SANGEET KE SITAARON KI MEHFIL

AMEEN SAYANI'S PROGRAMME ON D N MADHOK
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PART 2

aayiye aayiye, bhai aapka swaagat karta hai aapka 'radio' dost Ameen
Sayani. baheno aur bhaaiyon, is Sangeet Ke Sitaaron Ki Mehfil ko agar
aap man ki aankhon se dekhen na to shaayad yun lagega ki yeh mehfil
ek nadi hai, jee haan nadi, jo beeti huyi suron ki lehron ko
pahunchaati hai aaj ke sargami kinaaron par khaDe sitaaron tak aur
aap jaise achchhe achchhe sangeet premeeyon tak. aur is tarah se
hamaare yaadon ka vishaal sangeet khazaana kal aur aaj ke sangam se
aur maalaamaal hota jaata hai. aaj pichhle 'programme' ki tarah phir
ek baar kal ki baari hai baheno aur bhaaiyon. to chaliye '21st
century' mein aage baDhte huye ham apne man ke saath phir se peechhe
ki taraf bhaag chalen.

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Song: man paachhe bhaage (Bhakt Surdas)
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film Bhakt Surdas ke is geet mein us zamaane ke sangeet samrat K L
Saigal ki aawaz to baheno aur bhaaiyon, aapne pehchaan hi lee hogi,
ismein sangeet tha Gyan Dutt ka, aur ismein bol the mahaan geetkaar D
N Madhok yaani Dina Nath Madhok ke. jee haan baheno aur bhaaiyon,
yaadon aur geeton mein Dhalkar swargeeya D N Madhok hi pichhli baar
ki tarah aaj bhi hamaare Sangeet Ke Sitaaron Ki Mehfil ke sitaare
bane huye hain. aur kyunki ab woh to naheen rahe, isliye unke beTe Dr
Prithvi Madhok unki jeevan kahaani ko baDe Khoobsoorat andaaz se aage
baDhaane ke liye phir se tashreef laa chuke hain hamaare 'studio'
mein.

AS: to yeh bataaiye Dr saahab, maine suna hai ki ek daur aisa bhi
aaya jab Kalkatte se Bambai aane ke baad Bambai chhoDkar Madhok
saahab Lahore chale gaye? yeh kaise huya, kyun huya?

PM: haan, bilkul Theek farmaaya aapne. woh kya tha ki laDaai ka
zamaana tha aur us waqt 'black-out' tha Bombay mein. aur kaafi
angrez 'soldiers' ghoomte the Bombay mein, Colaba mein, inki jo aDDe
theen, 'barracks' the. to yeh 'paper'-on par chhaya tha ki laDkiyaan
uThaake lee jaate hain, 'rape' karte hain, 'abduct' karte hain aur
sazaa hoti naheen kyunki yeh log gore hain, kabhi kabhi laDkiyon ka
bhi pataa naheen lagta. to hamaari 'mother' ne kaha ki 'hamari teen
laDkiyaan jawaan ho gayi hain aur mere liye yahaan rehna 'safe'
naheen hai, ham to gaaon jaayenge, apne mulk jaayenge'. to roz kehne
se, 'pressure' Daalne se papaji bhi maan gaye ki 'Theek hai, chalo
bhai chalen, waise bhi Lahore mein 'industry' hai, wahaan chalte
hain'. to yeh Lahore mein 'shift' ho gaye 1939-40 mein aur wahaan
Pancholi Art Productions inhone 'join' kee.

AS: achchha, Dalsukh Pancholi saahab ke wahaan!

PM: Dalsukh Pancholi. aur inka wahaan jaana aise huya ki diwaali aa
gayi hai kyunki wahaan bhi inhone jitni bhi 'picture'-en banaaee
hain, bahut hi kaamyaab huyi. aur sabse pehli 'picture' Khandaan, woh
to utarti naheen thi. Khandaan jab Gujranwale se nikaali to wahaan
itna hangaama ho gaya ki waapas lagaani paDee.

AS: arey arey arey... Khandaan ka jab aapne zikr kiya hai to gaana to
aana hi chaahiye.

PM: "tu kaun si badli mein mere chaand hai aaja, taare hain mere
zakhm-e-jigar unmein samaa jaa".

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Song: tu kaun si badli mein mere chaand hai aaja (Khandaan)
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PM: abhi ismein bhi ek chhoTi si main aapko kissa sunaata hoon.
inhone likha tha "taaze hain mere zakhm-e-jigar", inhone "taare"
naheen likha tha, inhone likha tha "taaze hain mere zakhm unmein
samaa jaa". lekin Urdu mein 'ra' ke upar agar aap 'dot' na Daalen
to 'raa' ban jaata hai aur woh raane 'ze' ban jaata hai. to
Noorjehan 'madam' ke haath jab woh gaana aaya to unhone woh dukhta
dekha hi naheen "taare hain mere zakhm-e-jigar...". par jab Madhok
saahab ne gaana suna to 'hey bhagwaan yeh kya kiya mere gaane ko', us
waqt itne 'record' bik chuke the ki inki kisi ne naheen sunee. to yeh
jis cheez ko haath lagaa dete the sona ban jaata tha. uske baad
inhone Daasi 'picture banaaee, woh bhi bahut mashoor huyi.

AS: o ho ho, bahut mashoor, bahut hi mashoor, saare 'hit' gaane the
Daasi mein jaise "woh din yaad karo", aur "haath mein hogi Khaali
jholi", "dekha karo bhagwaan gareebon ka tamaasha", vagerah vagerah,
lekin yahaan main film Daasi ka ek aisa geet bajaayunga jo bahut kam
logon ko yaad hoga. Pandit Amarnath ke nirdeshan mein isey gaaya tha
S D Batish.

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Song: khamosh nigaahen yeh sunaati hain kahaani (Daasi)
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------COMMERCIAL BREAK--------

baheno aur bhaaiyon, aap dhyaan lagaakar aur dil lagaakar sun rahe
hain na aaj ke Sangeet Ke Sitaaron Ki Mehfil mein geetkaaron ke
Bhishma pitaamah D N Madhok saahab ki kahaani aur daastaan-e-zindagi?
hun? achchha abhi abhi D N Madhok saahab ke beTe DR Prithvi Madhok
saahab ne aapko bataaya ki kis tarah ki san 39-40 ke aaspaas unke
pitaaji Bambai chhoDkar Lahore pahunch gaye aur Dalsukh Pancholi
saahab ki mashoor company 'join' kar lee. aur wahaan unki jo pehli
do 'superhit' filmein aayi woh theen Khandaan aur Daasi.

AS: Prithvi bhai, aur bhi to kai filmen aayi aapke pitaaji ke geeton
se sajee huyi Dalsukh Pancholi ki filmen?

PM: Patjhad, Patjhad bhi bahut achchhi 'picture' thi. woh itni chalee
naheen jitni Daasi chalee thi. Shahar Se Door, yeh bhi inhone waheen
banaaee. to inka waasta kaafi achchha raha, Pancholi ke saath 4/5
saal rahe aur wahaan ki jo sabse, matlab, 'unforgettable' aap keh
leejiye, baat yeh thi ki Bombay ke 'producers' ne bhi unko wahaan
naheen chhoDaa. kehte hain 'yeh aadmi to wahaan jaakar bhi rang jamaa
raha hai'. to kehte hain ki 'hamko waheen se likhaa lo'. to Bombay
ke 'producers' Bombay baiThke D N Madhok se 'telephone' pe gaane
likhwaate the aur Madhok saahab 5000 rupay ek gaane ka lete the, aur
phir maachis ke upar uska 'tune' dete the ki 'dekho beTa isko aise
bajaana'. to yeh to ek 'unique' kism ki 'position' hai 'film-line'
mein jo aaj tak kisi ko naheen mili, to yeh inko haasil thi.

AS: lekin kya inhone kabhi 'music direction' bhi kiya?

PM: 'music direction' naheen kiya par tarz mein unka kaafi haath tha.
abhi Naushad unke laDkon ki tarah the. unke upar inko bahut yakeen
tha ki yeh aadmi bahut achchha hai.

AS: Naushad saahab kaise unke kareeb aaye?

PM: Naushad saahab ki kahaani aisi ki woh Bombay mein bhaTak rahe the
aur 'assistant director' the, baaja bajaate the, 'piano' bajaate the,
aur Madhok saahab ne dekha ki in sab aadmion mein se yeh laDka sabse
laheen hai aur sabse achchha bajaata hai, ki yeh Madhok saahab ki
nazron mein aa gaye. to Madhok saahab ne unko bulaaya ki 'tumhari
umar kya hai?' 'jee, 20 baras'. kaha 'tum 'music director' banoge?'
yeh ghabraa se gaye ki kahin yeh mazaak to naheen hai. kehte
hain 'jaise aap kahenge' to inko pakaDkar Bhawnani saahab ke paas le
gaye. kehte hai ki 'tumhari yeh jo 'picture' ban rahi hai Station
Master, ismein isko 'music' ka 'chance' do. to kehte hain ki 'music
ka chance kaise den? yeh to abhi kal ka launda hai!' kehte hain' yeh
jo kal ka launDa hai na, yeh hamaara baap hai. agar isne
aapki 'picture' mein kuchh Kharaabi kee to mere paise bhi naheen
dena, isko aap chance do'. to Naushad saahab kabhi us baat ko bhoole
naheen. aur unhone hamesha hamaare papa ko 'compliment' deeye hain,
salaam kiya hai ki woh na hote to ham na hote. waise Naushad saahab
to khud hi bahut 'talented' aadmi hain, unka to jawaab hi naheen par
yeh ek kissa hai jo Madhok saahab ne us waqt se inhe apna laDka hi
samjha hai. aur kabhi kabhi to agar naya 'music director' hota to
woh 'singer' ke paas baiTh jaate the. aur Mukesh bhi inke
saath 'production manager' the. to unki aawaaz bhi to inhone sunee.
kehte 'aaja tu teesre gaale mein gaata hai, ismein gaaya kar'.

AS: achchha baheno aur bhaaiyon, yahaan main Dr Prithvi Madhok
ka 'interview' rok kar aapko Mukesh ki aawaaz sunwaana chaahoonga, D
N Madhok saahab ke likhe ek aur bahut hi mashoor geet se, jismein aap
Mukesh ke saath shamshad Begum ki aawaaz bhi sunenge, sangeet iska
Naushad saahab ka naheen hai, Naushad bhai ka to bahut zabardast zikr
aage chalkar aanewaala hai aur unki 'superhit' tarzen bhi bajnewaali
hain. is geet mein jo aap sunenge, sangeet Gyan Dutt ka hai, film ka
naam hai Sunehre Din.

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Song: maine dekhi jag ki reet meet sab jhooTe paD gaye (Sunehre Din)
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AS: aur Prithvi bhai, ab zikr aana chaahiye Naushad ke sangeet aur
Madhok saahab ke shabdon ke sangam ka. bhai, kai filmon mein dono ka
baDaa hi kaamyaab saath raha.

PM: Naushad saahab aur Madhok saahab shuru shuru mein Bhawnani
Productions mein ek do 'picture'-en banaaee, to us waqt sangeet ki
itni ahmiyat naheen thi. kahaani ki ya 'hero-heroine' ki thi. par yeh
log asli saath mein tab aaye Kardar Productions mein, laDaai ke baad
Madhok saahab waapas Bombay aa gaye. to Bombay mein A R Kardar ki
Kardar Productions thi, yeh log dono mulaazim ho gaye aake. to Kardar
ke saath inki Ranjit se bhi puraani dosti thi, to wahaan bhi inhone
bahut achchhi achchhi 'picture'-en banaaee - Sharda, Namaste, Kanoon,
Sanjog, Bahar, Pehle Aap, Geet. Sharda mein ek bahut mashoor gaana
tha "panchhi jaa".

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Song: panchhi jaa peechhe raha hai bachpan mera (Sharda)
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PM: to aise matlab har 'picture' mein inke mashoor gaane the. 'again'
ismein main aapko ek chhoTa sa kissa sunaata hoon. Pehle Aap mein ek
gaana tha "Hindustan ke ham hain Hindustan hamara". yeh ek 'group
song' tha. to laDaai ka zamaana tha aur angrezon ne, matlab,
bahut 'problems' thi angrezon ko 'recruitment' mein. to unhone kaha
ki 'bhai yeh gaana hamko de deo, ham isey 'marching song' banaaenge.
to kyunki ismein 'secularism' hai, Hindu Muslim dono ki aankhon ka
taara, to unhone is gaane ke upar Madhok saahab ko 'Mahaakavi' ka
khitaab diya.

AS: waah!

PM: aur Mahakavi ka Khitaab bhi siwaay Mr D N ke aaj tak kisi ko
haasil naheen huya.

AS: achchha, is baat pe mujhe yaad aaya ki ek baar Naushad saahab ne
Rafi saahab ko 'tribute' dete huye is gaane ka zikr bhi kiya tha,
main thoDaa sa hissa uska yahaan sunwaa deta hoon, suniye...

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Naushad speaks: yeh saahab takreeban 1942 ka zikr hai, Kardar
Productions mein main us waqt tha aur ek film ban rahi thi jiska naam
tha Pehle Aap. to ek dubla patla sa laDka mere paas aaya aur Lucknow
se ek chiTThi lekar aaya, mere waalid saahab ne unko ek chiTThi dee
thi jismein sifaarish kee thi ki yeh laDka achchha gaata hai, isko
koi mauka do. maine kaha 'bhai ghabraaiye naheen, mujhe kuchh
sunaaiye', to unhone kuchh gaana sunaaya Darte Darte. to maine
kaha 'Theek hai', to us film mein ek 'chorous song' tha jismein aur
kai laDke bhi shaamil the, to usmein maine 'leading' inko dee, woh
gaana tha "Hindustan ke ham hain Hindustan hamara, Hindu Muslim dono
ki aankhon ka taara".

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Song: Hindustan ke ham hain Hindustan hamara (Pehle Aap)
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------COMMERCIAL BREAK--------

baheno aur bhaaiyon, Sangeet Ke Sitaaron Ki Mehfil mein ab kyunke D N
Madhok ke geeton aur Naushad ke dhuno ke sangam ka daur shuru ho
chuka hai, isliye ab main aapki taraf se Madhok saahab ke beTe Dr
Prithvi Madhok se guzaarish karoonga ki Prithvi bhai, ab aap Madhok
aur Naushad ke milan ki kuchh aur misaalen pesh karen?

PM: uske baare mein main yeh kahoonga ki unhe jab itni kaamyaabi
haasil huyi, inhone kaha, 'chalo bhai 'production' mein bhi haath
Daalte hain'. to Gemini Diwan karke ek aadmi the, unke paas 'licence'
tha, us zamaane mein 'licence' pe 'picture'-en banti thi, aise naheen.

AS: 'licence'?

PM: jeen haan, 'during the war years', 'picture'-en banaana 'licence'
kar diya tha British sarkaar ne. to uska 'licence use' karke
inhone 'picture' banaaee Rattan.

AS: aa ha ha ha, bhai kya naam le liya aapne, Rattan. Prithvi bhai,
usmein to 10 gaane the aur 10 ke 10 'superhit', kya chale the woh
gaane! baheno aur bhaaiyon aur Prithvi bhai, yahaan mujhe dil to kar
raha hai ke 10 ke 10 gaane bajaa Daaloon ek ke baad ek, magar phir
doosri filmen Madhok saahab ki reh jaayengi. isliye yahaan baaton
baaton mein bas 2/3 gaane aa jaayenge. pehle suniye ek gaana Zohrabai
Ambalewali ki aawaaz mein film Rattan mein, aur agar aap isey jinse
aapko pyar hai, unse akhiyaan milaakar sunenge aur aur zyaada mazaa
aayega.

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Song: akhiyaan milaake jiya bharmaake (Rattan)
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AS: film Rattan ke gaane to Prithvi bhai, bahut hi chale the yeh aap
jaante hi hain, lekin film bhi kaafi anokhi aur 'interesting' thi.
aur maine kaafi taarifen suni us film ki, maine dekhi naheen afsos ki
baat hai. kuchh bataaiye us film ke baare mein.

PM: baDi 'controversial picture' thi. isliye ki woh 'deal' karti
thi 'widow remarriage' mein. inko bahut dilchaspi thi ki 'main koi
naya rang dikhaayun'. to Swarnlata 'heroine' hoti hai, inko ishq hota
hai Karan Diwan ke saath. to Wasti saahab ke saath inki shaadi ho
jaati hai. shaadi booDhe aadmi ke saath ho jaati hai. to yeh 'public'
sweekaar karegi ki naheen yeh bahut baDi 'controversial' baat thi.
par woh 'picture' mein 'strongest point' jo tha woh uske gaane the.

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Song: o jaanewaale baalamwa lauT ke aa (Rattan)
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PM: to woh 'picture' itni 'popular' huyi, itni 'popular' huyi ki
usmein ek aur 'angle' tha ki Wasti ko inhone 'sympathetic character'
banaaya huya tha. jab Wasti apne aurat ko dekhta hai to kehta
hai 'haaye bhagwaan, idhar daant jhaDenge, udhar jawaani phootegi,
yeh maine kya kar diya'

AS: yeh Madhok saahab ka 'dialogue' tha?

PM: yeh Madhok saahab ka 'dialogue' tha. to us cheez pe
bahut 'clapping' huyi, ki dekho maa baap ne iski booDhe ke saath
shaadi kar dee hai par booDha bhi kitna 'advanced' hai. 'naheen
naheen yeh hamaari aurat naheen hai'. to yeh matlab 'dialogue' pe
bahut 'clapping' hoti thi aur 'picture' to saahab kahaan ki kahaan
pahunch gayi, bahut paise banaaye logon ne, aur bahut saraahana
huyi 'picture' ki, bahut 'popular' huyi. to woh main samajhta hoon
Madhok saahab ka aur Naushad saahab ka 'highest point'
tha, 'association' ka.

AS: aur us 'highest point' ki ek aur misaal pesh karta hoon Prithvi
bhai, yeh geet bhi baDaa pyara tha lekin aaj logon ko zaraa kam sa
yaad hoga. film Rattan mein D N Madhok saahab ke bol aur Naushad
saahab ki dhune paakar isey gaaya tha Manju ne.

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Song: angDaai teri hai bahaana saaf kehdo hamein ke jaana (Rattan)
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AS: achchha Prithvi bhai, aapke pita D N Madhok saahab ki
apni'production' mein Rattan ke alaawa jo filmen aayi unke baare mein
kuchh bataaiye.

