He also scored the music
of Punjabi film Chaudhary under this banner this year. The music of
Khazanchi is also important from the viewpoint that a new playback
singer was introduced in this film, who became one of the most
popular singers of the nation and her songs are immensely popular
till date. Shamshad Begum, the legendary nasal heavy voiced singer,
was introduced in this film and her first song was "Saawan ke
nazaare hain" (though she sang her first film song in the Punjabi
film Yamla Jatt in 1940).

----------------------------------------
Song: saawan ke nazaare hain (Khazanchi)
----------------------------------------

This lively song with a group of girls on bicycles proved to be a
trendsetter song. "Ek kali naazon ki palee rehti thi yahaan
gulzaaron mein" is another popular song of her's in this film. The
popularity of Shamshad Begum's songs can be judged by the flooding
of her remixed songs in today's music market.

-----------------------------------------
Song: ek kali naazon ki palee (Khazanchi)
-----------------------------------------

After Khazanchi's success, Moti Gidwani and Ghulam Haider had
organized a music competitio and guess what, a 12 year old Lata had
got the prize!

In 1941, Ranjit Movietone's mentionable film was Pardesi. Singer-
actress Khusheed sang a number of popular songs for composer
Khemchand Prakash in this decade. In Pardesi, out of the 14 songs,
she rendered 7 among these. And the most popular track was "Pehle jo
mohabbat se inkaar kiya hota" which invited a lot of honour and fame
to both Prakash and Khursheed. Snehaprabha Pradhan was the other
singer in this duet.

-----------------------------------------------------
Song: pehle jo mohabbat se inkaar kiya hota (Pardesi)
-----------------------------------------------------

1941 saw the debut of two more playback singers. One of them is
Mukesh, who made debut as an actor in Nirdosh opposite Nalini
Jaywant. Mukesh sang his first song in Nirdosh under the music
direction of Ashok Ghosh.

-----------------------------------------
Song: jab dil hi bujhaa huya ho (Nirdosh)
-----------------------------------------

And the other singer is Talat Mahmood whose first non-film song "sab
din ek samaan naheen tha" under the direction of Kamal Dasgupta and
lyrics by Faiyaz Hashmi became very popular.

---------------------------------------------
Song: sab din ek samaan naheen tha (NOn-film)
---------------------------------------------

1942. On one hand, the World War was in full glory, and on the other
hand the freedom struggle of India was getting more and more
intense. While on one side, the Government restricted lengths of
films to 11,000 feet to conserve stock for war propaganda films, on
the other end, the Censor board tightened its grip on the use of
words like Gandhi, Nehru, Freedom etc in the releasing movies and
such words were banned. The Pearl Harbour attack was one of the
major political events of the year.

Bombay Talkies had Basant as the single release of this year
starring Ulhas and Mumtaz Shanti. Anil Biswas had composed the songs
of Basant, but due to the contractual restrictions with National
Studios credits could not be given to him and the name of Pannalal
Ghosh appeared in the credits. Lets us listen to a song from this
film playbacked by Parul Ghosh, the singer wife of the composer.

-------------------------------------------------
Song: humko hain pyaari hamaari galiyaan (Basant)
-------------------------------------------------

After leaving New Theatres, Pramathesh Baruah directed Jawab under
the banner of M R Productions. Kanan Devi too decided to freelance
thus resigning from the New Theatres, and giving her most popular
performance this year in M.P. Productions' Jawab, directed by P.C.
Barua and music directed by Kamal Dasgupta. The song "Duniya yeh
duniya ek toofan mail" rocked the nation that year and is still
popular among the masses.

-----------------------------------------------
Song: duniyaa yeh duniya ek toofan mail (Jawab)
-----------------------------------------------

Up in Punjab, Noorjehan appeard as heroine for the first time in D M
Pancholi's Khandan with Pran as the hero and Ghulam Haider as the
music director. After Khazanchi, Khandan once again reached the
height of popularoty both in Lahore and Bombay. Noorjehan' songs
were the major attraction.

----------------------------------------------------------
Song: tu kaun si badli mein mere chaand hai aaja (Khandan)
----------------------------------------------------------

1942 was the year of debuts. In Lahore Mohd Rafi sang his first song
in the film Gulbaloch for composer Shyam Sundar. On the other hand,
Suraiyya Jamal Sheikh sang her first song for new composer Naushad
in Station Master and then in Sharda. Before we play a song from
Sharda, here is a clip from Suraiyya's interview in which she
shrares an interesting incident about her casting in Sharda.

Suraiyya speaks: yaad aaya jab meri pehli film Station Master ban
rahi thi to Naushad sahab ne mujhse ek bachchon ka geet gawaya tha,
us film mein bhi maine ek bachche ka hi role kiya tha. Jab logon ne
yeh geet suna aur pasand kiya to film Sharda ki heroine Mehtab ke
liye Naushad sahab ne ek aur geet record karwaya. Recording ke waqt
Mehtab ne dekha ki ek chhoti si bachchi stool par khadee hokar unke
liye gaa rahi hai to woh badee naaraaz huyi, mujhpar naheen
(laughs), film banaanewaalon par. Aur jab yeh gaana hit huya to unki
naaraazgee door ho gayi aur phir to maine unke kai geet gaaye.

--------------------------------------------------------
Song: panchhi jaa peechhe raha hai bachpan mera (Sharda)
--------------------------------------------------------

In 1942, Dinanath Mangeshkar, the popular name in Marathi rangmanch,
died of heart disease with the youngest Hridaynath lying on bed with
tuberculosis of the bones. It was the 8th day of Dinanath's demise
that young Lata, only 12, put on make-up to act and sing in Marathi
film Pahili Mangalagaur, a Marathi film by Master Vinayak Rao. Here
is that first song of Lata Dinanath Mangeshkar which she sang in
Pahili Mangalagaur under the music direction of Dada Chandekar.

-------------------------------------------------------------------
Song: saawan aala taru taru laa baangu hindola (Pahili Mangalagaur)
-------------------------------------------------------------------

Though Lata started acting in films, her first playbacked song in
Hindi films came in 1947 in the film Aap Ki Seva Mein.

1942 was very important in the history of Indian Struggle for
Freedom as the Quit India Movement against the British was launched.
With Gandhiji saying "Do or Die", the Censor Board became more
strict.

It was in 1942 when artistes like Shanta Apte and Durga Khote
decided to freelance and went to Lahore for doing Zamindar. Composed
by Ghulam Haider, here is one song by Shanta Apte.

---------------------------------------------------------
Song: armaan tadapte hain pehlu mein tere aake (Zamindar)
---------------------------------------------------------

K L Saigal had stepped in Bombay in 1941. In 1942, he was seen with
Khursheed in Ranjit Movietone's Bhakt Surdas. All songs based on
classical music, here is a raag kedaar based song composed by Gyan
Dutt and penned by D N Madhok.

-----------------------------------------------------------
Song: panchhi baawra chaand se preet lagaaye (Bhakt Surdas)
-----------------------------------------------------------

Inspite of singing 8 songs in this film, Saigal did not get the
expected recognition in this first film in Bombay. Dear listeners,
today we had beun our programme with a Saigal number from Lagan. Let
us end this episode as well with a Saigal number from Bhakt Surdas.

-------------------------------------------------
Song: madhukar shyaam hamaare chor (Bhakt Surdas)
-------------------------------------------------

With this, we come to an end of episode 3 of the series Flashback.
We shall contiue with our journey next week same time. Good-bye.

END OF EPISODE 3

Hi all,

The following transcripts will be posted soon:

Episode 3 & 4 of Flashback

Episode 5 & 6 of Ujaale Naushad Ki Yaadon Ke (V S Rawat to provide
recording of Episode 5)

Sargam Ke Sitare on Madan Mohan

Sangeet Sarita series on Madan Mohan

Jaimala Gold by Madan Mohan

Regards,
Sujoy

doston, geet chaahe halka phulka ho ya phir ho gambheer
har tarah ke geet likhne mein paarangat hai geetkaar Sameer

-----------------------------------------
Clip: adaa aaye haaye adaa (Garam Masala)
-----------------------------------------

Vividh Bharati ke 'studio' mein Khushiyon ke deepak jagmagaaye,
jab geetkaar Sameer yahaan pe tashreef laaye.

--------------------------------------------
Clip: jhalak dikhla jaa ek baar aaja (Aksar)
--------------------------------------------

jee haan, aaj Sargam Ke Sitaare kaaryakram mein ham aapki mulaaqaat
karwaa rahe hain film jagat ke suprasiddha geetkaar Sameer se. aap
se baat-chit kee hain Mamta Singh ne.

----------------------------------------
Clip: sun zaraa soniye sun zaraa (Lucky)
----------------------------------------

SM: Sameer
MS: Mamta Singh

MS: Sameer-ji, welcome to Vividh Bharati!

SM: My pleasure.

MS: You have come to Vividh Bharati earlier also and disclosed many
unknown facts about your life and career, about your home town
Benaras. So, today we would be focussing more on your recent songs.
But the mention of Benaras would also be there in the discussion.
So, lets begin from Benaras. What sort of memories your have of
Benaras?

SM: There is a proverb popular in our place - "dukhte rag pe haath
rakhna" (both laughs). So you have touched that part by mentioning
Benaras. I can never forget Benaras. My childhood, my youth passed
in that place. Benaras has made a permanent mark in my memory and I
cannot forget that place till death. Benaras has given me a lot.
There is really some magic of that place that it has given so many
creators, writers. Taking birth in the pious Kashi, the other name
of Benaras, is itself a great achievement. My education also took
place in Benaras. I have not given Benaras anything but it has given
me a lot. It is very very close to my heart.

MS: You said that you haven't given anything to Benaras. But I
disagree with you on this point. You have not only given to Benaras
but also to our film industry. Tell us about your father, lyricist
Anjaan. What was his contribution in your career?

SM: Today whatever I am, it is only because of him. Had I not been
his son, I might not have been a lyricist, a shaayar. This poetry,
this writing skill has come from his blood only. After coming to
this industry whatever I have learnt I learnt from my father. He was
in Mumbai and I was in Benaras. I used to listen to songs of Anand
Bakshi, Majrooh Sultanpuri etc. "A B C D chhoDo, naino se naina
joDo, dekho dil na toDo, aayi shaam suhaani Raj Jani" - When I heard
this song, my reaction was, "yeh bhi koi geet hai? aisa geet likhna
to mere baayen haath ka khel hai". It was only after landing here I
realised that writing skill may be God-gifted, but one has to learn
the technicalities, which I learnt from my father. A film lyricist
has to take care of various things like the situation, the tune,
mood and personality of the characters, etc. My father was my
teacher and my friend as well. I am happy that he saw my success
before passing away. Every father would like to see his son's
success. "woh naheen hote to main naheen hotaa".

MS: Which song would you like me to play in rememberance of your
father?

SM: "o saathi re" from Muqaddar Ka Sikander. I just love this song
from among his treasure of songs.

----------------------------------------------------------------
Song: o saathi re tere bina bhi kya jeena (Muqaddar Ka Sikander)
----------------------------------------------------------------

MS: WE have heard that you had got your first break in a Bhojpuri
film. Is that true?

SM: Yes, the film was Bairi Sawan. I had written that film. Then I
wrote for Ganga Jaisi Piritia Hamaar, that did fair business. After
that I got many offers for Bhojpuri films but I became busy with
Hindi films.

MS: We have also heard that you are planning to make Bhojpuri films?

SM: I do not have any plan as such of making a film, but I would
definitely like to write.

MS: Do you remember any special thing that your father had advised
you about any song?

SM: In Benaras, 'bhaang' and 'paan' are very popular during Holi. He
used the same concept in Don and wrote "khaaike paan Banaaras
waala". He had advised me that if I ever get any situation like
this, I should explore this concept. And hence I made
(sings) "bhangiya ragaD ke pee saajaniya..."

MS: Wow, this is certainly an untouched calibre of yours. So you
sing as well?

SM: No, no, I just write while singing the lines (laughs)

MS: Which was your first break in Hindi films?

SM: Bekhabar was my first Hindi film. I wrote 2 songs in the film
for Usha Khanna. The song "gori pareshaan hai" was Alka Yagnik's
second song. But the film was a small film and did not do well at
the box office. In the true sense, my first break was Ab Aayega
Mazaa. It was the first film of director Pankaj Parashar and also of
music director Anand Milind. The producers were Alok Nath and Girija
Shankar. And my first song was sung by none other than Lata
Mangeshkar - "Raja tere raste se haT jaayungi, gaaDi ke neeche jaake
kaT jaayungi" (both laughs).

MS: It was really a nice song!

-------------------------------------------------------
Song: Raja tere raste se haT jaayungi (Ab Aayega Mazaa)
-------------------------------------------------------

MS: Today you are the most successful lyricist of the industry. How
do you feel when you look back at those days of struggle?

SM: "dukh ke din naheen bhoolte, sukh ke din bhool jaate hain". I
too remember my days of struggle, I remember each and every scene of
my struggled life (ek ek manzar yaad hai).

MS: ab kuchh der ke liye baat-chit ko goli maarte hain aur sunte
hain aapka woh goli maarne waala gaana (laughs), ismein panghaT bhi
hai, peepal bhi hai, khuli hawaa bhi hai, film Kyun Ki ka yeh gaana
hai

SM: Sure, I hope listeners will like this song. These type of songs
are rare in films nowadays. I like this song.

--------------------------------------
Song: goli maare tera dupaTTa (Kyunki)
--------------------------------------

MS: Any special thing about this song?

SM: There is an interesting story behind this song. Earlier this
song was supposed to be a romantic song. But the storyline of this
film was such that there was no situation for a romantic song. But
Priyadarshan-ji liked the song and wanted to place it somewhere in
this film. There was a situation where mad people in a mental
hospital could sing a song. So, after making certain turn-twists in
the song, it was made for the mad guys to sing (laughs). It was
picturized so nicely that it appeared as if it was originally
written for the mad only.

MS: Really interesting! In Kyunki, Himesh Reshammiya was the music
director and these days, he is on the seventh sky with hit after
hit. You are working a lot with him these days and your combohas
clicked very well. What do you think is the secret behind Himesh-
ji's success?

SM: But some people also accuse us for groupism and politics. I have
faced similar situation earlier also when I paired up with Anand
Milind or Nadeem Shravan. I would only say that "joDiyaan banti hain
aasmaano mein" just like the marriages. No one can say which joDi
would click. Its a teamwork. 'joDi tabhi banti hai jab 'hit' hoti
hai'. After the grand success of Tere Naam, producers signed me and
Himesh together in a number of films and all clicked very well with
the audience and hence our pair kept going on and the stock also
geeting enriched.

MS: Tere Naam was really a huge musical hit, especially that 'oDhni'
song. Tell us something about the songs of Tere Naam.

SM: There were 3 trials of Tere Naam. At first, Shahrukh Khan was
approached, then Aamir Khan. But none of them was eager to play that
character. Then Salman was approached. At that time, he was going
through a mental disturbance and he found some resemblance of his
own life in that story and immediately accepted the role. Himesh
Reshammiya's music was very touching and I too tried my level best.
You know when he heard the song "kyun kisi ko wafaa ke badle wafaa
naheen milti", he was crying like anything. As I had earlier
mentioned about 'dukhti rag', his dukhti rag - Aishwarya.

---------------------------------------------
Clip: kyun kisi ko wafaa ke badle (Tere Naam)
---------------------------------------------

SM: The word 'oDhni' has been exploited very less in film songs. So,
I thought of using it as it would be something new.

---------------------------------------
Clip: oDhni oDh ke naachoon (Tere Naam)
---------------------------------------

SM: The third song "tumse milnaa baaten karna baDa achchha lagta hai"

MS: I simply love this song.

SM: It was written just in the form of dialogues. Just like "kya
huya tera vaada" or "achchha to ham chalte hain".

MS: Then there was "pawan prabhaati" written in form of poetry.

SM: This song also has an interesting story behind it. I was in
London for a sitting with Nadeem. HImesh SMS-ed me that he need few
words for a bhajan which was going to be used for the 'mahurat' of
the film. For the first time, I type the entire song in SMS and sent
it to Himesh.

MS: Oh, that was really interesting. Now tell us which song of Tere
Naam would you like me to play?

SM: I like all the songs of Tere Naam. You can play your choice,
that is  "tumse milna....".

------------------------------------------------------------------
Song: tumse milnaa baaten karna baDa achchha lagta hai (Tere Naam)
------------------------------------------------------------------

MS: Now tell us about the style of Himesh Reshammiya's music. What
is special about him?

SM: For those who want to become music directors, I would like to
share some good advice. As Kishore Kumar had rightly said that there
are two types of people, 'pehla, jo peT se kaam karte hain, aur
doosra, jo peT ke liye kaam karte hain'. If you understand the
difference between the two, then success would automatically follow
you. The most important thing about Himesh is whether the song is an
item number or a 'chaalu' type song, there is always melody that is
present in his song.  Whatever be the situation or words or
characters, he never compromises on the melody part. 'melody ke
binaa gaana waisaa hi hotaa hai jaisa jaan ke binaa jism'. Take
that 'nikamma kiya' song, it sounds to be a rock itemised song, but
if you listen to it carefully, the basic tune is melodious, there is
internal melody. Be it Nadeem Shravan or Madan Mohan or Shankar
Jaikishen, 'jinhone 'melody' ko naheen chhoDaa, safalta unhe naheen
chhoDaa'. ek gaana tha 'lag jaa gale ke phir yeh haseen raat ho na
ho'. Now you can sing it in different ways.

(Sameer sings this song in two different ways and brings out the
importance of melody)

MS: You have explained very nicely. So, which song of Himesh-ji is
closest to your heart?

SM: Our recent film was Aashiq Banaya Aapne made by Aditya Dutt, who
is Anand Bakshi saahab's daughter's son. I consider Bakshi saahab as
one of my gurus. When Aditya told me the title of his film, I said
that I cannot take up my pen anymore. Once Anand Bakshi saahab had
written "dard-e-dil dard-e-jigar dil mein jagaaya aap ne, pehle to
main shaayar tha AASHIQ BANAYA AAPNE". Can anything more beautiful
than this be written on this title? 'isse behatar main kyaa
likhoon?' One day Himesh was singing some tunes and all of a sudden
I put thosew ords on it (sings) 'aashiq banaaya aashiq banaaya
aashiq banaya aapne'. Himesh jumped with joy and said, 'yeh to
kamaal ho gaya'. Everyone liked it. It was nothing but the blessings
of Bakshi saahab. The song became very popular and the music played
a vital role in the success of the film.