PM: Do Dil, Gaon, phir baad mein apni 'production' mein inko itni
kaamyaabi naheen mili. to phir inhone kya kiya, inhone 'free lancing'
shuru kiya 'production' mein. Madhubala ke saath banaaee Naata. woh
apne baap ke upar banaaee 'picture', 'post office' mein 'post master'
hain. to woh puraani Karnal ki 'story' leke inhone Naata 'picture'
banaaee Abhi Bhattacharya uske 'hero' the aur Madhubala
uski 'heroine' theen. phir inhone ek, maine kaha na 'challenges'
DhoonDte the, phir woh Morarji saahab 'prohibition' karte the,
to 'prohibition' pe inhone 'picture' banaaee Naao karke, usmein Badri
Prasadji 'hero' the. to kis tarah woh apni beTi ko bechta hai sharaab
ke liye, to woh ismein rakhaa tha inhone andaaz. phir inhone Khamosh
Sipahi 'picture' banaaee. usmein bhi wohi cheez thi ki 'soldier' hai
par man 'soldier'-i mein naheen hai. dayaa aati hai maarne ke liye.
to is kism ke inhone kaafi 'controversial subjects' shuru keeye aur
logon se 'complete' keeye par main yeh kahoonga 'very clearly' ki 'as
a producer' inko itni 'success' naheen mili. sirf Rattan mein hi
mili. ya to yeh 'accounts handle' naheen kar sakte the ya
phir 'productions' vagerah ke 'problems' the. inki 'nature' kuchh
aisi thi ki agar koi akaDta hai to uske saath zyaada baat naheen
karte the. 'production' inko 'suit' naheen kee. phir inhone 'end'
mein, abhi inka 'end' aa raha hai 50s ke baad, to inhone chhoTe moTe
kaam yahaan keeye. par usmein inko achchhi safalta mili. phir inhone
ek 'picture' banaaee Satluj De Kanne, Satluj Ka Kinara, Maheshwari ke
saath. bahut 'picture' chalee. Nanak Naam Jahaaz Hai, Sikh 'religious
picture', bahut 'picture' chalee, aur phir Minerva mein Sohrab Modi
ke saath 'picture' banaaee, Wadia-ji ke saath 'picture' banaaee
Tasveer, Mohan Sehgal ke saath 'picture' banaaee Phir Subah Hogi. Raj
Kapoor ke saath Kanhaiya 'picture' banaaee Om Prakashji ke saath
milke. to yeh 'free lancing' mein lage rahe. 'end stage' mein
inki 'freelancing' naheen chalee par shuru shuru mein bahut chalee.
jaise Daryani ke saath inhone 'picture' banaaee Pyaas, bahut chalee.
phir Tarana, bahut chalee.

AS: Anilda ka music tha!

PM: Anilda ka music tha aur Dilip saahab 'hero' the,
Madhubalaji 'heroine' theen.

AS: Prithvi bhai, Tarana mein Madhok saahab ke 4 geet the aur waise
bhi shaayad Anilda ke saath aapke pitaa ne kam hi kaam kiya?

PM: Anil Biswas ke saath inhone adhik 'picture'-en naheen kee hain.
ek do hi kee hain par bahut izzat karte the.

AS: waise Tarana mein do gaane to 'all time hits' hain, ek to hai
woh "beimaan tore nainwa" jiske baare mein geet-kosh mein to likha
huya hai ki isey D N Madhok saahab ne likha tha lekin 'record' mein
Kaif Irfani ka naam hai, mujhe Theek se pataa naheen hai, lekin ek
aur gaana hai jo utna hi Khoobsoorat hai lekin thoDaa sa mera khayaal
hai ki kam sunaaee deta hai aajkal Lata Mangeshkar ka gaaya huya yeh
geet.

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Song: woh din kahaan gaye bataa jab is nazar mein pyar tha (Tarana)
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------COMMERCIAL BREAK--------

baheno aur bhaaiyon, aage baDhne se pehle aap 'note' kar len ek baar
phir zaroor yeh baat ki filmi geeton ke shaandaar sitaare D N Madhok
saahab na sirf geetkaar the balki saath mein kahaani aur 'screenplay'
aur 'dialogue' bhi likhte the aur unhone kai filmen 'produce' bhi kee
thi. Theek hai na Prithvi bhai?

PM: 'right, he was a complete filmmaker'. jo abhi Majrooh saahab the,
bahut achchhi 'lyrics' likhte the, Sahir saahab the, 'lyricist' the,
Anand Bakshi saahab the, 'lyricist' the, par kisi ne bhi koshish
naheen kee jo inhone kee, 'story' , 'dialogues', 'songs', Rajinder
Krishan karte the, woh inke 'assistant' the.

AS: achchha Rajinder Krishan 'assistant' the?

PM: ek zamaane mein, jo bahut 'talented' aadmi the, bahut abDe the,
par inke saath kuchh saal guzaare aur 'end' mein matlab yeh tha
inhone 'astrology' apni 'hobby' banaa lee aur wahaan se inko yeh
pataa lagaa ki 'wohi sitaare jo mujhe upar le gaye the, wohi sitaare
ab mujhe neeche laa rahe hain'. to inhone kaha ki 'abhi hamko yeh
kaam naheen karne ka hai'. to phir yeh 'retire' ho gaye 'about 56/57'
mein. aur waise inhone kisi ke aage haath naheen failaaye, na kisi ko
phansaaya hai, madad bahut logon ki kee hai, is kism ke saKhi log
the.

AS: Prithvi baabu, aapne bataaya ki Naushad saahab ko 'introduce'
filmon mein karne mein inka baDaa haath tha, D N Madhok saahab ka,
aapke pitaaji ka, Naushad saahab ke alaawa bhi aise kai log the
jinhe 'introduce' kiya tha aapke pitaaji ne?

PM: haan ji, Bulo C Rani, Pt Amarnath, Lahore mein, Hansraj Behl,
Husnlal Bhagatram, yeh to inki 'introductions' thi, aur baaki jinke
saath inki 'association' rahi bahut achchhi, jo inki 'association' ke
baad upar aaye, Gyan Dutt...

AS: achchha achchha, dekhiye, Gyan Dutt-ji ne to kai filmon mein D N
Madhok saahab ke geeton mein sangeet diya tha, unmein sabse mashoor
film thi Bhakt Surdas, jiske geet hamaare 'programme' mein baj hi
chuke hain, aur ek geet Sunehre Din film ka abhi abhi kuchh arsa
pehle suna. ek aur mashoor geet main yahaan pesh karta hoon Rajkumari
ka gaaya huya, film ka naam tha Nurse. magar geet sunwaane se pehle
baheno aur bhaaiyon, main ek baar phir shukriya adaa karna chaahoonga
mere dost aur Sangeet Ke Sitaaron Ki Mehfil ke baDe wafaadaar shrotaa
Shri Lalit Khanna ka kyunki unhone chun chun ke D N Madhok saahab ke
baDe achchhe achchhe gaane mujhe deeye hain D N Madhok saahab ke in
do 'programme'-on ke liye, bahut bahut shukriya Lalit bhai phir ek
baar. achcha baheno aur bhaaiyon, ab suniye woh gaana.

--------------------------------------------------------
Song: woh gaye naheen hamein milke main mar gayi (Nurse)
--------------------------------------------------------

AS: ab Prithvi bhai, aapne kai 'music directors' ke naam liye, baDaa
zabardast saath raha aapke pita Shri D N Madhok saahab ka. lekin ek
naam aap bhool gaye, Khurshid Anwar?

PM: Khurshid Anwar ke saath inki bahut dosti bhi thi aur pyar bhi
tha. yeh hamesha kehte the ki mujhe zindagi mein teen aadmi bahut
achchhe lage hain - ek Naushad, ek Khurshid Anwar, ek Ghulam Haider.
yeh log jo hain, yeh sangeet mein rache huye hain. yeh sangeet ki
aulaad hain aur inhe sangeet ke alaawa aur kisi cheez mein 'interest'
naheen hai. Khurshid Anwar to inse itna pyar karte the ki
jab 'partition' ke baad Khurshid Anwar ko 'picture' mili Pakistan
mein, to Khurshid Anwar ne ek geet ki 'tune' banaaee, to Bombay mein
aakar unhone sunaaya, Khaas Bombay mein inko milne aaye, 'aapko
sunaane aaya hoon'. to inhone mazaak mein keh diya ki 'yaar, aise kya
mazaa aata hai ke tune banaaya kya hai sangeet ke saath sunaa
na 'background' ke saath'. to bechaare ne ek maheene mein, Khuda
jaane kitni koshish karke inke liye 'permit' laaye aur inko lekar
gaye wahaan. us zamaane mein aana-jaana bahut mushkil tha aur aajkal
bhi 'easy' naheen hai. us waqt to bahut hi mushkil tha. to yeh matlab
inka pyar tha.

AS: to ab to dono ke us pyar ke saboot mein Dr saahab, film Parwana
ka woh gaana bhi to bajnaa chaahiye jismein Madhok saahab ke bol the
aur Khurshid Anwar ka sangeet tha aur Suraiyya ki aawaaz thi.

------------------------------------------------------------
Song: jab tum hi naheen apne duniya hi begaani hai (Parwana)
------------------------------------------------------------

AS: achchha Prithvi bhai, aapne kuchh der pehle hamein bataaya tha ki
aapke pitaaji D N Madhok saahab jyotish vidya mein yaani 'astrology'
mein bahut dilchaspi rakhte the. to iske baare mein kuchh aur
bataayen aap?

PM: 'last 10 years' mein, unke zindagi ke aakhri ke jo 10 saal the,
unhone 'astrology' mein bahut 'interest' liya. 'astrology' ka matlab
kaafi 'deeply' samajhte the. par inhone usko zyaada hawaa naheen
lagne dee kyunki log pahunch jaate the inke paas ki mahurat kab
karen? shaadi kab karen laDki ki? to isliye inhone isko zaraa 'lower
level' pe rakha. par 'knowledge' inki bahut achchhi thi, aur
kaafi 'events' jaise 'floods' Bihar mein aaye, kisi ka vilaayat
jaana, kisi ka aana, kaafi inhone 'accurately predict' kiya tha.
Jagdish Sethi ke baare mein kaha tha ki yeh is din ke baad naheen
milega.

AS: achchha?

PM: haan, Prithviraj-ji jab beemaar huye, unko 'cancer' huya 'blood'
ka, yeh aksar inko milaa karte the, to 'avoid' hi karte the kyunki
unka jeena mushkil tha aur woh poochhte the ki 'bhai Dina Nath, main
kab tak hoon?' to yeh aa jaate the wahaan se kuchh na kuchh bahaana
lagaake. inko apne baare mein pataa tha ki 'meri umar kab tak hai'.
par inhone kabhi koi kahaani ya lambi 'dialogue' naheen banaaee
ki 'dekho beTa mere baad aisa karna waisa karna', kuchh naheen kahaa.
Bambai shahar ne inko bahut kuchh diya par inhe yeh shahar naheen
pasand. kehte the ki log yahaan tehzeeb-e-aafta naheen hain. jin
logon ko maine itni madad kee hai, mera unse koi tawakku naheen hai,
mera unse koi ummeed naheen hai, baDi baDi gaaDiyaan lekar guzar
jaate hain, dekhte tak naheen. mera bhai Hyderabad mein 'Regional
Manager' the, woh inhe shahar bahut pasand tha, usi shahar ne inhe
Gold Medal diya tha pehla. usi shahar mein inhone mushaayron mein,
jalson mein naam kamaaya tha. to inko us shahar se bahut pyar tha.
yeh kehte ki 'yaar, main chaahta hoon ki 'mere aakhri din Hyderabad
mein guzre'. aur kehte, 'wahaan koi aadmi aisa naheen jo mujhe jaanta
hai, par sau mein sau aadmi gaaDi khaDa karte hain aur kehte
hain 'chacha chhoD den? chacha kahin le chalen aapko? kyun aap chal
rahe hain? chaliye baiTh jaayiye gaaDi mein''. kehte, 'yeh maine
kahin naheen dekha hai aur Khuda kare ki main yaheen se chalaa
jaayun'. unhone Khuda se jo bhi maanga unko milaa, woh bas yahi
chaahte the ki 'agar main jaayun to Hyderabad se jaayun kyunki is
shahar mein tehzeeb bahut hai, pyar mohabbat bahut hai aur wohi baat
huyi'. 12 July 1982 mein, yeh 'road' pe chal rahe the, shaam ki sair
tafri ke liye nikle, barsaat ho gayi, ghar bhi aaye, to hamaari
chhoTi bhaabhi theen, kaha 'beTa chaai banaao yaar, chaai ka 'mood'
hai'. waapas aayeen to naheen the aur wohi Khuda se maanga, wohi unko
milaa. aur inke marne ke baad kai log, kai log aaye, jo kehte
the 'arey yeh 'uncle' to hamko mile the, yeh 'uncle' hamko 'road' pe
mile the, hamaare bachchon ko 'toffee' lekar dee inhone. ham us
din 'chemist' ki dukaan par gaye, hamaare paas paise naheen the to
kehte 'beTa mere paas hai na, le jaayo''. jab inki 'photo'
chhapee 'paper' mein to kam se kam Hyderabad se 2000 'letters' aaye
ke kuchh na kuchh waasta hamaara inse raha (bursts into tears).

------------------------------------------------
Song: nisdin barasat nain hamaare (Bhakt Surdas)
------------------------------------------------

aapne sunaa baheno aur bhaaiyon, D N Madhok saahab ka haal sunaate
sunaate aakhir unke beTe Prithvi saahab ki aankhon se aansoo chhalak
paDe aur usi ke saath saath Madhok saahab ki likhee Bhakt Surdas film
ke geet mein bhi nana barasne lage. ab baheno aur bhaaiyon, main bhi
zyaada kuchh naheen boloonga, bas Madhok saahab jaise filmi duniya ke
mahaan sangeet sitaaron ko jhuk kar salaam karoonga. baheno aur
bhaaiyon, ab D N Madhok ke geeton ka safar samaapt huya aur Sangeet
Ke Sitaaron Ki Mehfil ke agle 'programme' ka intezaar shuru ho gaya.
waise to baheno aur bhaaiyon, Madhok saahab ke sainkDon geet aur bhi
hain jo hamaare do 'programme'-on mein to samaa naheen sake, magar
hamaare dilon mein zaroor base rahenge. ab Ameen Sayani ko ijaazat
deejiye, agle 'programme' mein phir milenge, namaste!

THE END

SANGEET KE SITAARON KI MEHFIL

AMEEN SAYANI'S PROGRAMME ON D N MADHOK
--------------------------------------
**************************************

PART 1

baheno aur bhaaiyon, aaj Sangeet Ke Sitaaron Ki Mehfil mein
aapka 'radio' saathi Ameen Sayani filmon ki tarah 'flashback' mein le
jaakar ek shaandaar 'scene' dikhaana chaahta hai. ho jaayiye
tayyaar...

----------------------------------------
Clip: Title track of Geet Mala programme
----------------------------------------

yeh sangeet sunkar aap shaayad samajh hi gaye honge ki woh 'scene' jo
main aapko dikhaana chaahta hoon woh mere 'hit parade programme' Geet
Mala se sambandh rakhta hai. to suniye baheno aur bhaaiyon, saal tha
1977, aur ek haseen rangeen shaam sanvri thi Bambai ke Shanmukhanan
Hall mein. mauka tha 'hit parade programme' Geet Mala ki 'silver
jubilee' ka samaroh. film sangeet duniya ke kareeb kareeb sabhi baDe
baDe sitaare chale aaye the us 'programme' mein aur sabko Geet
Mala 'programme' ki ek ek 'trophy' pesh kee gayi filmi duniya ki do
mahaan hastiyon ke haathon. ek to film jagat ke jaane maane 'producer
director' B R Chopra, aur doosre filmi geetkaaron ke Bhishma
pitaamah, safal 'senior' geetkaar Shri D N Madhok. aur main us raat
baheno aur bhaaiyon, yeh dekhkar dang reh gaya ki jitne bhi kalaakaar
D N Madhok saahab se ;stage' par 'trophy' lene aate the woh pehle
Madhok saahab ke paaon chhoote the kyunke sabko yaad aa rahe the
Madhok saahab ke likhe huye woh sainkDon shaandaar geet jinhone filmi
geetkaari ki neev rakhee thi. unmein se kai geet aaj aur Sangeet Ke
Sitaaron Ki Mehfil ke agle kaaryakram mein pesh honge baheno aur
bhaaiyon. yahaan main sirf ek misaal pesh kartaa hoon aapki yaadon
mein halchal machaane ke liye, Gyan Dutt ka sangeet aur Khursheed ki
aawaaz mein D N Madhok ke bol, film Bhakt Surdas.

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

to baheno aur bhaaiyon, aise hi beshumaar laajawaab geeton ke
geetkaar D N, yaani Dina Nath Madhok ki kalaa, shakhsiyat aur zindagi
se sajegi hamaari aaj ki mehfil. aur iski sajaawaT ke liye
aapke 'radio' dost Ameen Sayani ne daawat dee hai swargeeya D N
Madhok ke beTe Dr Prithvi Madhok saahab ko. Dr Madhok to
waise 'medical doctor' hain, mareezon ka ilaaj karte hain, magar inki
tabeeyat bhi shaayrana hai aur zabaan bhi shaayrana hai. waise filmi
duniya se Dr Madhok ka ek aur naata bhi hai, yeh Dev Anand ke
bahenoee hain. Dev ki bahan Usha se inki huyi hai shaadi. to main Dr
Prithvi Madhok se baatchit yun shuru karta hoon ki...

AS: Dr Prithvi saahab, ya aapko aetraaz na ho to main aapko Prithvi
bhai kehkar pukaaroonga, Theek hai?. to Prithvi bhai, yeh bataaiye ki
aapke pitaaji to itne baDe shaayar the aur aap bhi kuchh kuchh
shaayar lagte hain, kya shaayri se aapka bhi koi naata raha?

PM: (laughs), aap ne baDaa achchha sawaal poochha, jab main 10 baras
ka tha, to mujhe shaayri ka bahut shauk tha aur maine ek chhoTi si
nazm bhi likhee thi.

AS: arey wah wah wah, to hamein sunaayenge aap?