-----------------------------------------------
Song: aashiq banaya aapne (Aashiq Banaya Aapne)
-----------------------------------------------

MS: Now that you have become a successful lyricist and have reached
your goal, so what next?

SM: In this field, one has to keep on going on and on. I have to
write much more than what I have written so far.

MS: You mentioned about Anand Bakshi. Yash Chopra used to sign
Bakshi saahab for his films and your first film for Yash Chopra was
Kuch Kuch Hota Hai.

SM (interrupts): KKHH was made by Yash Johar ad not Yash Chopra, but
it is true that I got that film through Yash Chopra only. After
Gulshan Kumar's murder, Nadeem left India, my father too passed
away. So, I returned back to Benaras to do his last rites. When I
returned back to Mumbai, the first phone call that I got was from
Yash Chopra. He told me that Javed Akhtar was first writing the
songs of KKHH and that he wants me too for that film. I went and he
introduced me to Karan Johar. In this way, I got the film.

MS: All the songs of this film are superhits. Which is your
favourite track of this film?

SM: Definitely the title song. When Karan gave me the title and
asked me to write the title song, I thought that as Javed saab had
been writing the songs so he must have written something heavy, full
of shaayari. So, I too wrote something heavy and took it to Karan.
Karan smiled and said, "Sameer ko maine isliye bulaaya hai taaki woh
apne 'style' mein likhe". I got his point and when I went to him the
next time with this new lyrics "tum paas aaye yun muskuraaye...", he
jumped from his chair and said, "yahi meraa gaana hai".

----------------------------------------
Song: tum paas aaye (Kuch Kuch Hota Hai)
----------------------------------------

MS: I have a curiosity to know about your writing style. How do you
write, I mean under what conditions?

SM: Many journalists ask me the same question. People think that a
poet can write only in proximity to the nature (hawaayen hon,
ghaTaayen hon, jharne hon to kamaal kar sakte hain). I remember one
Ramnath Awasthi, a poet from Delhi, had once said, "kuchh kar
guzarne ke liye mausam naheen man chaahiye".  I can write sitting on
the mountains, on the snow, in the car, or in one corner of my
house, on railway track, at traffic signal. I do not need any fixed
set of conditions to write.

MS: Do you remember any song that you had written under some special
situation?

SM: I got the idea of "tumse milna baaten karna" while talking to
someone over the telephone. I was telling soemone this line in our
conversation. Then in the film Sanam, once I told Shravan
that "mohabbat bhi kamaal ki cheez hoti hai". From this the
song "aankhon mein neenden na dil mein qaraar, mohabbat bhi kya
cheez hoti hai yaar" originated. In villages, one 'jumlaa' is very
common, that is "teri naani mar jaayegi". So, I get inspirations
from various situations. Once Majrooh Sultanpuri had said that "yeh
zaroori naheen ki aap 'romantic' hain to har waqt laDkiyon aur
sharaab se ghire rahenge". You just need one experience and then you
can write for years.

MS: Did you propose to someone in your real life?

SM: If I say that I have never fallen in love, then it would be a
lie.

(seems some portion is erased here)

MS: What type of songs would you like to write in future?

SM: There are 7 notes and with these note there might be 7 crores of
songs. By accumulating drops of water, an ocean can be formed. I am
also a drop who wants to become an ocean. But I know that I
cannot "lekin jab tak pyaas rahegi likhtaa rahoonga".

MS: It was lovely talking to you, wish you all the very best in
life. Thank you very much.

SM: Thanks you!

----------------------------------------
Song: aake bhar lo baazuyon mein (Lucky)
----------------------------------------

THE END

namaste, main hoon Amarkant.

Prelude of "rote huye aate hain sab" is played.

saathiyon, hamaare Aaj Ke Fankaar hain mashoor sangeetkaar joDi
Kalyanji Anandji ke Kalyanji bhai.

Song: rote huye aate hain sab (Muqaddar Ka Sikander)

saathiyon, san 1974 mein Kalyanji Vividh Bharati ke 'studios' mein
aaye the aur fauji bhaaiyon ke liye Jaimala prastut kiya tha.

Kalyanji speaks: Vividh Bharati ke maadhyam pichhle kitne saalon se
aap hamare gaane sun rahe honge. Ab tak hum logon ne 100 ke upar
filmon mein sangeet de chuke hain. Main in geeton ko teen bhaagon
mein baant-ta hoon, homeopathic, allopathic aur ayurvedic. Ab aap
samajh rahe honge ki yeh koi doctor Jaimal prastut kar raha hai kya.
Main aapko bata hoon in teen categories ke baare mein. Homoeopathic
mein we gaane aate hain jinhe banate samay humein yeh pata naheen
rehta ki gaana kaisa banega, yaa to bahut achchha banega ya phir
bahut hi bekaar banega. Allopathic category mein we gaane aate hain
jo pehle pehle to sunne mein bahut achchhe lagte hain par samay ke
saath saath unki madhurta kam hone lagti hai jis tarah se allopathic
dawaaiyon ka baad mein reaction aur side effects hota hai. Aur
teesra category hai ayurvedic ka, ismein we gaane aate hain jo pehle
sunne mein utna achchha naheen bhi lag sakta hai, par dheere dheere
unki mithaas badhti chali jaati hai.

Song: vaada karle saajna (Haath Ki Safaai)

ab aage is kaaryakram mein Kalyanji ke baare mein hamein bataayenge
unhi ke chhoTe bhai aur sangeet srijan mein unke joDidaar Anandji
bhai.

Anandji speaks: Kalyanji bhai mujhse 4.5 saal baDe hain. woh mujhse
kaafi 'tall', 'handsome' aur gore the. baat sanjeedaa karte the,
bahut achchha bolte the. ham Kutch ke rehnewaale hain. is jagah ko
duniya 'earthquake' ke baad se zyaada jaane lagi hai. yeh taajjub ki
baat hai ki yeh India ka ek 'part' hai, yahaan Mohenjodaro ki
khudaai huyi hai, Shri Krishna yahaan aaye the, phir bhi zyaada log
iske baare mein kuchh Khaas naheen jaante. yahaan ka 'climatic
conditions' kuchh aise ho gaye ki log baahar nikal gaye, par Kutch
ke log Kutch ko naheen bhoole hain. hamaara jo gaaon tha woh tha
Mundra taalukaa mein, Kundroli gaaon mein rehte the. TV aane ke baad
badlaav aa gaya hai, 'light' aa gayi hai, warnaa hamaare samay woh
panchhion ki chahak thi, chaandni raaten theen, lok-sangeet tha.

Song: main to bhool chali baabul ka des (Saraswati Chandra)

jab hamne Anandji se poochha ki Bambai aane ke baad unke parivaar ne
kaun si jeevika apnaaee, to unhone kahaa:

Anandji speaks: anaaj ki dukaane thi, Gujarat ke Jaini logo.n kaa
asia maanna tha, mere pitaaji bhi vyapaari the, to Kutch ke logo.n
ne yeh faislaa kiya ki aise kisi cheez ka vyaapaar kiya jaaye jiski
hamesha zaroorat bani rahegi, to wohi kaam sabne kar lee, is anaaj
ke 'business' mein aa gaye Kutch ke log.

Song: chakku chhuriyan tez karaa lo (Zanjeer)

kya Kalyanji bhai bhi dukaan mein baiTha karte the?

Anandji speaks: woh kam baiThte the, main bhi kam hi baiThta tha.
1958-59 tak, 1960 tak ham logo.n ne pitaaji ko akelaa chhoD diya
dukaan mein. pitaaji ne kahaa kiagar karnaa hai to 'seriously'
karnaa hai warnaa dukaan band kar dete hain. ham log teen bhaai
hain, teesra bhai, unkaa kuchh 'high funda' tha, unhone 'industry'
lagaa liya.

Clip: diljalo.n ka dil jalaa ke kya milegaa dilrubaa (Zanjeer)

yaani ki aap dono bhaaiyon ka sangeet se kuchh lenaa denaa naheen
tha?

Anandji speaks: katai naheen, sangeet ka gharaana hi naheen tha.
haan, mere naana Rangoon mein rehte the. 70 saal pehle woh anaaj ke
vyaapaari bankar wahaan chale gaye the. woh sangeet seekhte the, lok
sangeet mein bhi shauk tha, to woh jab gaaon waapas aate the to
kuchh gaana bajaana hotaa tha. Gujarat, Rajasthan, is jagahon par
kya hai ki shaam ke waqt 'ladies' jamaa hokar gaana bajaana karte
hain, ham bachpan se sunte aaye hain.

Song: main hoon Jodhpur ki Jugni (Paap Aur Punya)

Kalyanji bhai filmon mein pehle aaye Kalyanji Veerji Shah ke naam
se, aap kab aaye?