PM: gaaDi chhak chhak karti jaaye, jaise kahin chain na
paaye, 'engine' ek lagaa hai aage, uske peechhe Dibbe
bhaage. 'station' sainkDon aaye, gaaDi chhak chhak karti jaaye, jaise
kahin chain na paaye...

AS: kya baat hai, kya baat hai!

PM: to jab hamne apne waalid saahab ko yeh sunaaya, pehle to hanse,
aur phir mujhe ek chhoTa sa chaanTa lagaa diya ki 'arey bhai ham to
paDhaaee mein naalaayak the, tum to itne hoshiyaar ho, ek hi 'line'
pakDo, yeh 'line' jo hai Fakeeron ki 'line' hai, is taraf naheen
aana'.

AS: fakeeron ki 'line' hai?

PM: fakeeron ki 'line' hai, aaj chale, kal naheen hai, kal hai... to
aap ne jo 'line' pakDee hai wohi pakDiye, aap to hoshiyaar ho
apne 'line' mein, is taraf baad mein dhyaan dena jab paDh likh lo. to
woh cheez waheen par nyast-o-naabhut ho gayi, par aag bujhaati hai
khalra to rehte hain aur abhi bhi ham taansen na ho par kaansen to
hain (laughs) aur sunne ke bahut shaukeen hain, aur zaahir hai ki
kaafi paDhnewaale likhnewaale hamaare 'patient' bhi hain aur hamein
bulaate bhi hain.

AS: tab aapke 'patients' bhi hamaara yeh 'programme' sun rahe honge
Prithvi bhai? to unhe aur baaki tamaam sangeet premeeyon ko
Hindustani jagat ke 'senior' geetkaar D N Madhok ki yaadon ke kareeb
laane ke liye main pesh karta hoon unkaa likha huya ek aur yaadgaar
geet. film Tansen ka geet hai yeh, ismein bhi Khursheed  ki khanakti
huyi madhur aawaaz thi aur sangeet Khemchand Prakash ka tha. us
zamaane mein saawan ke maheene mein kai yuvatiyaan gaane lagi theen
yeh gaana.

-----------------------------------------------------
Song: ghaTaa ghanghor bhor mor machaave shor (Tansen)
-----------------------------------------------------

AS: to saahab, main Dr Madhok se, Prithvi bhai, main aapko Prithvi
bhai hi kahoonga, abhi jo aapne bataaya apne bachpan ka ek kissa, woh
aapne nazm jo likhee thi, lekin main chaahta hoon ki aap shuru karen
kuchh apne pitaaji ke baare mein us zamaane se jab aap paida bhi
naheen huye the, matlab aapko to pataa hi hoga!

PM: 'all right sir'.

AS: kahaan janam huya, kaise aage baDhe, filmon mein kaise aaye,
vagerah vagerah... to aap itna achchha bolte hain ki main bas yun
karta hoon ki 'microphone' aapke saamne hai aur 'recording' chal rahi
hai, bas aap bolte jaayiye aur ham sunte jaayenge.

PM: main 1932 mein paidaa huya, usi saal Madhok saahab ne 'film line
join' kee. yeh teen laDkiyon ke baap the, aur 'railway' mein 'clerk'
the, par tabeeyat unki aisi thi ki 'table' kursi inke liye naheen
thi. azaad tabeeyat ke the, likhte the, paDhte the, ghoomte
the, 'clerical line' mein to baiThna paDta hai ek jagah pe. to kuchh
waaqya huya 'railway' mein, ek jagah 'inspection' pe gaye the
lekin 'inspection' kar naheen sake. waheen ek Multani bheekhaaran aa
rahi theen, Multan 'station' pe, saare paise usko dekar waapas aa
gaye ki isse achchhi kaafi koi gaa hi naheen saktaa. to zaahir hai
ki 'railway' waale to isko pasand naheen karenge. to unhone istifa le
liya inse aur yeh aazaad ho gaye. to aazaad hone ke baad yeh log New
Theatres mein gaye, nayi nayi 'talkies' shuru huyi thi.

AS: 'yeh log' ka kya matlab hai?

PM: 'yeh log' ka matlab hai ki jab woh wahaan pahunche to inke saath
kuchh puraane dost bhi mil gaye. ek the usmein mashoor-o-maaruf
Prithviraj Kapoor, 'playback actor', woh apni wakaalat chhoDkar
yahaan aaye huye the. doosre the Mr Kundan Lal Saigal, 'type-writer'
bechte the, wahaan unka man naheen lag raha tha, woh New Theatres
mein aa gaye. aur 'third' the Jagdish Sethi ji, jo bakaul unke apne
ki 'hamne har 'mastery' kee hai, 'school mastery' se lekar 'station
mastery' aur ab dekhte hain ki yahaan hamaari 'luck' kya hai!' to yeh
chaaron dost wahaan mil gaye New Theatres mein aur wahaan se unki
dosti aisi shuru huyi ki barson barson barson chalti rahi aur marte
dam tak yeh log bahut kareeb rahe.

AS: ab saahab, D N Madhok saahab ke un teen doston mein se K L Saigal
saahab ke gaaye huye aur Madhok saahab ke likhe huye kai geet aane
waale hain aage chakar hamaare 'programme' mein aur Prithviraj-ji ki
do filmon ke geet to hain mere paas magar un par filmaaya gaya koi
geet mujhe mila naheen hai. reh gaye Jagdish Sethi saahab, to woh
baDe hi Gazab ke 'character actor' the, un par geet shaayad hi
filmaaya gaya hogaa. to chaliye unki ek film Namaste ke liye Parul
Ghosh ka gaaya ek geet pesh karta hoon main yahaan, geet ka shaayad
Jagdish saahab se koi taallukh na ho, maine film naheen dekhee thi,
magar geet tha baDaa hi mashoor. sangeetkaar the Naushad.

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

----COMMERCIAL BREAK------

Sangeet Ke Sitaaron Ki Mehfil mein aaj aap filmi geetkaaron ke, yun
samajhiye Bhishma pitaamah D N Madhok saahab ki zindagi aur shaayri
ke baare mein kuchh dilchasp tasveeren dekh rahe hain unke beTe Dr
Prithvi Madhok ki nazron se.

AS: achchha Prithvi bhai, aapne bataaya ki Kalkatte ke New Theatres
mein chaar bahut mahaan dost mile, Prithviraj Kapoor, aur K L Saigal,
Jagdish Sethi, aur aapke pita D N Madhok saahab, aur yeh to sabhi
jaante hain ki aage chalkar chaaron ne baDaa zabardast yogdaan diya
filmi duniya ko. lekin Prithvi bhai, aapke pitaa ke jeevan ki
shuruwaat ke baare mein kuchh bataayen, yaani Madhok saahab paida
kahaan huye, 'railway clerk' banne se pehle woh kya kar rahe the,
vagerah vagerah.

PM: Madhok saahab 1902 mein paida huye Karnal mein. Karnal ek Punjab
ka 'district' tha. inke waalid wahaan ke 'post master' the. us
samay 'post master' ek 'decent job' thi aur woh bahut baDe the. aur
inhone BA tak Dhyan Singh College Lahore mein taalim haasil kee. par
wahaan bhi ek Tasleemuddin inke Persian ke 'professor' the. unke
saath milke yeh kaafi waqt guzaarte the mehfilon mein jaake, 'drama-
baazi' mein, to isliye BA 'pass' naheen kar sake. aur jahaan BA
mein 'fail' huye to inke baap ne kahaa 'bas ho gaya tumhara paDhaai
waDhaai, abhi 'clerk'-i karo. to inhi ne unko 'railway' mein 'job'
dilwaa dee aur wahaan se maine aapko bataa hi diya ki kya huya.

AS: achchha to Prithvi bhai, ab ham aate hain aapke pitaaji ke un
teen doston par. ab New Theatres ke zamaane ke baare mein zaahir hai
ke aapke pitaaji ne Madhok saahab ne aapko kuchh na kuchh to bataaya
hi hoga. us zamaane ki baaten, kuchh rangeen baaten, kuchh shaarana
baaten agar ho jaayen to hamaare sunnewaale bahut mazaa lenge.

PM: New Theatres us waqt baDaa 'forward looking studio' tha. Bombay
mein bhi 'studio' the. par woh kuchh zyaada 'forward looking' the,
bangaali mein bhi banaate the 'picture'-en, Hindi mein bhi banaate
the, Assamese mein bhi banaate the, to unhone kahaa ki ham 'talent
hunt' pe hain aur jiska bhi taallukh filmon se ho woh yahaan aa
jaaye. to Prithviraj-ji ko to dekhte hi 'acting' ka 'chance' mil
gaya. Saigal saahab to aap jaante hi hain kya unki aawaaz thi, unko
to bangaal ne takreeban 'monopolize' hi kar diya shuru se, 10-20 saal
waheen guzre, aur Madhok saahab ke baare mein 'aji aap kya karte
hain?' 'ham likhte hain'. kehte ki 'likhte to Munim hain aur Munshi
hain', 'yahaan to likhne ka koi 'profession' hi naheen hai'. to keh
diya ki 'ham 'story' aur 'dialogue' likhte hain, gaane likhte hain'.
to unhone kahaa ki 'tum lambi baaten naheen karo, tumahri shakl Dil
Doll achchha hai, 6 'foot' ke jawaan ho, hamaari ek
dhaarmik 'picture' ban rahi hai Krishna Leela, usmein tum Vasudev ka
kaam kar lo'. to marta kya na karta, Khaali jeb the, bhaTakte nain
the, kahaan jaaye? to inhone woh 'role' kiya Vasudev ka Krishna Leela
mein. aur uske baad 2-4 paise unko mile. uske baad inhone dekha ki
Calcutta to hamaare liye naheen hai, to yeh Bombay aa gaye.

AS: achchha to matlab, wahaan unhone gaana naheen likha?

PM: naheen! unhe 'chance' naheen mila. wahaan 'acting' ka 'chance'
milaa. likhne ka 'chance' inhe Bombay mein milaa.

AS: magar Bombay jab aaye to inke saath aur bhi, Prithviraj-ji aur
Jagdish-ji bhi aa gaye honge ya baad mein aaye?

PM: naheen, yeh log naheen aaye kyunki inko achchhe achchhe 'role'
mil gaye the. Prithviraj-ji 'acting' karna chaahte the, unko
to 'hero' ka 'chance' mil gaya, Jagdish Sethi-ji ko 'side character'
ka milo gaya, aur Saigal saahab ko to pataa hi hai ke mashoor
gaanewaale hain, woh bangaali aur Hindi dono mein gaate the, to unko
to achchhe 'chance' mil gaye. par yeh reh gaye peechhe. to inko phir
Bombay mein aake, Bombay mein 'chance' milaa.

AS: ab saahab, Bombay mein to kai filmon mein  D N Madhok saahab ke
geet aaye bhi aur chhaaye bhi, unmein se Anmol Ratan film ka ek geet
main pesh karna chaahoonga sunnewaalon ki Khidmat mein jismein aap D
N Madhok ka geet gaate huye sunenge Lata Mangeshkar aur Talat Mahmood
ko, jee haan, yeh geet to baheno aur bhaaiyon, sachchi baat hai main
bhool hi gaya tha aur yeh tab yaad aaya mujhe jab mere bahut achchhe
dost aur baDe zabardast sangeetpremee Shri Lalit Khanna ne Madhok
saahab ke behatareen geet ikaTTha karke mere paas bheje. film Anmol
Ratan ke is geet mein sangeet tha Vinod ka.

-------------------------------------------
Song: shikwa tera main gaayun (Anmol Ratan)
-------------------------------------------

AS: Prithvi bhai, ab aap hamein yeh bataaiye ki Bombay mein Madhok
saahab ko gaane likhne ka mauka kisne diya?

PM: Ranjit Movietone ne. yeh 'early 40s' ki baat hai. 1940 se 1943 ke
darmiyaan aayi filmen jaise ki, sabse pehle aayi Shadi, phir aayi
Pardesi, phir uske baad jaise ki Pagal, Holi, Bhakt Surdas, Sharda,
Tansen, Sanjog, Kanoon, Ishara. inmein inhone geet likhe.

AS: aa haa haa, kya gaane the in filmon mein! yahaan par main
sunnewaalon ko film Pardesi ka ek 'superhit' geet sunwaana chaahoonga
Khursheed ki aawaaz mein, Khemchand Prakash ke sangeet nirdeshan mein.

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

----COMMERCIAL BREAK------

Sangeet Ke Sitaaron Ki Mehfil mein abhi abhi Dr Prithvi Madhok ne
bataaya ki film 'company' Ranjit Movietone mein D N Madhok ne film
Shadi ke liye likha, phir film Pardesi aayi jiske kai gaane 'hit'
huye, unmein se ek hamne abhi aapko sunwaaya.

AS: achcha Prithvi bhai, Pardesi ke alaawa bhi kuchh aur 'hit' filmon
ke baare mein bataaen jinmein D N Madhok saahab ka haath bhi tha.

PM: Beti banaaee, Wali banaaee, Musafir banaaee, Bhakt Surdas
banaaee, Aaj Ka Hindustan banaaee, aur ek Punjabi 'picture' bahut hi
bahut hi kaamyaab Mirza aheban banaaee.

AS: Mirza Saheban Punjabi mein banee?

PM: Punjabi mein pehle banee Mirza Saheban, aur uska 'shooting'
Chembur mein huya aur Madhok saahab uske 'director' bhi the, 'writer'
bhi the, aur unhone kahaa ki 'dekho, yeh laDaai ka 'scene'
hai, 'extras' ko bolaa ki sachmuch ki laaThiyan leke ek doosre ke sar
phoDo'

AS: arey?

PM: Punjab mein to aise hi laDaaiyan hoti hain. agar aapne aisa
naheen kiya to main 'shoot' naheen karoonga. to woh 'original'
matlab, bajaaye 'stunt' waalon ko 'use' karne ke 'first picture' thi
yeh jismein 'original shoot' huya.

AS: usmein Madhok saahab ne to kaam naheen kiya?

PM: Madhok saahab ne yeh lamba DanDaa 'use' kiya, par woh DanDaa unko
itna achchha lagaa, yeh 'first picture in Ranjit' jismein 75 'weeks'
chalee.

AS: yeh kis film ka zikr hai?

PM: Mirza Saheban. baad ke inke jitne 'picture'-on ka maine naam liya
hai woh 25 'week', 26 'week', 27 'week' chalte the aur Ranjit ne
inko 'total filmmaker' banaa diya. yaane
ke 'scene', 'dialogue', 'songs', 'writer', sabhi kuchh karte the aur
Mirza Saheban ne inko 'director' bhi banaa diya.

AS: achchha Prithvi bhai, ab yeh bataaiye ki kya aapke pitaa D N
Madhok saahab ki shaayari sirf filmon tak seemit thi yaa...

PM: waise Madhok saahab mehfil ke shaayar bhi the, mushaayre ke
shaayar bhi the, aur gira baandhne mein baDe mashoor the.

AS: aapko yaad hai unki koi Ghazal ya nazm?

PM: ek mujhe unka mushaayre ka kissa yaad hai, yeh bhi Hyderabadi
mein tha, ki kisi ne kahaa ji zara aazmaaiye hausle bhanwron ke, zara
aazmaaiye hausle bhanwron ke, tabassum pe saari jawaani looTa dee.

AS: arey waah waah!

PM: to unhone kahaa ki isse bhi achchha koi jawaani pe keh sakta hai?
to Madhok saahab khaDe ho gaye, 'zaraa daad deejiye meri aashiqui ka,
zaraa daad deejiye meri aashiqui ka, jawaani ko dekhaa jawaani looTa
dee'.

AS: jawaani ko dekhaa jawaani looTa dee? kya baat hai!

PM: to yeh matlab harfanmaula the. aur inhe 'God-gift' thi, main to
kahoonga warnaa 'family background' to 'military' waale the yeh log
ya 'Government' waale the. hamaare daadaaji tablaa achchha bajaate
the. aur iske alaawa koi 'musical background' inki naheen thi. par ek
khuda ki den thi, jaise Saigal ko Khuda ki den thi, usne kahaan
seekha? to aise yeh log the. Prithviraj-ji, wakeel, arey
itne 'handsome' wakeel, itne 'handsome' 6 fooTaa, usko jab India
Today ka 'premiere' huya 'sir' to maine apne saamne dekha ki ek
Gujarati aurat 'faint' ho gayeen ki insaan bhi itnaa haseen ho saktaa
hai.

AS: waaqai, bahut hi 'handsome' the.

PM: to matlab, yeh log 'gifted' log the. to yeh jalse ke shaayar bhi
the, kuchh na kuchh bol lete the, to yeh har kism ke matlab, Hindi
mein bhi likh lete the, jaise ham bataayenge abhi ki jise Brij
bhaasha kehte hain, to 'he was a person' ki jo paidaa naheen hogaa
abhi, aur bahut mashoor log huye hain jinhone inse bahut zyaada
paisaa kamaaya hai, lekin kisi ne bhi aaj tak inki buraaee naheen
kee, sabne yahi kahaa ki hamaara baap wohi hain. aur Majrooh saahab
to yeh kahaa karte the ki 'geet likhna hamein D N ne seekhaaya hai,
warna ham kahaan geet likhne waale log hain'.

AS: bilkul bilkul! aur saahab kya kya yaadgaar geet likhe D N Madhok
saahab! ek 'duet' suniye, Prithvi saahab aap bhi suniye, baheno aur
bhaaiyon aap bhi suniye, film Rattan ka hai yeh gaana, Naushad ke
sangeet mein isey gaaya tha Zohrabai aur Karan Dewan.

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

AS: sunaa hai Prithvi bhai ki filmi duniya mein D N Madhok saahab ne
kaafi naye naye tajurbe keeye jaise aapne bataaya ki filmon ke Urdu
maahaul mein Hindi shabdon ka prayog inhi se shuru huya tha, aur iske
alaawa?

PM: 'group singing' bhi inhone shuru kiya tha. ek 'picture' thi
Musafir, to usmein yeh 'farmer' log apni fasal kaaT rahe hain aur gaa
rahe hain "ghar aaja balamwa, rut basant ki aayi, jiya naheen laage
mera, piya ghar aaja". to yeh bhi ek 'group form' tha aur koi 16
gaanewaale the, 'about 16/17 background' rakhe the, yeh bhi
bahut 'popular' huya tha. to 'group singing' mein bhi inka 'interest'
rahaa aur yeh inhone pehla kadam uThaaya, usse pehle kabhi 'group
singing' naheen aaya tha. usse pehle to baaja pakaDke log Ghazlen
gaate the yaa aise kuchh karte the, yeh ek naya rang tha Musafir mein
jo bahut 'popular' ho gaya.

AS: Prithvi bhai, film Musafir ke kuchh geet mujhe mile zaroor hain
lekin unki 'quality' itni achchhi naheen hai, isliye yahaan main ek
aur geet pesh karna chaahta hoon jismein zyaada to naheen magar thoDa
sa 'chorous' hai zaroor. yeh bhi film Rattan ka hi ek bahut hi
mashoor geet hai, isey Zohra Ambalewali ne sakhiyon ke saath gaaya
tha, suniye...

--------------------------------------------------------
Song: rumjhum barse baadarwa mast hawaayen aayi (Rattan)
--------------------------------------------------------

----COMMERCIAL BREAK------

Sangeet Ke Sitaaron Ki Mehfil mein aaj ham filmi shaayri ke baDe hi
jaane-pehchaane, baDe hi 'senior' geetkaar D N Madhok saahab ke
jeevan  aur kalaam ka haal sun rahe hain unhi ke beTe Dr Prithvi
Madhok ki zubaani.

AS: ab main phir lauT-ta hoon, baheno aur bhaaiyon, D N Madhok ke un
puraane New Theatres ke doston mein se ek baDe hi sureele dost K L
Saigal par jinke liye bahut saare gaane likhe the Madhok saahab ne.
to yeh bataaiye Prithvi bhai ki kya aap kabhi mile the Saigal saahab
se?

PM: Saigal saahab hamaare ghar mein hamesha aate the. Saigal saahab
Mumbai mein jab bhi hon, hamaare yahaan zyaada unka aana jaana rehta
tha. Saigal saahab ko ham 'uncle' kehte the, unki godee mein ham
khele hain, baDe huye hain aur hamesha hamaare liye 'lollypop' lekar
aaya karte the, aur khol ke bolte the 'pataa hai yeh shakal kiski
hai? - meri, ek din main aisa lagoonga'. to woh matlab aise hain ki
unke baare mein baaten vaaten karke pataa lagaa ki unhone 'privately'
to bahut gaane 'record' keeye hain par Kaalban woh Bangaal se naheen
nikle, kyunki kaafi Rabindra Sangeet the, kuchh Hindi ke the, kuchh
bhajan the, kuchh Ghazlen theen, kuchh Punjabi ke the.

AS: Punjabi ke to kai gaane the.

PM: haan, to matlab, usse aam janata itni waakeef naheen huyi hai. to
yeh to kahin 'archives' mein jaakar DhoonDen, yaa phir aap jaise
aadmi 'interest' len, 'research' karen to pataa lagega. woh hamesha
yeh kehte the ki 'maine itne gaane filmon mein naheen gaaye jitne
baahar gaaye'. aur JanamashThami jo apni hoti hai, Krishan janam, to
usmein jab hamaari maa 'programme' karti theen, to sabse pehle yehi
aate the gaane, Krishan ka bhajan gaate the. to yeh jaldi aake gaake
bhaag jaate the. aur doosri baat yeh hai ki yeh bahut sharmeele kism
ke aadmi the, bahut sharmeele the, aur kisi se kuchh maang naheen
sakte the. isiliye yeh mashoor tha inke baare mein ki Saigal gaata to
hai par uski 'price' kabhi bhi naheen milti hai. to isiliye ki woh
sharmaate rehte the logon se aur maangne mein bahut peechhe the. par
gaane mein bahut awwal the. aur ek dafe aap unke saamne gaa deejiye,
bas kaafi ho gaya, 'that was enough'.

AS: Prithvi saahab, K L Saigal saahab ne D N Madhok saahab ke gaane
film Surdas mein bhi to gaaye the?

PM: haan ji!

AS: Surdas ke baare mein kuchh bataayenge aap?

PM: haan, Surdas mein Madhok saahab ne teen-chaar gaane likhe the
Saigal saahab ke liye. usmein se ek gaana to bahut hi mashoor huya -
  "kadam chale aage, man peechhe bhaage". yeh Saigal saahab ne gaaya
tha inke liye. aur "sar pe kadam ki chhaiya", yeh inhone bhi gaaya
aur Khursheed ne bhi gaaya. to yeh bhajan jitne bhi inhone gaaye
Surdas mein, yeh bahut hi 'popular' huye.

AS: to leejiye, main Bhakt Surdas hi ka ek aur geet yahaan pesh karta
hoon, mere Khayaal se yeh K L Saigal saahab ka gaaya sabse
hridaysparshi bhajanon mein se ek hai.

---------------------------------------------------
Song: nainheen ko raah dikhaa prabhu (Bhakt Surdas)
---------------------------------------------------

AS: ek baat jo bahut numaaya taur par saamne aati hai Madhok saahab,
aapke pitaaji ke baare mein, ke woh us zamaane mein bhi geetkaar aur
shohra zaraa se mushkil gaane likhaa karte the, us zamaane mein
Madhok saahab ne ek alag sa daur shuru kiya ki gaane unke aam faham
saral bhaasha mein huya karte the jo ki sab samjhaa kare? iske baare
mein agar aap kuchh farmaayen...

PM: haan-ji, Madjok saahab ka hamesha yeh kehna tha ki 'gaane woh jo
har aadmi samajh sake. agar aap pashchim mein likhen ya Urdu mein
likhen ya bahut gehri Sanskrit mein likhen , to woh to do chaar aadmi
hi 'enjoy' kar sakte hain'.

AS: bilkul!

PM: 'ham 'entertainment industry' ko 'belong' karte hain aur ham yeh
kahenge ki gaane jo hain woh har aadmi samajh sake'. to unke
matlab 'simple', gaane ki 'language' hamesha 'simple' rahi hai jaise
ki main aapko bataayunga ki Saigal saahab ka hi gaana hai
Parwana 'picture' mein aur Nanda saahab 'producer director' the
us 'picture' ke, to mohabbat unhone bataaya hai ki mohabbat kya cheez
hai, aashiq kya cheez hai - "mohabbat mein bhi kabhi aisi haalat
paayi jaati hai, tabeeyat aur ghabraati hai jab behelaaee jaati hai,
jhijhak ke guftagoon karna hai apna raaz keh dena, isi parde ke
peechhe tamanna paayi jaati hai".

AS: kya baat hai!

PM: "mohabbat dil mein chhup sakti hai aankhon mein naheen chhupti,
zubaan khaamosh hai lekin nazar sharmaaee jaati hai".

AS: yeh yeh ek baar phir paDhen aap

PM: "mohabbat dil mein chhup sakti hai aankhon mein naheen chhupti,
zubaan khaamosh hai lekin nazar sharmaaee jaati hai". to yeh
matlab 'description' denee itni 'easy' saleez 'language' mein jo ki
har aadmi samajh sake aur 'identify' kar sake ki waaqai mujhpe yeh
guzree hai, yeh aap beeti naheen jag-beeti hai, to yeh unki ek baDi
khaas baat thi.

-------------------------------------------------------------------
Song: mohabbat mein bhi kabhi aisi haalat paayi jaati hai (Parwana)
-------------------------------------------------------------------

baheno aur bhaaiyon, aap to jaante hi hain ki yeh geet film Parwana
ka tha. waise to Madhok saahab ke aise sainkDon laajawaab geet hain
jo sangeet premee sunna chaahte hain aur ham koshish karenge ki
unmein se kuchh Khaas geet agle kaaryakram mein bhi shaamil keeye
jaayen kyunki ab, baheno aur bhaaiyon, aata hai har-dil-aziz geetkaar
D N Madhok ki geeton bhari kahaani ka madhyaantar, yaani
ki 'interval', hamaara matlab hai ki agle 'programme' mein Madhok-ji
ke geet hamse bichhaDne waale hain, jee haan, aur isi bichhaDne par
dekhiye unka yeh amar geet kya kehta hai Amirbai Karnataki ki aawaaz
mein Dhalkar!.

-------------------------------------------------------
Song: milke bichhaD gayeen akhiyaan haaye rama (Rattan)
-------------------------------------------------------

magar aap ghabraaiye naheen baheno aur bhaaiyon, bas agle 'programme'
tak intezaar karna hogaa aapko aur uske baad D N Madhok saahab ki yeh
kahaani agli Sangeet Ke Sitaaron Ki Mehfil mein aur aage baDhegi unke
honhaar beTe Dr Prithvi Madhok ki zubaani. saath mein main bhi
rahoonga, yaani aapka 'radio' dost Ameen Sayani. to aap bhi aayiyega
baheno aur bhaaiyon, sab saath milkar sunenge filmi geeton ke Bhishma
pitaamah ki shaayri aur shakhsiyat ka doosre bhaag ka 'programme'
Sangeet Ke Sitaaron Ki Mehfil mein.

END OF PART 1

Sargam Ke Sitaare, aaj is kaaryakram ham aapko sunwaa rahe hain
mashoor geetkaar Naqsh Lyallpuri se kee gayi baatchit ka doosra aur
antim bhaag. inse baatchit kee hai Kamal Sharma ne.

NL: Naqsh Lyallpuri
KS: Kamal Sharma

KS: With how many music directors have you worked? Have you ever
listed down?

NL: Once a child had listed down, the list went up to 130. But I do
not have any personal record.

KS: For films that you had composed the music of, you must have got
complimentary copies. Didn't you?

NL: Yes, but I do not have a single with me now.

KS: Which major music composers have you worked with?

NL: Husnlal Bhagatram, Naushad, Khayyam, Jaidev, Roshan, Madan Mohan,
Shankar Jaikishen, R D Burman and one song with Jatin Lalit also.
This was a DD serial's title song. The health based serial was
called 'Kalyani'.

KS: haven't you worked with Laxmikant Pyarelal and Kalyanji Anandji?

NL: Yes, with them also.

KS: And with S D Burman?

NL: No

KS: Do you have any regret for this?

NL: Yes, I wish I could work with Burman dada.

KS: In which films did you work with Husnlal Bhagatram?

NL: It was a Punjabi film called 'Sappani'.

KS: Sappani that means 'Naagin' in Hindi?

NL: yes

KS: From Punjab, a lot of music directors and lyricists have come to
this industry. You are a master in Urdu. Do you know Gurumukhi script
also?

NL: No, I do not know Gurumukhi.

KS: Then how do you write in Punjabi?

NL: I write it in Urdu script.

KS: Has anybody ever passed any comments on your language skills?

NL: People do not want to consider me a Punjabi. They say that my
Urdu is so good that it is unbelievable that I am a Punjabi. When a
Punjabi speaks, everyone can guess that a Punjabi is speaking. There
is a popular proverb, "jab koi Punjabi Urdu boltaa hai to aisa lagtaa
hai ki jaise woh jhooTh bol raha ho".

KS: Next is Roshan, whose popular interludes, and speaking big things
with lesser instruments was something everyone spoke about. How was
your association with him?

NL: In those days, music directors did not give much importance to
the instruments. Those were used only as 'sangat' to give rest to the
singers' throat. Roshan's mixing effect with a tune was brilliant. I
could do only 1 film with him. One more film was there in which two
of my mukhDaas were used. Actually what happenned, two of my mukhDaas
were lying with Roshan. He wanted to use those in Aji Bas Shukriya.
But the director of the film Md Hussain wanted Farooq Qaisar to write
the songs. Roshan and Farooq Qaisar met in several sittings but
Roshan did not like what Farooq was writing. One day Roshan came to
me and said that he was leaving that film as he was not happy with
the lyrcis. He also said that he liked my two mukhDaas and wanted to
use them. I happily agreed and gave him the mukhDaas and then Farooq
Qaisar wrote the stanzas. Few days later, I received two vouchers of
Rs 250 each for the mukhDaas.

KS: o ho ho! Which are these two songs?

NL: One is a mujraa, "bedardi nazren milaake kehde kya hai teri
marzi", aur ek hai "saari saari raat teri yaad sataaye"

KS: aaye haaye! kaleja cheer ke rakh denewaala!

KS: And which was that one film in which you wrote the songs for
Roshan?

NL: The film was Madhu, one song of this film was liked by the
people, "dhaani chunar mori haaye re, jaane kahaan uDi jaaye re".

-----------------------------------------
Song: dhaani chunar mori haaye re (Madhu)
-----------------------------------------

KS: Sometimes it happens that you are not able to get the proper
mukhDaa for a song that you have been trying hard for a long time.
The situaion is like you are in a sitting, the music director is
waiting with his harmonium, but you are not getting the mukhDaa or
the antara. And sometimes you get it all of a sudden. Does this kind
of thing happen with you?

NL: This was not the case at our times. In those days, songs were
written in a proper way.

KS: And did it ever happen that you had to remove or change a line or
a word because the singer was not able to pronounce it properly at
the time of recording?

NL: It did not happen because the words and lines were checked and
rehearsed many times before the actual recording. So, all changes
used to be made beforehand, there was no change during recording.

KS: So, did this happen during rehearsals?

NL: Yes, many times.

KS: Do you remember any such kind of situation inw hich you were
asked to change the line or the word?

NL: In Maang Sajaado Meri, there was a line "sar-e-anjuman meri haath
thaam lena, zaraa soch kya kahega zamaana", Laxmikant Pyarelal said
that the word 'sar-e-anjuman' is too heavy and that i should try to
replace it with something else. So, I wrote 2 or 3 sher and took them
to the recording venue. I told them the new shers that I had written.
Then I was told that "gaate gaate is tarah rawaan ho gayaa hai ki woh
Khud hi isey 'replace' karnaa naheen chaahte".

KS: Did you receive any harsh comments regarding the tune and the
meter of your lyrics?

NL: No, because I have the idea of meter. I always end with the same
meter that I begin with. Once Asha Bhosle said that how bad days have
come that teh lyricists are writing such songs that I feel ashamed of
singing and that songs are not in meter. I asked her that how she
understands what meter is as this is the department of a lyricist.
She then said that she has come across songs in which the 1st beat is
OK, but the second beat is a 'before beat' while the third one is
a 'after beat'.

KS: So, in a sense this was a compliment from Ashaji

NL: Yes!

KS: How was Jaidev as a composer?

NL: He was a very good composer. Once a producer said to me that he
wanted to sign Jaidev for his film, but he is afraid that Jaidev has
become so perfect in his work that he might go out of the reach of
the common people. And due to this fear, he did not sign him for his
film. Jaidev was a perfectionist, not a single note has ever gone
wrong in his songs. In Maan Jaiye, I wrote 3 good songs, one of them
sung by Kishore Kumar, "yeh wohi geet hai jisko maine sene se lagaaya
hai". And one more song that I would like you to play is "badraa
chhaaye re kaare kaare kajraare".

KS: What is so special about this song?

NL: There is strange 'laykaari' in this song, the rhythm of this song
sounds simple but actually it is difficult. I had written the mukhra
of this song on meter. Jaidev told me that he had not thought about
the tune of the antara and that I can write the antaras on my own. I
wrote the antaras and went to him the enxt day. He was so surprised
to read the lines. He asked me, "How did you thought of this meter?
Its exactly what I have thought of".

KS: Oh, its like connection between souls!

---------------------------------------------------------
Song: badraa chhaaye re kaare kaare kajraare (Maan Jaiye)
---------------------------------------------------------

KS: In your time also, lyricists used to write on tune, but still
songs used to be of very high quality. How was it possible?

NL: A good song is the result of the combined work of the lyricist
and the music director. In those days, every music director had some
knowledge about poetry and every lyricist had some idea of music. I
know what is it to write in meter. If I have to write a song in 'saat
maatra', then I know what is the meter of a 'saat maatra'. If I am to
write on 'daadra', then I know what is the meter of a 'daadra'. For
example, one day I was sitting with Salil Choudhury. He said, "I will
play a tune, you write a song on this tune". He also added that
though it is a happy tune, but one or two lines should be on a sad
note. I suggested that a situation inw hich a girl is waiting for her
lover for a long time may suit this tune. Salil-da liked it and gave
me the green signal. After I completed writing the song, Salil-da's
assistant Kanu Ghosh came there and suggested that a duet song would
sound better. When Salilda asked him the reason for such a belief, he
could not give any solid reason. Salil-da became very angry on him
and scolded him as "tum jahaan ho waheen pe rahoge, kabhi tarakki
naheen kar sakte".

KS: Which was this song?

NL: No, this song was never released.

KS: Then which song did you write for Salil-da?

NL: "rishton mein daraar aa gayi", a non-film song by Jagjit Singh.

KS: We have this ghazal with us, so let us play it.

NL: Sure!

------------------------------------------------------------
Song: rishton mein daraar aayi (Rishton Mein Daraar - Album)
------------------------------------------------------------

KS: When we talk of pathos, the name of Madan Mohan comes to our
mind. On listening to some of his songs, one feels as if those are
written in the heaven. Lyricists and singers have also contributed
equally to his compositions. He was very melodious and fond of good
food. Tell us something about him.

NL: I did 3 films with him - one was incomplete, and the other two
are Prabhat and Dil Ki Raahen. Whatever I had heard about Madan Mohan
before meeting him, that he was very short tempered etc, were all
incorrect. He was the first music director who did not put a mountain
on my head. He used to give freedom to the lyricists. He would hardly
sit 20 minutes in a sitting andnever gave me any time limit for
completing a song. After the producer finalised a tune, he used to
call me and make me understand it. He was very punctual and used to
get angry if someone came late. He used to take less than 10 minutes
to compose a song. But whenever a producer signed him, he used to ask
for 1 month to complete the songs. And the reason was he wanted to
get his favourite recording studio, his favourite singers and
musicians. He did not want to butter anyone to get these. Then he
used to record 1 song a day and complete 5 or 6 songs in a row.

KS: Which song of yours with Madan Mohan's music should we play at
this point?

NL: Before that, let me tell you about the birth of this song. I had
written this song on Sunday and it was to be recorded the next day.
Lata had give date for that day. I took the song to Madan Mohan and
he told me that the producer had said that he wanted a ghazal from
Madan Mohan (agar Madan Mohan ke saath ghazal naheen banaayi to phir
kya kaam kiya). I had written song, Madan Mohan wanted me write a
ghazal on the same tune. It was 11 o clock. I thought if I travel
from Peddar Road to Mulund, it would take a long time, so I sat in a
corner on the footpath in 'chaupati' and started writing the ghazal,
and I finished writing it and reached Madan Mohan's door by 4 pm. And
this ghazal was "rasm-e-ulfat ko nibhaayen to nibhaayen kaise".