Anandji speaks: yeh baat hai 1944 ki. us waqt bahut 'studios' naheen
huya karte the. main 'school' se 'shooting' dekhne jaata tha, Devika
Rani vagerah ke. hamaare chachaji 'encourage' karte the, unke taraf
se chhooT thi, isliye aana jaana shuru huya. 'teacher' ko manaa lete
the ki woh 'roll no' mein 'present' lagaa den. baad mein main 'class
monitor' ban gaya, paDhne mein pehle se hi masha-allah, samjhe na?
(laughs). main film mein 'hero' banna chahta tha. maine apne aap ko
aaine mein dekhaa, meri 'height' naheen baDh rahi thi, 'swimming'
seekha, 'cycle' chalaaee, goliyaan khaaee (laughs), lekin kuchh
faayda naheen huya. isliye 'editing', 'camera' tak hi reh gaya.

iskaa matlab filmon mein aap Kalyanji bhai se pehle hi aa gaye the?

Anandji speaks: 'entry' ho gaya tha, ghar mein bigDa huya laDka tha.

Song: aayi jhoom ke basant (Upkaar)

film Nagin mein Kalyanji ne been ki dhwani nikaalee thi, kaun sa
vaadya tha?

Anandji speaks: aajkal 'synthesizer' par aap bahut saare saazon ki
awaazen nikaal sakte hain. Dilip Dholakia us waqt sangeetkaar
Chitragupt ke 'assistant' huya karte the. unhone inko bataaya ki
Naag Panchami naam se ek film bani hai jisme ek saamp ka gaana hai
jo kaafi 'hit' ho gaya hai. aur us gaane ki wajah se woh film bhi
kaafi 'hit' ho gayi hai. phir Kalyanji bhai ne patthar tarang naam
se saaz banaaee jisme se been jaisi aawaaz nikalti thi. 'harmonium'
aur iske 'combination' se Nagin ke saare gaane bane.

Song: oonchi oonchi duniya ki deewaaren (Nagin)

to dosto.n, yeh tha sangeetkaar Kalyanji par kendrit Aaj Ke Fankaar
kaaryakram. Kalyanji bhai se juDee baaten aur bhi hain lekin aaj ke
liye samay hota hai poora. unse juDee kuchh aur baaten kisi aur
kaaryakram mein zaroor ham aapko sunaaenge. to ab deejiye Amarkant
ko ijaazat, namaskaar!

Song: na na karte pyar tumhi se (Jab Jab Phool Khile)

THE END

Vividh Bharati ke doston, namaskaar, main hoon aapka dost Yunus Khan

Clip: subhanallah subhanallah (Fanaa)

Aaj Ke Fankaar shuru karte huye main aap se bas itni si iltijaa
kartaa hoon ki...

Clip: khul ke muskuraale tu (Phir Milenge)

darasal yeh salaami hai us yuvaa geetkaar ko jinki baaten Aaj Ke
Fankaar mein shaamil kar rahe hain

Clip: ru ba ru (Rang De Basanti)

Aaj Ke Fankaar aaj kendrit hai vigyaapan jagat ki jaani-maani hasti,
film samvaad-lekhak aur ubharte geetkaar Prasoon Joshi par.

Clip: saason ko saason mein Dhalne do zaraa (Hum Tum)

Prasoon Joshi ne vigyaapan jagat mein Khoob naam kamaaya hai aur
pichhle DeDh dashakon se sakriya hain is 'ad-world' mein. aur
pichhle kuchh saalon se filmon mein bhi apnaa lohaa manwaa rahe hain

Clip: ab ke saawan aise barse (Ab Ke Saawan - Shubha Mudgal)

Prasoon Joshi ki kahaani aaj suniye unhi ki zubaani. yeh baat-chit
aap ke is dost ne film Fanaa ke 'release' ke chand din pehle unse
kee thee.

Prasoon Joshi sings "khul ke musukuraale tu"

to doston, aayiye bheeg jaayen Prasoon Joshi ke baaton aur geeton
se...

Clip: yeh saazish hai boondon ki (Fanaa)

PJ speaks: In fact in childhood, I used to go to the radio station
and perform in Sunday's Children's programme. I used to live in
Rampur, so many fond memories are there of that place. My hobby was
writing, towards the 'lalit kalaa'. I used to write poems since
childhood, my first book was published when I was 17 years age. I
just want to write till my death, either as a professional or as an
amateur. I have done MBA, so I can do something else professionally,
but I will keep on writing. I was not a rebellious child. I never
had the feeling that whatever my parents are saying is wrong. I
decided that untill I stand on my feet, I wont pursue my artistic
hobbies. After doing MBA, I joined an ad company, but not in the
management section, but in the creation department.

Clip: man ke manjeere aaj khanakne lage (Man Ke Manjeere - Shubha
Mudgal)

PJ speaks: After passing out, when I went for the interview, the
director told me that I have written poems, published books, but
writing for ads is totally different from the conventional writing.
At that time he was stuck in a tile ad and he was unable to get a
punch line for the ad. He told me about it and I quickly said a
punch line and he was amazed. He asked me to join the next day and
finalize the salary etc. That was the beginning of my professional
career. It was in Delhi. I won several awards in DElhi and earned a
good position in the company. Then, Peeyush Pandey, the creative
director in Mumbai asked me to join his team. 8 years back. Everyone
said that life would be very tough in Mumbai. But I knew that
opportunities and chances will increase manyfold in Mumbai. So, I
finally reached here.

Clip: jeene ke ishaare mil gaye (Phir Milenge)

PJ speaks: As you know that this film Phir Milenge is on an AIDS
victim, so it was a challenging job to write a song for this
situation when the girl for the first time comes to know that she is
HIV+. She knew that it was not her fault, so I had to write
something that would portray the mental condition of the girl
accurately. Its a background song and an informative song as well.
Its not only applicable for an AIDS victim but for all people in
general.

My first song was for the film Lajja with music director Ilayya
Raja. The song was "kaun dagar kaun dishaa". Its a background song.
I am highly fortunate that I got the opportunity to work with such
stalwarts like Ilayya Raja and Lata Mangeshkar in my very first song.

Clip: kaun Dagar kaun shahar (Lajja)

PJ speaks: Before writing an ad, one has to know about the product,
what is its position in the market, who will be the consumers, we
have to give positive message about it to the masses so that they
get attracted, but at the same time we have be careful not to do any
exagerration that may backfire. making an ad is also an art. On the
other hand, a song is not a product, but it is an account of life,
of love, of celeberation, of separation, its the story of the common
man. A song is in itself an aim or objective.

Clip: tere haath mein meraa haath hai (Fanaa)

PJ speaks: Aditya Chopra, Kunal Kohli, Jatin Lalit  and myself were
sitting and discussing about this song situation. The hero is little
mischievous and speaks something. Earlier it was thought to be
dialogue but I opposed. "aaj sanam mohe ang lagaa le janam safal ho
jaaye", this eternal song, had it been said in words, it would have
sounded highly vulgar. It is the power of music which filters out
this vulgarity and brings out those feelings which we cannot speak
out in normal conversation. In my song too, "chaand sifaarish jo
karta hamaari detaa woh tumko bataa, sharm-o-haya ke parde gira ke
karni hai humko Khata", this is also not a very graceful line, but
portraying it in the form of poetry preserves the grace.

Clip: chaand sifaarish jo karta hamaari (Fanaa)

PJ speaks: Hum Tum truly happened by chance. Once I was sitting at
the airport lounge. Aditya Chopra came there and recognized me. He
sat beside me and gave a light hint that he was going to start work
on his new film and he would like to work with me. Few days later, I
got a call from him and then we met. He showed me the sript and
dialogues of Hum Tum that Kunal Kohli had written. As Kunal was new,
he wanted me to go through and re-write if necessary. I told him
that it was already very nicely written and that there is no need of
any changes. So, I only wrote the songs for this film. Aditya Chopra
is a very sharp and intelligent guy and I simply loved working with
him. We then went to Jatin Lalit, heard the tunes. In the beginning,
the song "laDki kyun na jaane kyun" was not the way it was later
made. While writing the lyrics, some dialogues struck my mind and we
put those in the interludes in the voices of Saif and Rani.

Clip: laDki kyun na jaane kyun (Hum Tum)

aapne sunee geetkaar Prasoon Joshi se unki baaten, ab apne is dost
ko deejiye ijaazat, namaskaar!

Clip: khalbali hai khalbali (Rang De Basanti)

THE END

Hi all,

Vividh Bharati is all set to broadcast a series on
Madan Mohan from tomorrow onwards on a daily basis.
Titled "Sangeetkaar Madan Mohan ke geeton mein
Shastriya Sangeet", this series can be heard everyday
at 07:30 hrs from tomorrow onwards in Sangeet Sarita
programme.

Dont miss!!!!

Sujoy

__________________________________________________
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FLASHBACK - A SPEAIAL SERIES CELEBRATING THE COMPLETION OF 75 YEARS
OF HFM

(Presented by Prabha Joshi on Vividh Bharati Pune)

EPISODE 2 (02/07/2006)
----------------------

Welcome to the second episode of Flashback. Film music hae come a
long way since its birth in 1931. Good or bad, We cannot forget its
history. In the last episode we saw the developments from 1931 to
1937. The year 1938 was a landmark year in the history of Indian
Cinema as the industry celebrated its silver jubilee in the sense
that the first story film, Raja Harishchandra, was released in the
year 1913. In 1937, the New Theatres had released President based on
the labourer-capitalist relation. In 1938, it came up with Dharmatma
based on agriculture and industrialization along with communal
farming and Gandhiji's idea of rural development. Starring K L
Saigal and Uma Shashi, Pankaj Mullick's tunes gave birth to some
immortal songs.

------------------------------------------
Song: duniya rang rangili baba (Dharmatma)
------------------------------------------

Saigal and New Theatre's association continued and the same year saw
the release of Street Singer with Phani Majumdar triggering off his
career as director. This is the film in which Saigal and Kanan Devi
paired up for the first time. The songs, composed by R C Boral and
Pankaj Mullick, broke all limits of popularity. In the musician
troupe were present Pannalal Ghosh and Khemchand Prakash.

--------------------------------------------------
Song: lachmi moorat daras dikhaaye (Street Singer)
--------------------------------------------------

Street Singer is the love story of Bhulwa and Manju and the
difference that stems up when Manju enters the theatre. This song
very ffectively brings out the pain of Bhulwa.

----------------------------------------------
Song: jeevan been madhur baaje (Street Singer)
----------------------------------------------

1938 saw the outburst of the Second World War. The political
instability in the country was growing faster; the meeting of the
Indian National Congress, Netaji Subhash Chandra Bose's influence on
the youth, all these were the hot topics of the day. Coming back to
the film world, Bombay Talkies released Vachan, Bhabhi and Nirmala.
A number of other filmmakers were also active like the Ranjit,
Sagar, Minerva, Mohan Pictures, etc. Chimanlal Desai's Sagar
Movietone released 3 films this year, namely, Vatan, Postman and
Gramophone Singer, all with Anil Biswas's music. The later has some
good songs sung by Surendra.

--------------------------------------------------
Song: haaye akela Dolat baadal (Gramophone Singer)
--------------------------------------------------

1939. When on one hand, New Theatre films like Devdas, Mukti and
Maya were having an opposite effect on the youth, V Shantaram came
up with films like Duniya Na Maane and Aadmi (Maanus in Marathi)
with a positive thinking. Aadmi once again conveyed criticism of
social vision. This time, Shantaram depicted the heroic struggle of
a prostitute, named Kesar, who breaks the evil environment within
which she is condemned to live. Though P.C. Barua had characterized
Chandramukhi, the prostitute, in Devdas sentimentally, Shantaram
made a more realistic portrayal of Kesar. Like Chandramukhi, Kesar
is doomed to lose, but she fights to the last. Lead roles were
played by actress singer Shanta Hublikar and and Shahu Modak.
Shantaram wanted Vasant Desai to play the lead role but somehow it
went to Modak. On this issue, it is heard that C. Ramchandra had
once commented after Vasant Desai's death that "yeh bahut achchha
huya varna Hindi film sangeet ek behatareen sangeetkaar se vanchit
reh jaata". Music of this film composed by Master Krishna Rao, many
know one of the mujra numbers by Hublikar "Kis liye kal ki baat,
katey hansi khushi mein raat". This optimistic number had made it to
the lips of the masses in a big way.

--------------------------------------------------------------
Song: kis liye kal ki baat kaTe hansi khushi mein raat (Aadmi)
--------------------------------------------------------------

In line with Prabhat's Sant Tukaram (1936) starring Vishnupati
Pagnis, Ranjit Movietone made Sant Tulsidas in 1939 with Pagnis in
the lead role and music composed by Gyan Dutt. Lets listen to one
song of this film sung by Vishnupati Pagnis.

----------------------------------------------
Song: ban chale raam raghuraai (Sant Tulsidas)
----------------------------------------------

Minerva Movietone, in 1939, released Pukar starring Chandramohan,
Sohrab Modi, Naseem Bano and Sheela, with Syed Anwar Hyder Kamal
Amrohi, or simply Kamal Amrohi, as the lyricist. Amrohi started his
career in this film and later became a renowned filmmaker and film
writer. Though Meer Saheb was the music composer of this film,
another `wanna-be' composer who started his career with this film
was Narhar Chitalkar Ramchandra or more popularly, C. Ramchandra,
who later became a renowned music director. Sjjad Hussain was also
among the musicians in Minerva that time. Here is one song from this
film by Naseem Bano.

----------------------------------------------
Song: zindegi ka saaz bhi kya saaz hai (Pukar)
----------------------------------------------

This film became the formula for historical films made thereafter.
Lets listen to one more song from this film, which is a bhajan by
Sheela.

---------------------------------------------------------
Song: tum bin kaun khabar le Govardhana Giridhari (Pukar)
---------------------------------------------------------

1 September 1939. WW II was gaining momemtum with Germany attacking
Poland. Revolutionary poet and lyricist Pradeep joined Bombay
Talkies and wrote the songs of Kangan. It was also the first film of
Leela Chitnis for BT. Chitnis belonged to K Bhole's theatre group.
Starring Ashok Kumar and Leela Chitnis, here is a song sung by this
pair. In this song, Kavi Pradeeps' lyrics like "tune hum aazaad
parindon ko kyun bandhan mein baandha" indirectly attacked the
British and tried to arouse national sentiments.

--------------------------------------
Song: Radha Radha pyari Radha (Kangan)
--------------------------------------

Frenz osten, who was directing all the films made by Bombay Talkies,
had to leave for Germany as the British were against the Germans.
Hence, N R Bhattacharya replaced him at the Bombay Talkies. In New
Theatres, Nitin Bose directed Dushman hit the theatres. Starring K L
Saigal, Leela Desai & Najmal Hussain, this 1939 film had Pankaj
Mullick as the composer. He excelled once again in the songs written
by Arzoo Lucknowi. "Karoon kya aas niraas bhayi", rendered by Saigal
was the biggest hit of the film.

-------------------------------------------
Song: karoon kya aas niraas bhayi (Dushman)
-------------------------------------------

Kanan Bala had started her career in the New Theatres with P C
Baruah's Mukti in which she had sung some of the Tagore songs for
Pankaj Mullick. In 1939, she once again proved her excellence in
Jawani Ki Reet, this time the composer was R C Boral.

-------------------------------------------
Song: looT liyo man adheer (Jawani Ki Reet)
-------------------------------------------

Inspired from the success of Street Singer, New Theatres came up
with Kapalkundala in 1939, which was based on the novel Kadambari.
Pankaj Mullick was not only the composer in this film but also
acted, sang and wrote lyrics. Based on classical and modern music,
this song has become immortal and maintains a special place in the
list of memorable songs.

----------------------------------------
Song: piya milan ko jaana (Kapalkundala)
----------------------------------------

1939 also saw the debut of Lahore based actress-singer Noorjehan in
the Punjabi film Gul-e-Bakawali, who later ruled the industry as one
of the most popular singers during 1942 and 48. After independence
she left for Pakistan. Here is that rare song from Gul-e-Bakawali
which is the first song of the Mallika-e-Tarannum Noorjehan.

-------------------------------------------
Song: shala jawaniya maane (Gul-e-Bakawali)
-------------------------------------------

And then came 1940. the British adopted the policy of Divide And
Rule. As a result of this, the All India Muslim League was formed in
Lahore. The film industry saw the release of 85 films. Sagar
Movietone's Ali Baba, directed by Mehboob Khan and music composed by
Anil Biswas, had Wahidan Bai whom Mehboob Khan had brought from
Lahore. The other actors were Surendra, Sardar Akhtar and Ghulam
Mohd. Here is a rare duet by Surendra and Wahidan Bai.

------------------------------------------
Song: hum aur tum aur yeh khushi (Alibaba)
------------------------------------------

The World War took its toll in Sagar Movietone also. The company
collapsed and RCA took it over with monetary support from the Tatas
and renamed it as National Studios. The last film of Sagar was
Alibaba. Mehboob Khan switched over to this newly formed company
with his entire crew and directed three of its most significant
films - Aurat (1940), Bahen (1941) and Roti (1942). Anil Biswas
continued with his musical bonanzas in Aurat. Aurat too had actor-
singers Sardar Akhtar and Surendra. However, one song of this film
sung by Anil Biswas himself that had become immensely popular
was "Kaahe karta der baraati jaana hai tohe pee ki nagariya kathin
badee hai dagariya".

-------------------------------------
Song: kaahe karta der baraati (Aurat)
-------------------------------------

Aurat had Sardar Akhtar in the title role. Mehboob Khan later remade
this film as Mother India with Nargis in the lead role. One actor
and character that was common in both the films was that of
Kanhaiyalal's, who played the role of villain.

----------------------------------
Song: Sajni khol deewaaren (Aurat)
----------------------------------

With the English-German clash in the World War, Himanshu Rai, who
depended a lot on the German collaboration suffered severe nervous
breakdown and passed away on 16 May 1940. His actress wife Devika
Rani took over the production control of the company and kept on
producing talkies. The three films released by Bombay Talkies this
year were Azad, Bandhan, and Punarmilan. While Saraswati Devi and
Ram Chandra Pal jointly scored music in the first two, R.C. Pal
composed the music of Punarmilan independently. After Achhut Kanya,
the songs of Bandhan once again won the audience's hearts. Bandhan
also established Pradeep as a noted lyricist, who had started his
career in the company last year writing few songs in Kangan. Ashok
Kumar's maternal cousin brother Arun Kumar, who had a similar voice
and a singer, did his playback. The most popular track of Bandhan
was the youth motivating "Chal chal re naujawaan, chalo sang chalen
hum" sung by Arun Kumar, Leela Chitnis and chorus.

--------------------------------------
Song: chal chal re naujawaan (Bandhan)
--------------------------------------

Both Bandhan and Punarmilan were directed by Shashadhar Mukherjee.
Here is a rae song of Punarmilan rendered by Snehaprabha Pradhan.