KS:offfffff!!!! What a masterpiece you have given us!

--------------------------------------------------
Song: rasm-e-ulfat ko nibhaayen to nibhaayen kaise
--------------------------------------------------

KS: When we listen to such a song, we do not feel like listening to
anything else.

NL: Its correct! Once in Chembur, a programme was organised in memory
of Madan Mohan. I was also called.  After this song was played,
someone there said that "rasm-e-ulfat ke baad aur koi gaana mat
bajaana".

KS: Apart from profession, how was your relation with Madan Mohan?

NL: He wanted to do Laila Majnu with me. Later I got to know that
Sahir was roped in. Actually Madan Mohan did not want Sahir to write
the songs as he never liked any changes to be made in the songs. So,
he wanted someone who wont mind if he changed a few lines. But the
producer H.S. Rawal was in favour of Sahir and Madan Mohan had to
surrender as he wanted money at that time for his under contsruction
bungalow in Lonavala. After Laila Majnu got released, he told me that
he would get me a bigger film than Laila Majnu. But unfortunately, he
left us too early.

KS: Which is your favourite song of Madan Mohan, not written by you?

NL: aap ki nazaron ne samjhaa pyar ke qaabil mujhe.

KS: This song very nicely describes the portrait of an Indian woman.
The line "ji humein manzoor hai", this "ji" is the best part. Let us
listen to this song written by Raja Mehendi Ali Khan. NL: On this
same meter, I wrote a song in Dil Ki Raahen. It goes like "aap ki
baaten karen ya apna afsaana kahen, hosh mein dono naheen hain kisko
deewana kahen". But the popular one was "rasm-e-ulfat".

KS: But there are manyw ho like this song also.

-------------------------------------------------------------
Song: aapki baaten karen ya apna afsaana kahen (Dil Ki Rahen)
-------------------------------------------------------------

KS: Khayyam, one more great music director, who has his own different
style and who has composed many non-film songs as well. Which is your
first song for Khayyam saahab?

NL: Khayyam has done a very good job in this field. The meolody of
his songs are simply great. He works very carefully. I was in a very
difficult situation when he first called me to write songs in his
film. My wife was pregnant and the child was upside down. I had too
much of work along with tension for my wife. So, I refused him as I
was mentally upset. He wanted me & Jaanisar Akhtar to write two songs
each. Then after a gap, we came together in Train To Pakistan along
with Kaifi Azmi. But the film was never made as permission to shoot
in Pakistan could not be obtained. Once I was reading newspaper in my
balcony at Juhu, he shouted from the road infront of our balcony that
one producer is going to come at 10'o clock for a new film called
Khandaan and hence I should be there as he (Khayyam) wanted me to
write in this film. I was offered 2 songs, 2 songs went to Anjaan and
2 songs to M G Hashmat. The director was Anil Ganguly whose Kora
Kagaz was a big hit and M G Hashmat had written songs in it, so he
wanted Hashmat to write in Khandaan as well. Somehow, Khayyam
announced that the first two songs will be written by Naqsh
Lyallpuri. After I wrote "yeh mulaaqaat ek bahaana hai, pyar ka
silsila puraana hai", everyone changed their minds and I was asked to
write all the songs of the film.

---------------------------------------------
Song: yeh mulaaqaat ek bahaana hai (Khandaan)
---------------------------------------------

KS: Recently, you have worked with Naushad saahab as well.

NL: Yes, in Taj Mahal, its my first time with him.

KS: Why this is so? Both of you are in this industry for such a long
time, still how is it that you never came together in a single film?

NL: Naushad saahab had his own team, his own lyricists, so there was
hardly any scope for an outsider to work with him. Akbar Khan called
me during Taj Mahal. My favourite song of this film is "Mumtaz tujhe
dekha jab taaj mahal dekha, phir aaj ki aankhon se guzra huya kal
dekha".

KS: Wah wah!

NL: After writing this mukhra when I took it to Naushad saahab, he
said that the mukhra is nice but how I would be able to write the
antaras as I have used 'dekha' so many times in the mukhra. I replied
that when I have begun I will finish as well. After finishing the
song when I went to meet him again, he was very happy to read the
song and told Akbar Khan, "tumhe daad detaa hoon ki tumne shaayar
achchha chuna hai!!!"

---------------------------------------------------------
Song: Mumtaz tujhe dekha jab taaj mahal dekha (Taj Mahal)
---------------------------------------------------------

KS: We hope that the new breed of lyricists would walk on your NAQSH-
E-QADAM and would definitely contribute something meaningful to the
film music. We thank you very much for giving us so much of your time
and sharing so many of your timeless memories with our listeners. We
wish you all the very best for a healthy and long life and hope to
see you again on Vividh Bharati!

NL: Thank you very much, I shall try to come again to my listeners!

--------------

Sargam Ke Sitaare, is kaaryakram mein aap sun rahe the mashoor
geetkaar Naqsh Lyallpuri se Kamal Sharma ki baatchit par aadhaarit
kaaryakram ka doosra aur antim bhaag. Vividh Bharati ki or se is
kaaryakram ko prastut kiya Kanchan Prakash Sangeet ne.

THE END

Wishing all members a Happy Holi.

Regards,
Ramaswamy

Sargam Ke Sitaare, aaj is kaaryakram ham aapko sunwaa rahe hain
mashoor geetkaar Naqsh Lyallpuri se kee gayi baatchit ka pehla bhaag.
inse baatchit kee hai Kamal Sharma ne.

NL: Naqsh Lyallpuri
KS: Kamal Sharma

KS: Naqsh saahab, welcome to this programme! I, on my behalf, on
Vividh Bharati's behalf and on behalf of the crores of listeners, i
welcome you in Vividh Bharati.

NL: Thank you very much, namaskaar!

KS: The names of 'shaayars' and lyricists have always been quite
interesting. There is a tradition of using the names of places in the
names. Please tell us about your name.

NL: My real name is Jaswant Rai. Naqsh is my pen name since I have
become a shaayar. I hail from a place called Lyallpur and hence I am
Naqsh Lyallpuri.

KS: Now, tell us about your birth and about your father and your
family.

NL: I was born in Lyallpur, my father was an engineer. I studied till
4th standard in Lyallpur. After that my father was transferred to
Rawalpindi where I studied till the 8th std and then again got
transferred to Lyallpur.

-----------------------------------------
Song: le chalo le chalo ab kahin le chalo
-----------------------------------------

KS: At the time of partition, what was your age?

NL: 19 years

KS: What memories you have of cities like Lahore and Karachi?

NL: Those were great days. It was my time to grow in literature. Mu
Urdu teacher was quite happy with my writing ability. He had advised
me that if I grow in this field, I might become famous. Then I
started reading Urdu literature seriously. My father is an engineer,
mu uncle is a doctor, but I consider my Urdu teacher as my 'ustaad'.
The impact of my Urdu teacher was much higher than that of my father
or uncle.

KS: What is the name of your teacher?

NL: Ramlal. He was amaster in Urdu, Persian and Arabic. I learnt
Punjabi, Urdu, Persian and English from him only.

KS: When did you write your first poem, I mean matured type of poetry?

NL: When I was in Lahore, I used to go in mushaayras of high standard
(adabi mehfilon mein jaaya karta tha). Both new and old talents would
get opportunity to speak out their writings. One's shortcomings used
to get pointed out in those meets that helped me a lot. In other
words, these mehfils, in one way, fined tuned my talent and taught me
shaayri of good standard (Dhang ki shaayri).

KS: When did you arrive at Bombay?

NL: in 1951

KS: After the partition in 1947, where did you go before landing up
in Bombay in 1951?

NL: After partition, we moved to Lucknow.

KS: How did you come to Bombay from Lucknow?

NL: My family settled down in Lucknow. Circumstances forced me, i got
fed up of the life and decided to leave that place.

KS: Was your family aware of your move?

NL: No, I did not inform anybody. Every day I used to go out in
search of work and returned back in the evening. My parents had only
one question - "kaam mila?" and I had only one answer - "Naheen". I
was fed up and left home.

KS: But why Bombay, why not nearer cities like Delhi or any other
nearby big cities?

NL: I had a pen-friend in Bombay - Pradeep Nayyar, who was an
assistant director. With one set of clothes as my luggage, when the
train reached Kalyan station, I had the last 'chawanni' (25 paise) in
my pocket. It was a hot afternoon, I was hungry, the coal and steam
engine had made my clothes black. I stepped down on the platform. One
superstition gripped me that one should not enter a new city in empty
stomach. So i bought 6 'pooris' and some 'saag'. As I was just going
to take the first 'poori' in my mouth, a kite flew down, snatched the
food from my hand and flew away. During that time, Kalyan station did
not have a roof. The train was about to move and I returned back to
the train. After getting down in Dadar station, I went to my friend's
house and saw the door lock hanging. On enquiring from the neighbour,
i came to know that my friend had gone to Pune and would return only
after 15 days. I was roaming on the footpath when I saw an elderly
Sardaar in white beard and clean clothes coming towards me. I asked
him if there is any 'dharamshala' (free motel) around. He advised me
to go to the Gurudwara in Matunga BBCI where I can stay for 8 days
with two meals a day from the 'langar'. I thanked him and went there.
The room I was assigned was also being shared by a young sardaar. I
saw a copy of Pakistani magazine called 'Nuqush' lying on the floor.
I asked him if I can take it and see. In this way, our conversation
began. When he came to know that  am a poet, he gave me a bar of soap
and asked me to take a shower and wash the clothes. I obeyed and
after the bath I felt so relieved that I fell asleep and he had to
wake me up at 8 o clock in the night for dinner. I woke up and saw
that he had ironed my clothes. I was surprised and asked him what was
going on and who he was. He said he hailed from Punjab and had come
to Bombay to purchase accessories for his business of motor parts.

KS: What was his name?

NL: Indrajit Singh from Ludhiana

KS: OK, what happened after that?

NL: After 8 days of stay in the Gurudwara, I came out and was having
a 'paan' outside the City Light cinema when one of my Lahore friends,
named Deepak, saw me and asked me to take up the luggage and go with
him. I stayed in his house for 10 days and then he managed a 8'X8'
room for me. When I asked him how shall I be able to pay the rent, he
said me not to worry about the rent and that my food will come from
his house.

KS: How long did it go like this before you settling down?

NL: After that I tried and got a job in the Post & Telegraph
department. Everybody there used to love me as I was a poet.

KS: Which was your office?

NL: Mandvi post ofice near J J Hospital

KS: What was your salary and how long you worked there?

NL: I worked for 6 months on a salary of 122 or 125 rupees a month.

KS: How did you make entry into the films?

NL: Few young and rich guys used to come to my place who were
jobless. They thought why not do a play/drama. As they were rich, so
money was not a problem. They asked me to write a good play that can
be staged. I wrote the play called 'taDap'. Ram Mohan was selected as
hero. It was he who suggested me to try luck in the film line. I had
heard that the film industry is very harsh and ill treats the
newcomers. When he heard this from me, he advised me to go with him
and meet producer-director Jagdish Sethi with whom he was working as
an assistant. Sethi was making Jaggu that time and he had kept open
competition for lyricists. Jagdish Sethi asked me to step into the
competition and try luck.

KS: Did he ask you to recite anything?

NL: He listened to 2 'sher' from me and the song came to my court
(geet mere haq mein aa gayi). One song of Muzaffar Shahjehanpuri also
got selected.

KS: What was your position after this film?

NL: I did not get work for a long time. My problem was that I was
getting all stunt films which I did not want to do. I wanted to write
for social films, but I had to take up stunt films to earn my living.
After sometime, I started getting social films. The turning point
film of my career was 'Chetana'. before that I had written songs in
the Black & White film Teri Talash Mein. For Chetana, B R Ishara gave
me situations and tunes for two songsand left for Pune. I completed
the songs and told the production people that I want B R Ishara to
listen to the songs. They advised me to go to Pune. They took me to
Pune and to that bungalow where shooting was going on. They had
packed up the shooting at 2 AM and went to sleep and I reached there
at 4 AM. The next day's shooting was going to start at 6 AM. He asked
me to come in the shooting (aa jaayiye, baat-chit karenge). I waited
till lunch but he was not paying any attention to me. Finally i
requested him to listen to the songs I had written. His reply
was, "agar sirf geet sunwaane aaye hain to waapas chale jaayiye, aur
agar ghoomne phirne aaye hain to baiThiye". I was baffled. He then
asked me to record the song and then make him listen. Anil Dhawan,
who was the hero, showed some interest as the song was to be
picturised on him, and asked me to read out the song. After going
back to Bombay, the song was recorded in Mukesh's voice. After
singing the song, Mukesh came down stairs and said, "gaana bahut
achchha ho gayaa, iske mujhe paise naheen chaahiye".

------------------------------------------------------
Song: main to har moD par tumko doonga sadaa (Chetana)
------------------------------------------------------

KS: So, with this song of Chetana, two incidents are related, one of
Pune and one of Mukesh. Do you remember any more incident associated
with Mukesh that you would like to share with us?

NL: I remember one such incident. I used to stay at Mulund. A
programme of Mukesh was arranged there. I was not a known face there.
So when the programme started, Mukesh asked the organizer, "Do you
know there lives a shaayar in your locality? Have you invited him?"
Their answer was "no". When Mukesh asked them if they can invite me,
they immediately sent few guys to my house. I was having dinner. I
got afraid to see those people. They invited me and I went there.
That night, Mukesh first sang 3 songs of Raj Kapoor and before
starting the 4th song, he said that this song is written by
the 'shaayar' of your 'basti'. He sang two of my songs, one was the
song from Chetana and the other was from Milaap. We were required to
record 4 songs in Milap. We were recording the 4th song in MOhd
Rafi's voice. The shooting of the film was also going on in
Bangalore. B R Ishara called up from Bangalore and said that
Shatrughan Sinha has two roles in this film; for one of the roles
Rafi saahab will be giving the playback and for the other if we make
a song in Mukesh's voice, it will be good. He also said that he would
need that song in two days because only 3 dates of Shatrughan Sinha
were left. I liked Brij Bhushan's one comment that as Mukesh had just
recovered from a heart attack, so we should make such a song which
wont pressurise his heart much, so the song needs to be written in
short words and short phrases. I came out of the studio down the lab
and wrote the song in few minutes. We recorded the song the very
night and sent it the next day to Bangalore and it was picturised on
Shatrughan Sinha.

----------------------------------------------------------
Song: kai sadiyon se, kai janmon se, tere pyaar ko (Milap)
----------------------------------------------------------

KS: Many a times it so happens that a song idea comes to the mind all
of a sudden. Then at times, the mukhDa is ready but search for the
antara continues. Did it happen with you that an idea came to your
mind all of a sudden?

NL: Actually happens, when a situaion is given to us, it keeps
growing in our subconcious mind, but we dont know when it will take
its complete form. For example, in Henna, Raj Kapoor gave me a
situation and asked me to write before 10 am the next day. I finished
my dinner and sat at 11 pm to write it. I could do nothing till 1 o
clock, got irritated and went to sleep. The next morning, I went out
to have a 'paan' and suddenly the words stroke my mind and I finished
it i 1 hour. this song was written on tune composed by Ravindra Jain.
When I took the song to Ravindra Jain, Raj Kapoor had not yet reached
the studio. One person was singing the song and when he was singing
it the third time, Raj Kapoor entered and listened. He then took the
piece of paper where this song was written and said that in the
schedule of 3 songs to be recorded, this will be recorded first. This
song was "chiTThiye dard firaak vaaliye, lai jaa lai jaa sandesaa
sone yaar da".

KS: With Raj Kapoor, there used to happen long music sittings where
Shankar Jaikishan, Shailendra, Hasrat Jaipuri, Mukesh used to remain
present. And Raj Kapoor also had a good idea of music and which was
the reason of his musical hit films. Did he say anything to you after
you wrote this song?

NL: He said that thisis the first song that he has approved without a
single modification.

------------------------------------------------------------
Song: chiTThiye dard firaak vaaliye, lai jaa sandesa (Henna)
------------------------------------------------------------

KS: Do you anticipate while writing a song that the song will work
wonder? Do you have afeeling in advance about your songs?

NL: And it also happens at times that a good song does not do well.

KS: Any example?

NL: I was writing a film Sarfarosh in which there was a Rafi
number "allah ke nek bande". People had forecast that "is gaane ko
zanjeer Daalkar bhi roknaa chaahenge to naheen rukegi". It was
supposed to be a sure-shot hit, but "kab aayi kab gayi pataa bhi
naheen chalaa".

--------------------------------------------------------
Song: allah ke nek bande nekee ka beej bo le (Sarfarosh)
--------------------------------------------------------

Sargam Ke Sitaare, aaj is kaaryakram aap sun rahe the mashoor
geetkaar Naqsh Lyallpuri se Kamal Sharma ki baatchit par aadhaarit
kaaryakram ka pehla bhaag. is kaaryakram ko aapki seva mein prastut
kiya Kanchan Prakash Sangeet ne.

END OF PART 1

SARGAM KE SITAARE

INTERVIEW OF SADHNA SARGAM (PART 2)

SS: Sadhna Sargam
AD: Amarkant Dubey

AD: Welcome Sadhnaji once again, namaskaar!

SS: namaskaar Amarkantji, and namaskaar to all listeners.

AD: With which other artistes you have sung?

SS: I sang with Amitabh Bachchanji in his album 'Kabhi Kabhi Mere Dil
Mein'.

AD: Amitji himself is a good singer

SS: Yes, he encouraged me a lot. And Jayaji also encouraged me.
Amitji sent me a note of appreciation for my song in Lakshya "kitni
baaten yaadaati hain" that I sang with Hariharan. I have framed that
note and kept it safely. He is so greatthat inspite of such a busy
schedule he keeps track of all such minor things. I consider myself
lucky for this. I want you to play this song.

AD: Sadhnaji, here we have a tradition that if a singer comes in this
programme, he/she has to sing first and after that we play the
recorded song (laughs)

SS: (laughs and sings) "kitni baaten kehne ki hai honThon par jo
sehmee si hai...gumsum ho kyun"

-------------------------------------------
Song: kitni baaten yaad aati hain (Lakshya)
-------------------------------------------

AD: "ham gumsum bilkul naheen hain, aap apne man ki jitni baaten hain
sab keh leejiye, baad mein hamein dosh mat deejiyega ki gumsum baiThe
hain" (laughs)

SS: (laughs) I would like to thank all my listeners that they have
liked my songs and they listen to my songs.