-------------------------------------------------
Song: naacho naacho pyare man ke mor (Punarmilan)
-------------------------------------------------

A number of patriotic films also started releasing this year. The
important ones were Aaj Ka Hindustan, Azadi-e-Watan, Desh Bhakt,
Hamara Desh, Hind Ka Lal, Hindustan Hamara, Jai Swades, and Jung-e-
Azadi. The stories and songs of these films filled with the flavour
of patriotism played the role of stimulating feelings of patriotism
among the masses. Khemchand Prakash, who had made his debut as an
independent music director last year in Ghazi Sallauddin and Meri
Ankhen, got the opportunity to score music in four out of six
releases of Ranjit Cinetone this year. These films are Aaj Ka
Hindustan, Diwali, Pagal, and Holi. "Phaagun ki rut aayi re" is a
song from Holi sung by A.R. Ojha and Sitara.

-----------------------------------
Song: phaagun ki rut aayi re (Holi)
-----------------------------------

Another music director, who made his debut this year was Naushad. He
was working as a musician in Ranjit. In 1940, he gave music in Prem
Nagar and started his career as a music director. The New Theatres
produced three films this year – Haar Jeet, Nartaki, and Zindagi,
all of them clicking quite well at the box office. Starring Kanan
Devi and Pahari Sanyal, Haar Jeet had R.C. Boral as the music
director. The duet sung by these two stars "Mast hawaayen prem nagar
mein aaj sandesha" turned out to be the most popular number of the
film. Pankaj Mullick scored music in the other two films and once
again excelled. The three songs sung by him in Nartaki, namely, "Yeh
kaun aaya aaj savere savere", "Prem ka naata chhoota", "Madbhari rut
jawaan hai", and "Teri daya se hai gayi" gave rise to a debatable
topic whether he was a better singer or a better composer.

---------------------------------------
Song: madbhari rut jawaan hai (Nartaki)
---------------------------------------

After Devdas, Saigal and Jamuna came together in Pramathesh Baruah's
Zindagi. The fine blending of western music with classical music was
the speciality of Pankaj Mullick's music.

----------------------------------------------
Song: main kya jaanoo kya jaadoo hai (Zindagi)
----------------------------------------------

Written by Kidar Sharma, the immortal lullaby by Saigal takes us to
the 'saamrajya of nidraadevi'.

----------------------------------------
Song: so jaa raajkumari so jaa (Zindagi)
----------------------------------------

Zindagi was the last film of Pramathesh Barua for New Theatres. The
New Theatres of Calcutta received a severe blow this year when it
was devastated by a major fire and thus incurring heavy loss. All
the negatives of its films were burnt to ashes. So, this was the
story of film music from 1938 to 1940. Before we wind up for the
day, lets listent to Wahid Ali Shah's Banarasi thumri in Saigal's
voice from the film Street Singer.

--------------------------------------------------------
Song: baabul mora naihar chhooT hi jaaye (Street Singer)
--------------------------------------------------------

Thats all for today, see you again same time next week. Good-bye!

END OF EPISODE 2

EPISODE 4 (02/07/2006)

NA: Naushad Ali
AW: Ahmed Wasee

NA: After few days, I got the offer letter, that I was selected on a
salary of Rs 40 per month. Working with Ustad Jhande Khan was a
matter of pride. He was working on a film by Henri ????, a Russian
in origin. The studio was in Chembur. In those days, Chembur was a
jungle. We used to go from Dadar to Kurla and then from Kurla to
Mankhurd. We had got our railway passes. Ghulam Mohd was also a
tabla player there and so he also used to travel like this. There
was one Broadway Cinema near my place of work. One day I met a
person there who was from Lucknow. When he heard that I am coming
every day all the way from Colaba, he offered me to stay with him
behind his shop. He said that during the hot summer, they sleep on
the footpath, just opposite to Broadway Cinema. I took permission
from Dr Nami sahab and arrived there. 'aaj bhi jab wahaan se guzarta
hoon to 'footpath' ko choom leta hoon, kabhi main wahaan sotaa tha
saahab!'

------------------------------------------------------------
Song: mehlon mein rehnewaale humein tere dar se kya (Shabab)
------------------------------------------------------------

NA: On one side of Broadway Cinema, there was his hotel, where we
used to get 2 meals a day at Rs 15 per month. While coming from
Dadar to Chembur via Kurla, all of us used to buy a bon-bread for 1
anna at Kurla station, as there was no hotel around the Chembur
studio. Ustad Jhande Khan used to stay at Qadar Mansion in Dadar; we
used to pick him up every morning and take with us. For one of the
songs of the film, the director wanted a modern type of song as it
was to get picturised on a character who had just returned from
abroad. Ustad Jhande Khan came up with a song with raag bihaag and
darbaari. He was not able to understand what the director meant
by 'modern song' ('yeh halki phulki kya hota hai?'). Even after
several times, when he could not fulfil the director's need, I told
Ustad that 'yeh aap se bahut hi ghaToya kaam karwaana chaahte hain
jo aap se naheen hogaa, aap mujhe koshish karne deejiye'. Then I
started working on the song, made the harmony, the introduction,
then the mukhra 'kyun ae dil-e-deewana....' After the song was
completed, Ustad Jhande Khan caled up Rizvi sahab
(producer/director) and made him listen to the song. Rizvi saahab
liked it very much and said that this is the thing he wanted. Khan
sahab said,  "yeh maine naheen, is bachche ne banaaya hai".

----------------------------------------------------------
Song: yeh saawan yeh rut hum aur tum ta ra ra rum (Dastan)
----------------------------------------------------------

NA: In two months, the work got finished. Ghulam Mohd also received
his final cheque. My railway pass also expired. Ghulam Mohd had
borrowed money from a 'Pathaan'. He arrived to get his money back.
We went from Kurla to Mahim, it was mid-day, we were thirsty and
hungry. GHulam Mohd requested the paThaan to pay for our lunch and
add the amount to his existing borrowed amount (laughs). After
having lunch, we parted our ways.

Manohar Kapoor, who was an actor-singer was staying at Parel Chawl.
I also toom a 'kholi' at Rs 10 in Parel Chawl. That chawl still
exists and has a special mention in my biography. Manohar Kapoor got
a contract of music direction in a Punjabi film Mirza Sahiban. It
was a Ranjit production and D N Madhok was the lyricist and story
writer. 'Madhok saahab ki jitni taareef kee jaaye kam hai'. So
Manohar Kapoor offered me to join as a musician in his team.

'ek gaana ghoDe ke astabal mein filmaya jaa raha tha. gaana ek 'love
song' tha. 'Hero-heroine' maujood the, sab kuch Theek Thaak tha,
lekin tabley ki ek thaap ke upar ghoDa bhaDak gaya, ek tabla idhar
gaya, doosra udhar. koi idhar laTkaa, koi udhar bhaaga. kuchh der
baad jab sabko hosh aaya to 'recordist' saahab kehne lage 'OK OK'.
Woh samajh rahe the ki aisa film mein hi tha'. Manohar Kapoor became
angry and said, 'khaak OK, gaana huya kidhar???'

-------------------------------------------------------
Song: o gaaDiwaale gaaDi dheere haank re (Mother India)
-------------------------------------------------------

NA: There was one scene in which the heroine is washing clothes in
an outdoor scene. In those days, before an outdoor scene was
shooted, the director used to visit the place and look for 'hiding
places' for the musicians so that they do not come within the camera
range. Some musicians had to sit on tree branches, some were put by
digging the ground.

One such incident: 'outdoor shooting' mein 'musicians' bhi jaate
the, us waqt 'playback' naheen tha, 'character' ko hi gaana paDta
tha. main bhi us waqt 'musician' tha Ranjit mein. 'direcor' ko
hamesha is baat ka Khayaal rakhna paDta tha ki 'musicians' ko kahaan
biThaaya jaaye taaki 'camere' mein na dikhe. ek baar kisi gaane ko
filmaaya jaa raha tha, gaanewaali theen Kalyani. unhone shikaayat
kee ki tablaa ka 'sound' unhe naheen mil raha hai, tabalchi ko zaraa
aur saamne laaya jaaye. 'director' saahab ne kahaa ki peD kaaTo,
phir us peD ki shaaKhon ko uske kamar pe lagaayi gayi, ret-wet Daale
gaye, tablaa baje to aisa lage ki peD hil rahe hain hawa mein. jab
koi 'musicians' 'outdoor' pe jaate the to uske gharwaale uske liye
duya maangte the ki woh sahi salaamat lauT aaye, kyunki pataa naheen
kab kisko kis peD pe laTka diya jaaye (laughs).

The money earned was by hard labour. The highest pay used to be only
Rs 60 per month. Madhok sahab respected me a lot. Chandulal Shah,
the founder of Ranjit Movietone, was very much fond of Madhok sahab
and used to listen to all his suggestions. When he was about to
start his next film KANCHAN, Madhok sahab recommended my name to him
for the music direction. Before this, I had assisted Khemchand
Prakash in GHazi Sallauddin in which I had helped him with some
Arabic words. But when I was made the music director in Kanchan, my
fellow musicians could not take it in good spirit and they didn't
listen to me at all. I told this to Khemchand Prakash and then he
took care of the musicians. He even came on the day of recording of
the first song so that every thing was in place. After the
recording, the song was appreciated. The song was sung by Leela
Chitnis and it went like this : "bataa do mujhe kaun mili gayo
Shyam". I had gone to the recording that day with a resignation
letter in my pocket. After the recording I handed it over to D N
Madhok telling him that the musicians do not listen to me. He was
surprised and requested me not to take this hard step and tried to
tell me that it is very difficult to get a chance in this industry.
He said, "tum bahut jazbaati ho". And I replied, "isi jazbaat ne
mujhe is 'line' mein laaya hai".

-------------------------------
Song: insaan bano (Baiju Bawra)
-------------------------------

END OF EPISODE 4

Hi all,

If you have an idea for a new radio programme, u can fill in your
concept in the "Database" section of this group by following the 3
steps gicen below:

1. Go to http://in.groups.yahoo.com/group/vividhbharati/database

2. Click on 'Programme Concept'

3. Click on 'Add Record'


Lets see how many fresh ideas we can get!!!! Pls take interest & fill
in :)

Sujoy

Hi,

Those who have watched last Friday's Maano Ya Na Maano programme on
Star One channel, u must have identified VB announcer Kamal Sharma's
voice in it. He narrated one part of the programme (chhaya shastra).

Sujoy

Hi Soojoi,
Thank you for uploading the trascript of first episode in detail.
GREATE JOB!!!
Regards,
Prabha Joshi


--- In vividhbharati@..., "soojoi_india"
<soojoi_india@y...> wrote:
>
> FLASHBACK - A SPEAIAL SERIES CELEBRATING THE COMPLETION OF 75
YEARS
> OF HFM
>
> (Presented by Prabha Joshi on Vividh Bharati Pune)
>
> EPISODE 1 (25/06/2006)
> ----------------------
>
> Namaskaar & heartiest welcome to Flashback. From the title itself,
> you might have guessed the content of this programme. The Hindi
Film
> Music has completed 75 glorious years and this series is a
> celebration for the same. In the coming 10 weeks, we shall make a
> journey through these 75 years. Film music has always been an
> important medium to reach the masses. India has vast diversity
> across its length and breadth, but films have always stitched the
> people through a common thread. Before we start our journey from
the
> first Hindi talkie Alam Ara that was released on 14 March 1931,
let
> us have a brief look on the important developments in the world of
> cinema. Film business in India may be dated back to 1896 when
films
> of the Lumiere Brothers (pioneers of the cinematograph in France
on
> 28 December 1895) were exhibited at Watson Hotel, Bombay. Agents
of
> these brothers arranged the first cinema show in the same hotel on
7
> July 1896. The first Indian film was The Return of Wrangler
> Paranjapee shot in 1901 by Harishchandra Sakharam Bhatvadekar, who
> had for the first time imported a cine-camera from London in 1897.
> In 1907, J.F. Madan, in Calcutta, built the first cinema hall in
> India, the Elphinstone Picture Palace. Dhundiraj Govind Phalke,
> popularly known as Dada Saheb Phalke, is considered to be the
Father
> of Indian Cinema, who made the very first indigenous film titled
as
> The Birth of a Pea Plant, for which he exposed single frames of a
> seed sprouting to a growing plant, shot once a day, over a month,
> with his imported camera. The first full-length story film of
> Phalke, Raja Harishchandra, was released at the Coronation cinema,
> Bombay on April 21, 1913. This followed a number of silent movies
by
> a number of filmmakers. Though Imperial Movietone's Alam Ara was
the
> first full-length talkie feature film of India, J.F. Madan and
J.J.
> Madan of Madan Theaters Ltd., Calcutta had already received their
> sound equipment from America and had released a two-reeler sound
> film in Calcutta, in 1929. Some talkie shots produced by Madan
> Theatres Ltd., Calcutta and Krishan Film Company, Bombay, were
> released for the first time in the Lamingrone and Empress Cinemas
in
> Bombay on February 4, 1931. In the west, in Kolhapur, Baburao
> Painter's Maharshtra Film Company was also making silent films.
And
> then finally came the historic day of 14 March 1931, which saw the
> release of Alam Ara. Produced by Ardeshir Irani under the banner
of
> Imperial Film Company, this film had Vitthal and Zubeida in the
lead
> roles. The first Hindi film song was "de de khuda ke naam par
pyare"
> sung by Wazir Mohammad Khan in this film.
>
> Motivated by the phenomenal success of Alam Ara, two big film
> companies to emerge the very next year were B N Sircar's New
> Theatres in Calcutta and Prabhat Film Company in Kolhapur, founded
> by V Shantaram, V G Damle and S Fattehlal. Their first film was
> Ayodhya Cha Raja, in Marathi, directed by Shantaram himself. It
> proved to be a big hit which led him to make it in Hindi as well
> with the name Ayodhya Ka Raja. Due to the non-availability of Alam
> Ara's print, this film is now presented as the first available
> talkie film. Ayodhya Ka Raja had launched the first Indian
actress,
> Durga Khote. During that time, performing arts by the women were
not
> considered "good" for the respectable families, cinema being the
> last one. After Durga Khote, many others followed her. Govindrao
> Tembe, the famous figure in Maharashtra's theatre world, composed
> the music of this film. The other films released in 1932 by
Prabhat
> Films were Jalti Nishani and Maya Machinder.
>
> --------------------------------------------
> Song: aadi purusha narayan (Ayodhya Ka Raja)
> --------------------------------------------
>
> Films used to be based on historical and ancient stories. The
other
> release of Prabhat in 1932 was Maya Machhinder, whose story idea
was
> based on Govindrao Tembe's platy 'Siddha Sansar'. Let us listen to
> one song from this film composed and sung by Govindrao himself.
>
> ---------------------------------------------------------------
> Song: chhoD aakash ko sitaare zameen par aaye (Maya Machhinder)
> ---------------------------------------------------------------
>
> There was no system of playback at that time and hence film actors
> and actresses were required to have some expertise in singing as
> well. Classical and folk music have long been an integral part of
> Indian tradition and culture, and hence songs and music had to be
> included in the films as well. In 1933, Prabhat Film Co shifted
its
> base from Kolhapur to Pune and produced the first film Sairandhri.
>
> --------------------------
> Song: Song from Sairandhri
> --------------------------
>
> In 1933, the New Theatres of Calcutta came with Puran Bhagat and
> Yahudi Ki Ladki. Kundan Lal Saigal's rendition of "Radhe Rani de
> Daaro na" in Puran Bhagat gave the hint that he is going to have a
> glorious future.
>
> -------------------------------------------
> Song: Radhe Rani de Daaro na (Puran Bhagat)
> -------------------------------------------
>
> After shifting its base from Kolhapur to Pune in 1933 and building
> its new soundproof studio, Prabhat Film Company released Amrit
> Manthan in the following year. A fast moving tale of palace
> intrigues, Amrit Manthan opposed the senseless violence of Hindu
> rituals. Composed by K. Bhole and sung by Shanta Apte, two songs
of
> this film are worth mentionable. One is "Raatlaayi hai naya rang
> jamaane ke liye " and the other is beat-less "Kamsini mein dil pe
> gham ka baadh kyun". This was the first Hindi talkie to celebrate
> silver jubilee at the Krishna Talkies in Bombay, by running for
> twenty-nine weeks at one go. V. Shantaram emerged as a highly
> socially responsible filmmaker with a powerful directorial
> capability. The publicity leaflet that was distributed
said, "Shanta
> Apte made 200000 persons shed tears at Krishna Talkies". Though K.
> Bhole's music was based on 'natya sangeet', he made use of
> instruments like the piano and the violin.
>
> --------------------------------------------------------------
> Song: raat laayi hai naya rang jamaane ke liye (Amrit Manthan)
> --------------------------------------------------------------
>
> While the Marathi version of Amrit Manthan became immensely
popular
> in Maharashtra, the Hindi version was highly appreciated in the
> North, the Punjab and Lahore.
>
> ------------------------------------------------------------
> Song: Kamsini mein dil pe gham ka baaDh kyun (Amrit Manthan)
> ------------------------------------------------------------
>
> The most happening film of 1934 was New Theatres' Chandidas. K.L.
> Saigal formed pair with Uma Shashi, the film turned out to be a
huge
> hit and Saigal became a star in the true sense. Directed by Nitin
> Bose, this film was previously made in Bangla in the year 1932 by
> the same banner. Chandidas is the story of a Vaishnavite poet-
priest
> who falls in love with a low caste washerwoman and stands against
> the conventional system.
>
> -----------------------------------------
> Song: taDapat beete din raina (Chandidas)
> -----------------------------------------
>
> Though majority of the songs were devotional, it gave clean
> indication that the style of film music was changing. In the first
> three years, songs used to be based on theatre music, but
Chandidas
> marks the beginning of popular film music. The specialty of the
> songs of this film was that instruments like Manjira, Khol and
> Mridang were used extensively, which is in contrast to the music
of
> most of the earlier films that used only harmonium and tabla.
> Lyricist Agha Hashra Kashmiri had written the songs for this film.
> Music director R.C. Boral created magic in the duet "Prem nagar
mein
> banayungi ghar main" sung by Saigal and Uma Shashi.
>
> -----------------------------------------------------
> Song: Prem nagar mein banayungi ghar main (Chandidas)
> -----------------------------------------------------
>
> Prabhat and the New Theatres had emerged as the two influencial
film
> production units of the country. 1934 saw the emergence of another
> important company, the Bombay Talkies. The first Indian talkie to
> release, in England, was an Anglo-Indian co-production, titled
Karma
> (titled Fate in the English version), in which Devika Rani co-
> starred with Himanshu Rai. The English version was premiered in