AD: OK Sadhnaji, nowadays it has become easier to record a song, but
when you started singing there used to be live recording. Can you
cite any example where you had faced difficulty in recording a song?

SS: In Pighalta Aasmaan, there was a song "jiya naahi laage kab
aayoge" written by Ila Arun and composed by Kalyanji Anandji bhai.
The mukhda was very short "jiya naahi laage kab aayoge", but Kalyanji
Anandji made the notes prolonged and the mukhda became a long one. I
still remember that the recording was in the famous Tardeo Studio. I
was very conscious that there should not be a retake because of me.
Thank God, there was no retake because of me and everybody liked the
song. The prelude aalaap of this song was also bit difficult.

-----------------------------------------------------
Song: jiyaa naahi laage kab aayoge (Pighalta Aasmaan)
-----------------------------------------------------

AD: In this industry, there is a tradition of recording the songs
with dubbing artistes if the main artiste is not available for
recording on the said date. Several singers during their initial
career phase used to sing as dubbing artistes. Did you also face the
same situation?

SS: In the film Vidhaata, I sang the song "o saathiya" as dubbing
artiste for Lataji. But I believe it is helpful for a new singer as
one can get the experience of singing on the mike. There are certain
words like "phool", "patthar" etc which should be sung from a certain
distance from the mike. So, in one sense, I was not at loss and
gained important experience.

AD: Which was your first original film song? And which was you first
hit film song?

SS: My first film song was forthe film Rustam made by Dara Singh and
the song was "door naheen rehna.." And the first hit film was
Pighalta Aasmaan. The songs of this film were hits and after that
Rajesh Roshanji also made me sing some beautiful songs, like "phool
yeh kahaan se aaye hain" in Kaash with Kishoreda.

-------------------------------------------
Song: phool yeh kahaan se aaye hain (Kaash)
-------------------------------------------

AD: "phool yeh kahaan se aaye hain aur yeh khushboo, yeh sangeet
kahaan se aaye hain Sadhnaji?"

SS: (laughs)

AD: Will you sing few lines of your first song from the film Rustam?

SS: (sings) "door naheen rehna tere sang sang rehna hai jeevan
bhar..."

AD: How was your experience with Kishoreda, as we know that he was a
very jolly person and serious as well, and a genious as well?

SS: The first time I sang with Kishoreda was for the film Do Qaidi,
Laxmikant Pyarelalji was the composer. The recording was in the
Mehboob Studios, dubbing and recording was going on. I was bit
nervous as I was to sing with Kishoreda for the first time. But as
soon as he entered the studio, he filled the atmosphere with laughter
and joy. He cracked jokes with the recordist, did 4-2-4-2 mike
testing, and made all of us relaxed. I sang 2-3 songs with him,
another one was in Simmi Garewal's film Rukhsat.

AD: The first guru of your film music career was undoubtedly Kalyanji
Anandji bhai. But who is your ideal in singing?

SS: Ofcourse Lataji and Ashaji. Then Kishoreda, Mannada, Rafi saahab,
these ae legends. Every time you listen to these singers you learn
something. These legends are God's gift to us and with their talent
and hard work they have reached to this height.

AD: Sadhanji, is there any song of Lataji which you wish you could
sing or any song which you think you can never sing?

SS: Oh there are so many songs, but I like her Merra bhajans the most.

AD: OK, so here is a Meera Bhajan sung by Lataji for you.

SS: Thank you for the gift.

-------------------------------------------------------------------
Song: maai maano supnaama parnyaare dinanath (Meera Bhajan by Lata)
-------------------------------------------------------------------

AD: I could see that you were totally lost in the bhajan. Tell us
about your first meeting with Lataji.

SS: Lataji, inspite of being such a great singer, is very humble in
nature. I met her in my childhood days also, and in programmes also,
she is very affectionate to me. Whenever we meet, she enquires
whether I am doing riyaaz regularly or not. She is very conscious
about riyaaz. Her intention is to make sure that I do my riyaaz daily
and not become just a commercial singer. With Ashaji I have sung
several songs. I would like to play "main haseena gazab ki" from
Khoon Bhari Maang. In this song, Ashaji gave playback for Rekhaji and
I gave for Sonu Walia. Ashaji helped me a lot in this song and she
meets very openly. In Tadap, I sang the title song with her and the
music was by R D Burman. It feels very great when a small singer like
me gets chance to sing with these big singers and composers.

AD: Sadhnaji, it is not your job to decide whether you are a small
singer or a big singer, that you leave to us. For the timebeing, lets
listen to "main haseena Gazab ki"

-----------------------------------------------
Song: main haseena Gazab ki (Khoon Bhari Maang)
-----------------------------------------------

AD: It was a nice song we were listening to.

SS: It was composed by Rajesh Roshan, who gave me many beautiful
songs to sing like "main teri hoon jaanam tu mera jiya" in KBM, then
in Kaash, Khudgarz. In Khudgarz, I gave playback for 3 heroines
Bhanupriya, Amrita Singh and Neelam, "yaheen kahin jiyara hamaar"
with Nitin Mukesh, "aapke aa jaane se" with Mohd Aziz.

-------------------------------------------------------
Song: dil bahalta hai mera aapke aa jaane se (Khudgarz)
-------------------------------------------------------

AD: You have sung in many languages, but in which language other than
Hindi you sang the most?

SS: in Bangla and Nepali. In fact, 60% of my songs are in Nepali.

AD: Can you please sing a Bangla song for our listeners?

SS: (sings) "e din to jaabe naa maana tumi jotoee maana koro..."

AD: Whose composition was this?

SS: I dont remember exactly; its actually sung by Lataji.

AD: Can we expect a medley of different languages from you right now?

SS: (laughs) I dont remember the words of regional songs, I shall
sing one Gujarati song that was not sung by me but I like it very
much. (sings) "saanvariyo ri mhaaro..."

AD: Very nice! Now let us listen to one more song. Which song would
you like to play?

SS: Lets now listen to something fast. The song is from Kal Ho Na
Ho, "thats the way maahi ve"

-----------------------------
Song: maahi ve (Kal Ho Na Ho)
-----------------------------

AD: So listeners, please stop dancing now as we are going inside
Sadhnaji's house (laughs).

SS: (laughs) welcome welcome!

AD: By going to your house, I meant we would like to know about your
favourite pastimes, hobbies and what you do at home in free time.

SS: I love to travel, shop and cook. I prepare certain dishes from
recipes obtained from books or TV shows. I keep on experimenting on
my family members (laughs) and they tolerate me.

AD: Which special dishes you enjoy the most?

SS: I like Chinese, bhelpuri, chaat, then sweets, especially Bengali
sweets.

AD: Oh now we know whats the secret of the sweetness in your voice
(laughs)

SS: I dont like pizzas.

AD: OK, Sadhnaji, we often receive letters from our listeners who
request us to ask the singers during interviews that what are the
things that are harmful for throat and voice. Do sour and spicy
things adversely affect one's voice?

SS: Like normal riyaaz, one should also do riyaaz of food as well.
And the effect of food varies from person to person. One has to check
what suits him the best. In my case, I can go with anything, so I
dont have any tension as such.

AD: You told that you like to travel. Do you travel other than the
shows as well?

SS: Not much. We have our village house in Kokan's Dabhol. It is a
old fashioned house with lots of coconut trees, courtyard, swing, and
a nice garden.

AD: Sadhnaji, please play one more song of your choice.

-------------------------------------
Song: tadap jeene naheen deti (Tadap)
-------------------------------------

AD: That was a beautiful song of yours sung with Amit Kumar and Asha
Bhosle from the film Tadap. I would request you to play that nice
song for which you received the Zee Cine Award.

SS: It was from the film Kuch Na Kaho, sung with Shaan,
(sings) "halki halki mulaakaaten thi.... kuchh na kaho"

----------------------------------
Song: kuchh na kaho (Kuch Na Kaho)
----------------------------------

AD: Sadhnaji, we ask this question to all artistes in this programme
that what advice would you give to those who want to make singing as
their career?

SS: First of all I would say 'All the Best!', the journey of music is
a long one and so one should start it with full preparation.
Destinations would come but one should not stop at that but should
keep on moving forward. ne has to get trained in classical music
first and listen to classical singers, do regular iyaaz, have
patience and dedication. Success will definitely come, God is looking
at you.

AD: Sadhnaji, which of your co-singers of the present day you think
are the best and you like them?

SS: Shreya and Sunidhi are very talented and good and they know what
they are doing. Among male singers, Sonu Nigam and Shaan are dong
well.

AD: What are the forthcoming films you are singing for?

SS: There is Salaam-e-Ishq, then Water which has Rahman's music and
has gone for Oscar, then with Sukhwindara Singh in Subhash Ghai's
Chaandni Chowk, then there is Sanjay Leela Bhansali's Sanvariya, then
a film is coming called Drona which as Ashu Dhruv as the music
director.

AD: Sadhnaji, we wish you all success and that your house gets filled
up with awards, now before we end this interview, we would listen to
one more song and then take leave. We, on behalf of Vividh Bharati,
thank you very much for sparing your valuable time for us our
listeners.

SS: Many thanks to you as because of you and because of Vividh
Bharati I could speak to the listeners, thank you once again.

---------------------------------------
Song: aayo na aayo na (Kyun Ho Gaya Na)
---------------------------------------

INTERVIEWER: AMARKANT DUBEY
TECHNICAL ASSISTANT: DILIP KULKARNI
PRODUCER: KANCHAN PRAKASH SANGEET

THE END

dear all
while surfing the net i came across few comments about vividh bharati.
regards
brijmohangupta
Teena sri ,commercial artist , Banglore
VIVIDH BHARATI (102.90 mhZ) is one of the oldest radio stations, and
the only one which has been coming from so long and yet it has still
maintained its overall quality. There is lot of variety of programn on
VIVIDH BHARATHI, there is something for everyone, young or old.

From the time  I have been listening to VIVIDH BHARATHI,  I have been
addicted to it, infact it won't be an exaggeration to say that  I
associate RADIO with VIVIDH BHARATHI! It was because of VB that  I bought
a all new radio\transister long time back.

I  feel listening to radio has its own charm, and if you really start
enjoying it, you would feel that there is no better friend than the
radio, it stays with you all the time and also entertains you and
brings a smile to your face. There was a time when AMIN SAYANI used to
host a programn on VB called BINACA GEET MALA, where he used to tell
about the 25 hit songs ruling the charts at that time, and it was such
a popular programme (can call the KBC of those times) that everybody
used to listen to it, without fail.

How  I started listening to VB: Well when  I was a kid, Ii used to see
all my cousins listening to it, in their free times, at that time  I
use to find it boring, but eventually when  I started  appreciating
music,  I started liking the programmes, and the music which was
played on it. And than there came a time when  I was so fascinated BY
VB,that it kind of became my constant companion.

Why  I love VB SO MUCH ...I feel there is a kind of old world charm to
it, there is so much simplicity in its presentation and also that they
have got the best collection of old songs, which makes me love this
RADIO STATION(its unadulterated entertainment). Also  I get to listen
very good hindi\urdu in the programnes of VB....................as it
is a purely hindi RS, for the masses. Everyone from a poor man can
enjoy it. That is the beauty of VIVIDH BHARATHI, has not changed all
this while, even with the coming of these modern radio station.

Host, of VIVIDH BHARATHI are also very good. T here is certain warmth
and lovable quality which makes you connect with them. They also
address their viewers in a very friendly way.

I like a lot of the host on VB, but my all time favourite is amin
sayani, he has a unique way of speaking, has great knowlede about
music....................and has a brilliant voice, great diction and
pronunciation, which is so important for radio jockey'S.

Nimmi Mishra is also very good............she presents Chaya geet well.

What  I also love about vividh bharathi IS THAT THEY have a programn
for all occasions, like DIWALI, HOLI, RAKSHA BANDHAN, REPUBLIC DAY,
SHIVRATRI, CHRISTMAS .

They will also play beautiful songs for these festivals. Like  I live
in Bangalore, where most of these festivals are not celebrated, so VB
keeps me connected to all these festivals, and  I feel kind of at home
when  I listen to their special presentation. Also there are some
prorammes on VB, which are very knowledgeable, they educate you - like
sometimes they will invite a doctor or some specialist who will tell
you about something which you may not be knowing.

Now coming to the progrmmes. They have a set of some of the best
progrmnes on RADIO. FAUZI BHAIYYO KE LIYE, TRIVENI, CHAYAGEET, HAWA
MAHAL, SAKHI SAHELI, HELLO FARMAISH, AAP KI FARMAISH, PATRAVALLI,
MANTHAN. A ll are great to listen. This is what  I call variety. And
here  I have only listed my favourite programmes, there are a lot
other programmes too.

So overall VIVIDH BHARATHI is a great RADIO STATION and should be
listened by all, coz it provides unlimited entertainment. And  I don't
feel that VB cannot be listened by the young people, when there are so
many FM radio stations, even  I am young but still  I enjoy it, coz  I
feel that heir quality is second to none. And if you love old hindi
songs, you will not get to listen better collection than what is
played on VB.

VIVIDH BHARATHI RULES!

Does that ring a bell? If it does, then you are a Vividh Bharati fan
like me. Otherwise, you are missing the spice of Average Indian Living.
I have always associated Vividh Bharati with the Ideal Indian Life. I
mean, as idyllic as shown on old Indian sitcoms (made when Indians
masses first set their eyes on T.V.) and the ones that are generally
portrayed in our Hindi textbooks:
Scene 1:6 a.m., mom is in the kitchen ( u can almost hear the clanking
of the utensils), dad is reading the newspaper and the son/daughter is
studying somewhere unseen.
And, there is Vividh Bharati in the background, with old Hindi songs
and quaint Hindi speaking presenters ( I can't get myself to call them
'Radio Jockeys', they are more like the Ideal 'Uncles and Aunties').
I love Vividh Bharati for its sense of nostalgia. The time has stood
still in its case. I have been listening to Vividh Bharati ever since
I was born ( both my parents are radio fanatics) and it still has the
same quaint programmes -Bioscope Ki Baatein, Chaaya Geet, Ek Pankar,
Sangeet Sarita, Bhoole Bisre Geet and so on. It has never been on the
wrong side of Indian Morality. Nor on the wrong side of Unity in
Diversity ( they even had a special programme to promote Indian Tribal
Music!!!!). All Great Indian Leaders were remembered on the Great
Indian Occasions and Id and Diwali were celebrated on the Radio with
equal gusto.

Thanks Sujoy...

Where are you man?? Give me your new number. I miss you so much. I'm back in Pune. Now a new room...but same Viman Nagar.

Sujoy...I always give your example to others about your dedication for VBS. Few things that I really appreciate is that you are perfectly behaving like the lamp kept in open spreading it's light everywhere. Same with you. You not only hear and enjoy the programs, rather you save and transcribe for others. You preserve the knowledge. Vividh Bharati is a source of knowledge alongwith quality entertainment. Knowledge served with a spoon of entertaiment tastes sweeter.

What I like about VBS other than the Golden songs and music is the knowledge they prrovide. I have always been a knowledge hungry...and VBS is a source of knowledge for me. Moreover my love for Hindi cements my relation with VBS. Hindi is so nice especially when the RJs of VB present.

Thanks for what you are doing...best of luck Sujoy!!

Anup Manchalwar,
09860452036
Pune

 

 

Lata Mangeshkar Fan club

----- Original Message ----
From: soojoi_india <soojoi_india@yahoo.co.in>
To: vividhbharati@yahoogroups.co.in
Sent: Monday, February 19, 2007 6:44:19 PM
Subject: [vividhbharati] Re: Talked to Lataji on phone..

Really great news Anup! U did it finally! I have seen how mad u r for
Lataji's voice when I went to ur house in Pune.

I wish Vividh Bharati can agree her for a looooooong Ujaale Unki
Yaadon Ke series.

Sujoy

--- In vividhbharati@ yahoogroups. co.in, Anup Manchalwar
<anupmanchalwar@ ...> wrote:
>
> Ahhhhhhhhhh. ....Happiest man on the land was me just a few minutes
before when I talked to Lataji. Yes Lata Didi...I got her residence
number and dared to call her today at 6 pm. When I called, a man
picked up the phone and I asked him - "Muzhe Lataji se baat karna
hai, main Anup Manchalwar, Nagpur se. Kya aap Hridayanathji bol rahe
hai??" He said - "Nahi, main Baburao, yaha ka naukar...aap rukiye".
Then a lady comes on phone - I said - "Lataji. Kya aap Lataji bol
rahe hain??..." She said "nahi...aap kaun??" Again I said - "Main
Anup Manchalwar, Nagpur se...muzhe Lata Didi se baat karna hai." She
keeps the phone on hold...(my heart starts fluttering) .. then a soft
voice perforates in my ear - "Hello"...I said - "Lataji.." she
said "Ho mi Lata, tumhi kaun?" - I said "Lataji, main Anup
Manchalwar, Nagpur se bol raha hoon".....and then....I kept
talking....gave her best wishes...asked about her health...told her
how sweet she is and how divine her voice is...everything. I
> jumpped with joy...felt as if I were alone on the land...the
happiest man.
>
> Heavens...!! I heard the legend on phone. My dear friends, I talked
to Lataji...yes. ..ahhhh.. .She made my day. She is greatest!!
>
> Anup Manchalwar,
> Nagpur
>
>
>
> Lata Mangeshkar Fan club
>
>
>
>
____________ _________ _________ _________ _________ _________ _
____________ __
> Bored stiff? Loosen up...
> Download and play hundreds of games for free on Yahoo! Games.
> http://games. yahoo.com/ games/front
>

---

It's here! Your new message!
Get new email alerts with the free Yahoo! Toolbar.