> London in May 1933, while the Hindi version was premiered at
Bombay
> on 27 January 1934. Daughter of Cornell Choudhury and grandniece
of
> Rabindranath Tagore, Devika Rani is considered as the First Lady
of
> the Indian Screen. She went to London in the 1920s to pursue a
> degree in architecture from the Royal Academics of Art & Music.
> There she met Himanshu Rai and got married to him. She entered the
> film industry as a fashion designer for the silent film Prapanch
> Pash in 1929 whose post-production was done in Germany. She got
wide
> acclaim for her work on an international scale. Karma, the double
> version film, was her first film as an actress. After coming back
to
> India, they founded the Bombay Talkies in 1934, which during its
> lifetime of 25 years made some of the highly popular films of that
> period, both in terms of story as well as music, some of which are
> popular among the masses till date. It should also be remembered
> that BT was the first Public Ltd Company in the Indian film
> industry. Nevertheless, a number of great filmstars, directors and
> music directors had started their careers in Bombay Talkies.
>
> The most happening film of 1935 was New Theatres' Devdas. Based on
> the famous novel of Sarat Chandra Chattopadhyay, K.L. Saigal
played
> the title role with Jamuna, Rajkumari and Pahari Sanyal playing
the
> other main characters of Paro, Chandramukhi and Chunibabu
> respectively. The film was a blockbuster making Saigal a
superstar.
> The words 'Saigal' and 'pathos' became synonymous. Devdas,
directed
> by Pramathesh Chandra Barua, who had also played the lead role in
> the Bangla version of this film, established him as a grade one
rank
> filmmaker and New Theatres became a major film production studio.
>
> ---------------------------------------------
> Song: baalam aaye baso more man mein (Devdas)
> ---------------------------------------------
>
> Sarat Chandra's writing, Nitin Bose's direction, Timir Baran's
> music, Bimay Roy's cinematography and K L Saigal's
characterization
> of Devdas, each one of these played vital role in the success of
> this film.
>
> ------------------------------------------
> Song: dukh ke din ab beetat naahi (Devdas)
> ------------------------------------------
>
> The other films released by New Theatres this year were Dhoop
> Chhaon, Bhagya Chakra, and Karwan-e-Hayat. The year 1935 is one of
> the memorable years in the history of Hindi cinema as well as in
the
> history of Hindi Film Music. Music director R.C. Boral, with his
> assistant Pankaj Mullick, in New Theatres introduced the system of
> playback for the first time in India in the film Dhoop Chhaon. The
> song was "teri gathri mein laaga chor musafir jaag zara" by K.C.
> Dey.
>
> ------------------------------------------------
> Song: teri gathri mein laaga chor (Dhoop Chhaon)
> ------------------------------------------------
>
> In 1935, Bombay Talkies came up with their first production,
Jawani
> Ki Hawa, a film based on a story of a murder mystery. R.C. Boral
and
> K.L. Saigal had created magic in Chandidas. Govindrao Tembe and K.
> Bhole were also associated with the Prabhat. Thus, to stand
straight
> in front of these major pillars of cine-music, Himanshu Rai was in
> search for a new music director for his Bombay Talkies. His search
> led him to the discovery of Khursheed Manchersher Minocher Homji,
> known by Saraswati Devi. She had learnt music from Pt Vishnu
Narayan
> Bhatkhande. There was a huge protest in the Parsi community, as
they
> could not imagine a Parsi lady to work in the films and that too
in
> the field of music. Even morchas were taken out to prevent release
> of the film. However, the film was released under police
protection
> at the Imperial Cinema. Being a public company, the Bombay Talkies
> had four of its Board of Directors from the Parsi community who
> wanted the Parsi girls out of the company. But Himanshu Rai stood
in
> support of them and to conceal their identity, Khursheed became
> Saraswati Devi.
>
> Wadia Movietone was known for its stunt films. In 1935, Homi Wadia
> made Hunterwali starring Nadia and John Cavas, which was the first
> superhit film of this banner. Nadia, the famous circus artiste in
> Zacko's Russian troupe and a ballet dancer in Madame Astrova's
> ballet troupe, was introduced in Wadia films by J.B.H. Wadia for
his
> real action based films. She was known as the Lady Robinhood and
> holds a special position in the genre of stunt films.
>
> Then came 1936. The political instability in the country was
growing
> faster. Gandhiji had started his mission to eradicate
untouchability
> and rural development while Pt Nehru, Netaji and others were busy
in
> the freedom struggle. In this situation, Bombay Talkies came up
with
> three films, all directed by Frenz Osten. These were Jeevan Naiya,
> Achhut Kanya and Janmabhoomi. With Jeevan Naiya, Ashok Kumar had
> made his debut in films. Achhut Kanya, starring Ashok Kumar and
> Devika Rani was the most popular film of the day. With Saraswati
> Devi in charge of music, the songs of this film rose to the
heights
> of popularity.
>
> --------------------------------------------
> Song: kit gaye ho khevanihaar (Achhut Kanya)
> --------------------------------------------
>
> Based on Niranjan Pal's story, Achhut Kanya brought out the grim
> situation of untouchability. Pt Nehru and Sarojini Naidu had
watched
> this movie in the Bombay Talkies.
>
> ----------------------------------------------
> Song: main ban ki chiDiya banke (Achhut Kanya)
> ----------------------------------------------
>
> After the success of Amrit Manthan in 1934, V. Shantaram came up
> with another social film Amar Jyoti in 1936. It had both Durga
Khote
> and Shanta Apte, the two most successful stars of the company.
Amar
> Jyoti was shown at the IV International Film Festival at Venice.
> Back-projection was used for the first time in this film, and the
> latest innovation of playback singing was exploited. The film
> revolves around a wronged wife, rebelling against the different
> standards of morality for men and women, forming a group of other
> victims of similar injustice and becoming an outlaw. Composed by
> Master Krishna Rao, the Shanta Apte number "Ab maine jaana hai
haaye
> prem kya hai, prem bana ab dil ki beri jo zevar maana hai, ishq-o-
> dil hil-mil ke dosti mein ek hai, dil se agar ishq nikaale to dil
> bhi jaata hai" brings out the pain effectively. Another song "suno
> suno ban ke praani" also echoed throughout the country.
>
> ------------------------------------------
> Song: suno suno ban ke praani (Amar Jyoti)
> ------------------------------------------
>
> The New Theatres continued with Saigal and released Millionaire
> (Karodpati), co-starring Molina Devi, Pahari Sanyal and Rajkumari,
> lyrics by Kidar Sharma and music by R.C. Boral and Pankaj Mullick.
> The memorable Saigal solo of this film is "Jagat mein prem hi prem
> bhara hai, bina prem yahaan kachhu na bhara hai". Lets listen to
> another rare number of this film in Saiga's voice.
>
> --------------------------------
> Song: beet chuki jo (Amar Jyoti)
> --------------------------------
>
> One important happenning of 1936 was the foundation of the Indian
> Motion Pictures Association (IMPA).
>
> The New Theatres released President in 1937. Directed by Nitin
Bose,
> President had Saigal, Kamlesh Kumari and Prithviraj Kapoor in the
> lead roles. The songs of this film are memorable till date.
>
> ---------------------------------------
> Song: ek bangla bane nyaara (President)
> ---------------------------------------
>
> One more song of this film, basically a story teller, that brings
> out Saigal's yet another aspect of singing.
>
> --------------------------------------------------------
> Song: ek raajya ka beTa lekar uDnewala ghoDa (President)
> --------------------------------------------------------
>
> One more film of New Theatres that was released in 1937 was Mukti,
> directed by Pramathesh Barua, of the Devdas fame. In this film,
> Pankaj Mullick used Rabindra Sangeet for the first time in a Hindi
> film.
>
> --------------------------------
> Song: kaun des hai jaana (Mukti)
> --------------------------------
>
> The Prabhat Film Company released two films in 1937; the most
> important one being V. Shantaram directed Duniya Na Maane that
> created waves across the country. After touching burning social
> issues in Amrit Manthan (1934) and Amar Jyoti (1936), Shantaram
> continued his genre of films attacking the obsolete and wrong
social
> customs of our country, with Duniya Na Maane depicting the plight
of
> young women married to older men. Lets us listen to one song of
this
> film sung by Master Parshuram.
>
> ---------------------------------------------------
> Song: man saaf tera hai ya naheen (Duniya Na Maane)
> ---------------------------------------------------
>
> Music director Anil Biswas had made his debut in 1935 in the film
> Dharam Ki Devi. In 1936 Mehboob Khan made Jagirdar in the
Hollywood
> style and Biswas was chosen the music director. Sung by Motilal
and
> Maya Banerjee, let us listen to this rare song from this film.
>
> -----------------------------------------------------------------
> Song: nadi kinaare baiThke aayo sur mein jee behlaayen (Jagirdar)
> -----------------------------------------------------------------
>
> So, this was the journey through the first 7 years of Hindi
Talkies.
> With this we come to an end of the first episode of this series.
The
> story would continue next week. Good-bye!
>
> END OF EPISODE 1
>