Ahhhhhhhhhh.....Happiest man on the land was me just a few minutes before when I talked to Lataji. Yes Lata Didi...I got her residence number and dared to call her today at 6 pm. When I called, a man picked up the phone and I asked him - "Muzhe Lataji se baat karna hai, main Anup Manchalwar, Nagpur se. Kya aap Hridayanathji bol rahe hai??" He said - "Nahi, main Baburao, yaha ka naukar...aap rukiye". Then a lady comes on phone - I said - "Lataji. Kya aap Lataji bol rahe hain??..." She said "nahi...aap kaun??" Again I said - "Main Anup Manchalwar, Nagpur se...muzhe Lata Didi se baat karna hai." She keeps the phone on hold...(my heart starts fluttering) .. then a soft voice perforates in my ear - "Hello"...I said - "Lataji.."  she said "Ho mi Lata, tumhi kaun?" - I said "Lataji, main Anup Manchalwar, Nagpur se bol raha hoon".....and then....I kept talking....gave her best wishes...asked about her health...told her how sweet she is and how divine her voice is...everything. I jumpped with joy...felt as if I were alone on the land...the happiest man.

Heavens...!! I heard the legend on phone. My dear friends, I talked to Lataji...yes...ahhhh...She made my day. She is greatest!!

Anup Manchalwar,
Nagpur
 

 

Lata Mangeshkar Fan club

---

Don't be flakey. Get Yahoo! Mail for Mobile and
always stay connected to friends.

Really great news Anup! U did it finally! I have seen how mad u r for
Lataji's voice when I went to ur house in Pune.

I wish Vividh Bharati can agree her for a looooooong Ujaale Unki
Yaadon Ke series.

Sujoy



--- In vividhbharati@..., Anup Manchalwar
<anupmanchalwar@...> wrote:
>
> Ahhhhhhhhhh.....Happiest man on the land was me just a few minutes
before when I talked to Lataji. Yes Lata Didi...I got her residence
number and dared to call her today at 6 pm. When I called, a man
picked up the phone and I asked him - "Muzhe Lataji se baat karna
hai, main Anup Manchalwar, Nagpur se. Kya aap Hridayanathji bol rahe
hai??" He said - "Nahi, main Baburao, yaha ka naukar...aap rukiye".
Then a lady comes on phone - I said - "Lataji. Kya aap Lataji bol
rahe hain??..." She said "nahi...aap kaun??" Again I said - "Main
Anup Manchalwar, Nagpur se...muzhe Lata Didi se baat karna hai." She
keeps the phone on hold...(my heart starts fluttering) .. then a soft
voice perforates in my ear - "Hello"...I said - "Lataji.."  she
said "Ho mi Lata, tumhi kaun?" - I said "Lataji, main Anup
Manchalwar, Nagpur se bol raha hoon".....and then....I kept
talking....gave her best wishes...asked about her health...told her
how sweet she is and how divine her voice is...everything. I
>  jumpped with joy...felt as if I were alone on the land...the
happiest man.
>
> Heavens...!! I heard the legend on phone. My dear friends, I talked
to Lataji...yes...ahhhh...She made my day. She is greatest!!
>
> Anup Manchalwar,
> Nagpur
>
>
>
> Lata Mangeshkar Fan club
>
>
>
>
______________________________________________________________________
______________
> Bored stiff? Loosen up...
> Download and play hundreds of games for free on Yahoo! Games.
> http://games.yahoo.com/games/front
>

Audio Courtesy: N Sridhar

SANGEET KE SITAARON KI MEHFIL

AMEEN SAYANI'S PROGRAMME ON RAJKUMARI
-------------------------------------
*************************************

baheno aur bhaaiyon, qubool farmaaiye apne 'radio' saathi Ameen
sayani ka namaskaar aur aadaab! aaj Sangeet Ke Sitaaron Ki Mehfil ek
do-rangee mehfil hai kyunki ismein goonjegaa do sitaaron ka sangeet.
sabse pehle ham jhaanknewaale hain maazi mein, yaani ateet mein aur
wahaan se beete huye zamaane ki aisi meeThee madhur aawaaz aapke liye
le aayunga main ki jiske gaaye huye kai geet aaj bhi sangeet ke
qadardaano ke man mein base huye hain.

-----------------------------------------
Song: o bichhDe balam ghar aayiye (Babla)
-----------------------------------------

yeh geet tha san 1953 ki film Babla ka. dhun S D Burman ki thi aur
aawaaz kiski thi bataayenge aap? jee haan, yeh theen Rajkumari.
Rajkumari, jinki aawaz ne us samay beeseeon geeton mein ras gholaa
tha. aaj inhi Rajkumari se aapki mulaaqaat honewaali hai baheno aur
bhaaiyon. Rajkumari, jinhone kabhi K L Saigal ke saath bhi gaaya.

---------------------------------------------------------------
Song: sar pe kadam ki chhaiya muraliya baaje hai (Bhakt Surdas)
---------------------------------------------------------------

aur samay ne Rajkumari ko yeh mauka bhi diya ki unke saath theen Lata
Mangeshkar, film Anhonee mein, film Bazar mein.

------------------------------------------------------------
Song: zara sun lo ham apne pyar ka afsana kehte hain (Bazar)
------------------------------------------------------------

aaj Rajkumari to rahi naheen, magar unka ek baDaa pyaara 'interview'
meri 'library' mein kai barson se rakhaa huya hai aur aaj main us
puraani 'interview' ka 'tape' phir chalaayunga aapke liye, magar usse
pehle main chaahta hoon ki aap unke kuchh behad Khoobsoorat geet sun
len jo us 'interview' mein shaamil naheen hai.

--------------------------------------------------------
Song: woh gaye naheen hamein milke main mar gayi (Nurse)
--------------------------------------------------------

yeh film Nurse ka geet tha, sangeetkaar the Gyan Dutt. K L Saigal ke
saath gaaye huye Bhakt Surdas mein bhi unhi ka sangeet tha. aur ab
suniye film Panna ka geet jiske sangeetkaar the Amir Ali.

-----------------------------------------------------
Song: jo hampe guzarti hai ham kaise bataayen (Panna)
-----------------------------------------------------

aur yeh hai film Anhonee ka behad mashoor gaana, Roshan ka sangeet,
Rajkumari ki aawaaz.

-----------------------------------------------------------
Song: zindagi badlee mohabbat ka mazaa aane lagaa (Anhonee)
-----------------------------------------------------------

waah waah, bhai Rajkumari ki aawaaz hamein film sangeet ke ek aise
daur mein le aayi hai ki jismein na bhagdaD thi 99 ke bheeD ki, na
chheena-jhapTee thi, aur na kheencha-taani. aur un dino ki saari
befikari, saara aaraam film sangeet ke darpan mein nazar aaya karta
tha. to baheno aur bhaaiyon, aap bhi kuchh der ke liye apni saari
pareshaaniyaan bhool jaaiye aur Rajkumari-ji ki aawaaz ke saath us
meeThe beete huye daur ka safar karne ki tayyaari shuru kar deejiye.

-------COMMERCIAL BREAK------

achchha baheno aur bhaaiyon, ab Rajkumari ki madhur aawaaz Sangeet Ke
Sitaaron Ki Mehfil ke sunnewaalon se kuchh kehne ke liye ubhrengi. to
leejiye main shuru karta hoon woh puraana 'interview' jise maine kai
saal pehle shuru kiya tha yeh kehkar...

AS: Rajkumariji, aap hamaare sunnewaalon ko bataayengi ki aapki pehli
film kaun si thi?

RK: pehli film kaun si thi, yeh matlab, kaam bhi maine kiya hai
filmon mein, us silsile mein aap poochhna chaahte hain yaa 'playback'
diya hai us silsile mein poochhna chaahte hain?

AS: dekhiye main bhi bhool gaya aur hamaare zyaadatar sunnewaalon ko
bhi yaad na hoga ki aapne filmon mein kaam bhi kiya hai Rajkumari-ji.
to chaliye shuru se bataaiye ki filmi duniya mein aapka pravesh kaise
huya?

RK: shuru shuru mein Bombay jab aayi to main ek 'gramophone company'
mein, woh us zamaane mein 'records' hote the, kisi ke saath maine
usmein 'drama' bhi bolaa hai aur gaana bhi gaaya hai, phir
main 'stage' par aayi, mujhe naaTak mein kaam karne ka shauk huya.
achchha gaa leti thi, isliye hamko bulaaya ki aap 'role' bhi keejiye
aur gaana bhi aapko gaana hai. us zamaane mein jo 'stage' par kaam
karte the wohi log gaate the. 'stage' ke baad kaafi mashoor ho gayi
thi, gaane-waane sune to, achaanak Prakash Pictures waale, Vijay
Bhatt, jo kabhi gaye the naaTak dekhne, hamaara unko gaana bahut
pasand aaya aur ham bhi unko achchhe lage to inka ek 'picture' ban
rahi thi Sansar Leela, Hindi-Gujarati, Gujarati mein Sansar Leela aur
Hindi mein us 'picture' ka naam tha Nai Duniya. to unko main pasand
aayi to hamko woh le gaye. us zamaane mein 'mike' ke upar 'stage'
mein gaana waana naheen hota tha. aur 'by-heart direct' saamne aakar
ekdam chilla chilla kar gaana paDta tha aur woh 'dialogues' bolne
paDte the. to hamko bhi zara kuchh aisa lagaa aur kaafi 'once more'
ho jaati aur ek ek gaane ko kabhi kabhi 8/9 martaba gaana paDta. to
hamko bhi achchha lagaa aur filmon mein kaam karne ka shauk bhi tha.
to maine wahaan kaam karna shuru kiya, dono filmen banee, Sansar
Leela, Hindi-Gujarati, Nai Duniya. phir Snehlata, Red Letter, aisi
aur 'picture'-en bahut si banee jismein hamne khud gaana bhi gaaya
aur 'role' bhi kiya tha.

AS: puraani Gujarati filmon ka koi geet agar aapko yaad ho to hamaare
sunnewaalon ko zaroor sunaa deejiye.

RK: jee haan, Prakash ki woh pehli 'picture' jismein maine kaam kiya
tha, Sansar Leela, uske poore gaane to mujhe yaad naheen hai, lekin
ek do 'line' yaad hai woh main sunaati hoon aapko.

AS: zaroor

RK: (sings) "tarshaane paaNi paasho yun tarsee sarovar kaaThe..."

AS: waah waah waah waah! kya baat hai! kya baat hai! aayiye ab aapki
film sangeet ki daastaan aur adaakaari ki daastaan aur aage baDhaayen.

RK: us waqt meri gaano ka kaafi charcha tha, isliye mujhe wohi 'role'
milte the jismein gaana hota tha. achchha ghazal ho yaa koi achchha
geet ho, zyaadatar log hamein bulaate hi the ki Rajkumari ko bulaaiye
woh gaayengi. is tareeke se phir yeh 'playback' ka daur chalaa, kaafi
achchha raha aur log baDi izzat karte the, logon ko achchha lagne
lagaa. Mahal mein bhi maine gaaya.

film Mahal ke sangeet nirdeshak ka naam to aap jaante hi hain na? jee
haan, Khemchand Prakash.

------------------------------------------------------------
Song: ghabraake jo ham sar ko Takraaen to achchha ho (Mahal)
------------------------------------------------------------

AS: hmmm, aur uske alaawa?

RK: Suhag Raat, Neel Kamal. Neel Kamal mein Madhubala-ji theen, unke
liye maine gaaya, phir Suhag Raat mein Geeta Bali 'heroine' theen
unke liye gaaya. Gunah mein bhi wohi 'heroine' theen Geeta Bali, unke
liye gaata. is tareeke se phir Bawre Nain banee unki 'picture',
usmein Roshan-ji ka, marhoom Roshan ji ka 'music' tha. uske gaane bhi
kaafi 'popular' huye.

AS: na sirf us zamaane mein 'popular' huye balki Rajkumari-ji, aaj
bhi jab jab woh gaana bajtaa hai, Khaas taur pe "sun bairi balam sach
bol re ib kya hoga" to sach mein dil mein ek halchal si mach jaati
hai.

----------------------------------------------------------
Song: sun bairi balam sach bol re ib kya hoga (Bawre Nain)
----------------------------------------------------------

AS: ab ek chhoTa sa sawaal hai ki us zamaane mein jab aap
ne 'playback' gaana shuru kiya, agar aapko aetraaz na ho Rajkumari-
ji, to yeh bataaiye ki us zamaane mein vetan yaani ki muhaafza kitna
milaa karta tha ek gaane ke liye?

RK: jee us zamaane mein, main kya bataayun, 50 rupay se maine 'start'
kiya. ek 'song' ka ek gaane ka 50 rupay. phir uske baad dheere dheere
75 huya, 125 huye, 150 huya, is tareeke se woh paise baDhte gaye,
hote hote yahaan tak, 'last' mein maine Aasman mein ek gaana gaaya
tha jismein 1000 rupay mujhe mile, 1000 rupay maine liya tha.

film Aasman mein sangeet kiska tha aap jaante hain? O P Nayyar ka.

-----------------------------------------
Song: more nindiya churaaye gayo (Aasman)
-----------------------------------------

aur iske baad ek Khaas sawaal poochha tha maine Rajkumari-ji se us
puraane 'interview' mein, magar sawaal kya tha? uska jawaab kya diya
Rajkumari-ji ne, yeh aap sunenge is 'break' ke baad.

-------COMMERCIAL BREAK------

AS: yeh bataaiye itna achchha aap gaati raheen hain, itna sur hai
aapki aawaaz mein, yeh sangeet aap ne seekha kisse?

RK: anhonee baat hai, maine kisi se seekha naheen.

AS: achchha? to phir parivaar mein sangeet ki parampara rahi hogi?
sangeet ka shauk raha hoga?

RK: jee naheen! mere khaandaan mein kisi ko gaana bajaana naheen aata
tha. kisi ko sur ka kuchh bhi gyaan naheen tha. yeh to maine, bachpan
hi mein, mere ghar ke saamne Benaras mein 'cinema hall' tha, wahaan
main bhaag bhaag kar 'picture' dekhti thi aur gaati-waati thi,
naachti thi, khaas taur se chhoTe bachchon pe shauk paida hota hai,
aur ismein maine maar-waar bhi bahut khaaya hai. lekin mujhe jo lagan
thi woh aap logon ki duya se aur bhagwaan ki daya se poori huyi.

--------------------------------------------------------------
Song: jawaani mein jawaan nazron se nazren laD hi jaate hain (
----------------------------------------------------------------

RK: gaane mein yaani hamne ek maidaan jeet liya hai, aur 'stage'
vagerah mein bhi hamaare 'functions' hote hain jahaan pe mujhe lok-
geet, Bhojpuri Holi, Chaiti, aise jo hain main gaati hoon aur log
bahut khush hote hain.

AS: kisi ek Bhojpuri geet ki chhoTi si ek jhalak aap sunaayengi?

RK: (sings) "saawanva mein na jaibo nanadi...". aisi hi Holi bhi hai,
Chaiti bhi hai, aise hi peshkash kee aur 'filmi song' gaane ki bhi
farmaaish hoti hai, woh bhi gaati hoon. Mahal mein mere 4 gaane the.
aur chaaron gaane kaafi achchhe the aur logon ne kaafi pasand kiya,
do ab bhi yaad hai logon ko. aur abhi bhi kabhi kabhi woh
Mahal 'picture' 'release' hoti rehti hai. "main woh dulhan hoon raas
na aaya jise subah", isey Vijaylakshmi ke liye gaaya tha.

AS: bahut Khoobsoorat gaane the Rajkumari-ji, mera khayaal hai aage
baDhne se pehle woh gaana zaroor sun lenaa chaahiye.

----------------------------------------------------------
Song: main woh dulhan hoon raas na aaya jise subah (Mahal)
----------------------------------------------------------

AS: lekin Rajkumari-ji, ab yeh bataaiye ki itne saare achchhe gaane
gaane ke baad aap ne filmon mein gaana kab chhoDa aur kyun chhoDa?
aur aapki aakhri film, yaani ki 'playback singer' ki haisiyat se
aakhri film kaun si thi?

RK: aakhri, maine filmon ke liye gaana kab chhoDa, maine chhoDa
naheen, maine kuchh chhoDa naheen, waise logon ne bulaana band kar
diya. ab yeh to main naheen bataa paayungi ki kyun bulaana band kar
diya.

---------------------------------------------------------------
Song: Hari din to beeta shyaam huyi raat paar karaa de (Kitaab)
---------------------------------------------------------------

aur ek din sachmuch yun lagaa maano maayusi ke andheron mein ghiri
huyi us lambi kaali raat ka ant ho gaya ho. jaise niraasha ke
thapeDon mein gjiri us kashti ko kinaara mil gaya ho. Rajkumari-ji
sadaa ke liye shaant ho gayeen aur unki aawaaz amar ho gayi.

-------------------------------------------------------
Song: kajraari matwaari madbhari do akhiyaan (Naubahar)
-------------------------------------------------------

sureelee, sumadhur, suljhee huyi gaayika Rajkumari ki tarah sangeet
ki duniya ke kai sitaare ab Khud to bujh gaye hain lekin chhoD gaye
hain apni sunehri yaaden 'records' par, 'cassettes' mein, CDs mein,
aur 'radio-TV' ke un 'programme'-on mein jahaan hamaare sangeet
parampara ki qadar kee jaati hai, aur baheno aur bhaaiyon, aapka yeh
Sangeet Ke Sitaaron Ki Mehfil bhi aisa hi ek 'programme' hai.

THE END

Do listen to this fresh long interview of the famous actress of
yesteryears - Shyama in Ujaale Unki Yaadon Ke, every Sunday at 14:30 &
21:30 hrs.

Sujoy

Audio Courtesy: N. Sridhar

SANGEET KE SITAARON KI MEHFIL

AMEEN SAYANI'S PROGRAMME ON KANAN DEVI
--------------------------------------
**************************************

aur sangeet premeeyon, ab Sangeet Ke Sitaaron Ki Mehfil ke raaste ham
sab milkar chalne waale hain us sureele zamaane mein jab
main 'school' mein paDhaa karta tha aur aap mein se kai to shaayad
paida bhi naheen huye honge! magar us zamaane mein kai gaayikaaen
aisi theen jinke gaane aaj bhi agar suno to baDe hi meeThe lagte hain
jaise ki yeh...

----------------------------------------------------------------------
Song: dekhat hai ab baaten piya ki jal se bhare mere naina (Vidyapati)
----------------------------------------------------------------------

yeh gaayika keval sureelee hi naheen balki behad haseen bhi theen,
jee haan, matlab yeh ki yeh keval gaati hi naheen theen
balki 'screen' par nazar bhi aaya karti theen. yeh theen koyal si
aawaaz aur phoolon ki rangat waali 'singing star' Kanan Bala, jo
Kanan Devi ke naam se bhi mashoor theen. magar isse pele ki main
Kanan Devi ke geeton ka 'carava' shuru karoon, ek vinati hai aap se
baheno aur bhaaiyon, dekhiye ghar ke baDon, yaani daada daad, naana-
naani, maama maami, chaacha chaachi, sabko bulaa leejiye 'radio' ke
paas kyunki unko lagega ki beeta huya zamaana lauT aaya hai. yaani
Vidyapati aur Hospital aur Jawab jaisi puraani filmon ka zamaana.

--------------------------------------------
Song: duniya yeh duniya toofaan mail (Jawab)
--------------------------------------------

aap baheno aur bhaaiyon, chhoTon aur baDon, tayyaar hain? yeh shuru
ho rahi hai Kanan Bala yaani Kanan Devi ki sureelee kahaani. kaano
mein ras gholnewaali koyal, nainon ko prem ki dhoop chhaon pradaan
karnewaali roop sundari Kanan Devi, jinkaa chehra aur swar to filmon
se kai barson pehle ojhal ho gaya tha magar woh Khud is duniya ko
chhoDkar chali gayeen 1992 ko 17 July ke din.

---------------------------------------------------------------
Song: ae chaand chhup na jaana jab tak main geet gaayun (Jawab)
---------------------------------------------------------------

is madhur geet ke film ka naam kabhi mat bhooleeyega - Jawab. Kanan
Devi ki paidaaish sangeet se behad lagaav rakhnewaale parivaar mein
1916 mein huyi. nanhi si umar mein hi unhone sangeet se naata joDna
shuru kar diya. unke pitaa hi unke pehle guru the. lekin pitaa ke
maut ke baad gareebi aur kandhaari ke aalam mein unhe filmon mein
kaam DhoonDna paDaa. unki pehli film thi Joydev jo 1926 mein bani
thi. woh zamaana mook filmon, yaani 'silent films' ka tha aur film ke
mehanataane ke roop mein Kanan Bala ko mile the kitne rupay aap
jaante hain? sirf 5 rupay! 5 rupay din ke ya 5 rupay maheene ke
naheen, 5 rupay poori film ke. Kanan Bala ki pehli bolti film thi Jor
Bora, Bangaali film thi jo 1931-32 mein bani thi. us film ne unhe
thoDi si pehchaan to dee lekin log unhe asal mein jaane lage Shri XXX
se. aur unki Thos chaavi banee 1936 mein Debaki Bose ki mashoor film
Vidyapati se. Vidyapati mein gaaye unke gaano ne film premeeyon ke
dilon par jaadoo kar diya, Kanan Bala kaamyaabi ki choTee tak
pahuncheen, aaj bhi sangeet premeeyon ke dilon par Vidyapati ke geet
raaj kar rahe hain jaise "hamri nagariya mein" aur "Dole hriday ki
nayya" aur "ambua ki Daali". kya aawaaz thi unki, kya miThaas, kya
murkiyaan!

----------------------------------------------------------
Song: ambua ki Daali Daali jhoom rahi hai aali (Vidyapati)
----------------------------------------------------------

apne kareeb 40 varsh ki 'film career' mein Kanan Devi ne us waqt ke
lagbhag sabhi 'top heroes' ke saath kaam kiya jaise K L Saigal,
Pramathesh Baruah, Ashok Kumar, vagerah vagerah. betahaasha bikaa
karte the unke gaaye huye geeton ke 'records'. Kanan Devi ne sirf 8/9
Hindi filmon mein kaam kiya tha 1936 mein bani Khooni Kaun aur 37
mein Vidyapati, iske nirdeshak the Debaki Bose, 1937 mein Mukti
jiske 'director' the P C Baruah, 1938 mein Phani Mazumdar ki film
Street Singer, aur 1939 mein Hemchander ki 'direct' kee huyi film
Jawani Ki Reet. usi saal Debaki Bose ki film Sapera, aur 1940-41 mein
Abhinetri aur Lagan. in dono filmon ke nirdeshak the Nitin Bose aur
dono mein Kanan Bala ke 'hero' the K L Saigal. film Lagan ke geeton
ne kya dhoom machaaee thi un dino, aap mein se kaiyon ko ab tak yaad
hogaa zaroor.

---------------------------------------
Song: tum bina kal na aave mohe (Lagan)
---------------------------------------

film Lagan ka yeh gaana bahut mashoor to huya hi tha, is film ke liye
Kanan Bala ko 'Best Actress' ka 'award' bhi mila tha. aur uske baad
unki 'hit' filmon ki kataar lag gayi saahab! 'mythological,
historical' aur 'social' filmon mein unhone jamkar bhumikaaen
nibhaaeen, unki mahaan aawaaz bhi samaa baandhti rahi. New Theatres
ki film Mukti ka ek 'hit' geet sunwaata hoon aapko, leejiye suniye...

--------------------------------------
Song: saanvariya man bhaaya re (Mukti)
--------------------------------------

-----COMMERCIAL BREAK-----

baheno aur bhaaiyon, Sangeet Ke Sitaaron Ki Mehfil mein ham Kanan
Bala ke sundar sureele jeevan safar mein unki yaadon ke saath saath
chal rahe the. yeh safar ham phir jaari karte hain unke ek aur
behad 'hit' geet se. film thi Jawab.

---------------------------------------------
Song: tu haan kar jaa yaa naa kar jaa (Jawab)
---------------------------------------------

us zamaane mein, yaani 1935 aur 1940 ke aaspaas Kalkatte mein New
Theatres aur doosri companiyaan Hindi aur Bangla, dono hi bhaashaaon
mein filmen banaaya karti theen. Kanan Bala dono bhaashaaon mein
gaakar aur abhinay karke poore desh ki chaheetee kalaakaar ban
baiTheen. 1949 mein Kanan Bala ne Shrimati Productions ke naam se
apni 'film company' kholee aur usi saal Haridas Bhattacharjee se
unhone shaadi bhi kar lee. Shrimati Productions se unhone Sarat
Chandra Chattopadhyay ki mashoor upanyaason yaani ki 'novels' par
aadhaarit filmon ka nirmaan shuru kiya jinki 'direction' unke pati
karte rahe. 'producer' ke roop mein bhi Kanan Devi ne achchhi Khaasi
kaamyaabi haasil kee. aKhbaaron ne bhi unhe Khoob saraaha. unhe
kabhi 'glamour queen' kahaa to kabhi 'nightingale'.

-------------------------------------------------
Song: mohe man mein biThaana na chaaho (Hospital)
-------------------------------------------------

yeh geet Kanan Bala ki film Hospital ka tha. us dauraan unhone
Lucknow ke Ustad Allah Rakha se kuchh samay tak sangeet ki taalim
lee, lay aur taal Theek karne ke liye tablaa bhi seekha unse. 1937
mein banee Mukti hi woh film thi jismein Pankaj Mullick ke sangeet
nirdeshan mein unhone pehli baar Rabindra Sangeet par banee dhune
gaakar tahalka machaaya. aur usi film ne unhe Kanan Bala se Kanan
Devi banaa diya. aur tab tak unki aawaaz mein pukhtagi ka nikhaar bhi
aa chukaa tha.

------------------------------------------
Song: kaisa ujDaa chaman khushi ka (Mukti)
------------------------------------------

kuchh saal pehle apne kisi 'press interview' mein Kanan Devi ne kahaa
tha ki unke 'career' ne unke jeevan ko aur unke jeevan ne
unke 'career' ko kabhi nuksaan naheen pahunchaaya. unhone bataaya ki
jab unka beTa baDa ho raha tha tabhi unhone filmen chhoD dee aur ab
apne pote ki khilkhilaahaTon mein aur apni pooja-paaTh mein woh poori
tarah santushT hain. haan, yaadon ka ek lamba sa kaafila unke saath
zaroor chalta raha jo shuru bhi Kalkatte se hota hai aur khatam bhi
Kalkatte par. woh Kalkatte ki Tollygaunje ko, apni zameen ko kabhi
naheen chhoDna chaahengi. aur waaqai, us 'interview' ke baad bhi
Kanan Devi ne Bambai ke maayanagri ke moh mein apni zameen kabhi
naheen choDee. unhe Bambai ke 'producers' us zamaane mein bhi 5 lakh
tak dene ko tayyaar the lekin woh na maanee. Kanan Devi ko 1968 mein
Padmashree ki padvi milee aur 1976 mein unhe 'Outstanding
Contribution to Films' ke liye Dada Saheb Phalke Award pesh kiya gaya
jo 'senior' filmi hastion ko sarkaar ki taraf se diya jaata hai
aur 'film industry' ka sabse aham 'award' maana jaata hai.

------------------------------------------
Song: na jaane kya hai dil ka raaz (Mukti)
------------------------------------------

aur phir huya ek sunehre sureele daur ka ant. 1992 mein us abhinetri
aur har dil mein basnewaali gaayika ne apni miTTi mein, apne alkatte
mein apna shareer tyaag diya. lekin Kanan Devi ki filmen aur baawre
koyaliya ki sureelee kook jaise unke geet aanewaali peeDhiyon tak
goonja karenge, fazaaon mein mahka karenge. jee haan, Kanan Devi to
chalee gayeen, lekin unki preet hamesha zinda rahegi.

--------------------------------------------------
Song: preetam se preet nibhaayungi (Street Singer)
--------------------------------------------------

to yeh theen Kanan Bala. kaano ke liye preet ka amrit aur aankhon ke
liye phoolon ki taazgee. baheno aur bhaaiyon, mere paas Kanan Bala ka
koi 'interview' naheen tha aur na hi maine Kanan Bala ki filmen hi
dekhee hain, phir bhi unki aawaaz ke sahaare Sangeet Ke Sitaaron Ki
Mehfil mein unki sangeet kahaani pesh karte huye puraani meeThee
mohabbaten jaag uThi mere dil mein aur aapke dil mein bhi yahi huya
hoga, hai naa? haan! aur doston ab ham ek haseen karwaT lekar bahut
baras pehle beete huye kal ko chhoDkar phir lauTnewaale
hain 'playback singing' ke sunehre daur mein. magar wahaan poori
tarah pahunchne se pehle agar ham Kanan Devi ka ek aur geet sun len
to bahut achchha rahega kyunki unki yaad goonjti hi rahe hamaare dil
mein, aaj bhi, kal bhi, hamesha...

--------------------------------------
Song: Dole hriday ki nayya (Vidyapati)
--------------------------------------

THE END

Hi,

Welcome to this group! Please share your
experiences/suggestions etc in this forum.

Sujoy


--- niralidesai2000 <niralidesai2000@...> wrote:

> hi.. i am nirali. i am also radio listener. and
> always being with
> radio set. i liked this mail very much because i was
> not able to
> listen this programme. thank you for this great
> information.
>
>   --- In vividhbharati@...,
> "soojoi_india"
> <soojoi_india@...> wrote:
> >
> > Audio Courtesy: N. Ramaswamy
> > ----------------------------
> >
> > aaj ki Jaimala Gold mein ham aapko sunwaa rahe
> hain jaanemaane
> > shaayar aur geetkaar Kaifi Azmi dwaara prastut
> kaaryakram. Kaifi
> > saahab ka janam 1925 mein Azamgarh mein huya tha.
> pragatisheel
> lekhak
> > sangh ke aatmarishTh aur samarpit sadasyon mein se
> ek the. Kaifi
> > saahab kli rachnaaon mein mohabbat, maanviya
> moolyon se yukt
> > samatavaadi samaaj ka swar sunaaee paDta hai.
> Kaifi saahab ne
> filmon
> > mein na keval geet likhe balki unki kahaaniyaan
> aur samvaad bhi
> > likhe. padya mein likhee unki ek hi film hai Heer
> Ranjha. unka
> likha
> > mashoor naaTak hai Aakhri Shamaa. 1943 mein jab
> Mumbai
> > mein 'Communist Party' ka daftar shuru huya tabhi
> aagaman huya tha
> > Kaifi Azmi ka Mumbai mein. 'Party' ke we sakriya
> kaaryakartaaon
> mein
> > se the. rozee roTee ka koi niyamit zariyaa bhi
> naheen tha. unhi
> dino
> > woh ek Urdu aKhbaar Mazdoor Mohalla ka sampaadan
> bhi kiya karte
> the.
> > usi baras unki rachnaaon ka pehla sangraha
> prakaashit huya jiska
> > shirshak tha Jhankaar. unki pehli 'film script'
> thi Lala Rukh.
> Kaifi
> > saahab ko apni utkrishT rachnaaon ke liye anek
> puraskaaron se
> > sammaanit kiya gaya. in puraskaaron mein kuchh
> ullekhniya hain
> Soviet
> > Land Nehru puraskaar, Sahitya Academy puraskaar,
> Lotus Award,
> > Maharashtra shaasan dwaara pradatt gaurav aur Sant
> Gyaneshwar
> > puraskaar, Uttar Pradesh shaasan dwaara pradatt
> Yuva Bharati aur
> > Vishva Bharati Vishvavidyalay dwaara pradatt David
> K Manak upaadhi.
> > Kaifi saahab ko Padmashree se bhi sammaanit kiya
> gaya tha. unki
> filmi
> > rachnaaon mein saahitya ka saundarya hi naheen,
> gehra maanaviya
> bodh
> > aur sarokaar nazar aata hai. unki kaaljayee
> rachnaaen ab saahitya
> aur
> > film jaise kalaamaadhyam ki amoolya dharohar ban
> chukee hai. to
> > aayiye aaj ki Jaimala Gold mein ham aapko sunwaa
> rahe hain
> jaanemaane
> > shaayar aur geetkaar Kaifi Azmi dwaara prastut
> kaaryakram jiski
> > recording san 1988 mein kee gayi.
> >
> > KAIFI AZMI (1988):
> >
> > pyaare fauji bhaaiyon, poore mulk ki taraf se main
> aapka
> shukraguzaar
> > hoon. aapka shukriya isliye ki ham bhaarat mein
> koi bhi tyohaar
> sirf
> > isliye manaa sakte hain aur apne gharon mein sirf
> isliye chaadar
> > taanke so sakte hain ki mulk ki sarhadon par aap
> jaagte rehte hain.
> > hamaari aankhon mein aap hi ki neenden hain. is
> Khushi ke mauke par
> > maine aap sabke liye filmi geeton ki ek Jaimala
> goonthee hai,
> chaahta
> > hoon ki aap usey qubool karen aur hamaari mohabbat
> ki nishaani
> > samajhke usko apne galon mein Daal len. main aur
> mere hamkalam
> saathi
> > filmon ke liye gaane likhte hain, woh aise sipaahi
> hain jinkoe har
> > hathyaar chheen liye jaate hain, haath baandh
> deeye jaate hain,
> phir
> > unko maidaan mein utaara jaata hai. in
> jakaDbandion mein agar kabhi
> > koi aisa geet ho jaaye jismein pherian bhi ho aur
> koi paigaam bhi
> to
> > usko dohraate huye kisi naghmanigaar ko sharm aane
> ki zaroorat
> > naheen. is Jaimala mein pehla geet maine aisa hi
> goonthaa hai. bol
> > mere hain, dhun S D Burman saahab ki, aur aawaaz
> Manna Dey ki hai.
> > geet suniye, "na tel aur na baati na kaaboo hawaa
> par, deeye kyun
> > jalaaye chalaa jaa raha hai?"
> >
> > Song: na tel aur na baati na kaaboo hawaa par (Ek
> Ke Baad Ek)
> >
> > aap sochte honge ki maine sabse pehle aapko yahi
> gaana kyun
> sunaaya!
> > to iski vajah bhi sun leejiye. mujhe maaloom hai
> ki aap mein se
> bahut
> > se bhaaiyon ne chuTTi ki darkhwaast de rakhee hai
> aur chuTTi milte
> hi
> > aap ghar jaayenge. Khuda kare ghar mein pahunch ke
> bhi yeh gaana
> > aapke kaano mein goonjta rahe aur aap yeh na
> bhoolen ki mulk ki
> > aabaadi kitni tezee se baDh rahi hai ki hamaari
> itni vishaal dharti
> > chhoTi hoti jaa rahi hai. mujhse aksar yeh poochha
> gaya ki jab roTi
> > kamaane ke aur bhi zariye hain to aapne yeh peshaa
> kyun iKhtiyaar
> > kiya? koi aur kaam kar lete! main is sawaal ka
> hamesha ek hi jawaab
> > detaa hoon ki aajkal hamaare mulk mein sirf film
> ki sanat hi ek
> aisi
> > sanat hai jahaan pe kisi se yeh naheen poochha
> jaata ki tum Hindu
> ho
> > ya Musalmaan, Communist ho ya Congress-ee, Urdu ke
> shaayar ho ya
> > Hindi ke kavi, aur yeh poochha isliye naheen jaata
> ke filmwaalon ka
> > aqeeda sabko maaloom hai, jiski wajaahat mere dost
> aur saathi Sahir
> > Ludhianvi ne apne is geet mein kee hai.
> >
> > Song: tu hindu banega na musalmaan banega (Dhool
> Ka Phool)
> >
> > aap Theek soch rahe hain, aise gaano ki sirf film
> ko naheen poore
> > mulk ko zaroorat hai. woh saahab jo aapke saath
> baiThe the, uThke
> > wahaan us chaTTaan ke upar kyun jaa baiThe?
> shaayad unhe woh din
> yaad
> > aa gaya jab woh chuTTiyaan beetaakar 'duty' par
> waapas aa rahe the.
> > agar aisa hai to woh man hi man mein Chetan Anand
> ki mashoor film
> > Haqeeqat ka ek gaana bhi man hi man gunguna rahe
> honge jiski dhun
> > Madan Mohan ne banaaee thi aur likhaa maine the.
> >
> > Song: main yeh sochkar uske dar se uThaa tha
> (Haqeeqat)
> >
> > fauji bhaaiyon, agar mera andaazaa durust hai to
> aaj raat ko woh so
> > bhi na sakenge. aur woh Muzaffar Ali ki film Gaman
> ka ek gaana
> gaate
> > gaate subah kar denge, jiski dhun marhoom Jaidev
> ki banaaee huyi
> hai.
> > zabaan par mubaarak Khudaai yeh kiska naam aaya,
> ki mere nutf ne
> bose
> > teri zabaan ke liye. pichhle chand barson mein
> filmi duniya ke
> bahut
> > baDe baDe nuksaan huye. aise nuksaan jiski
> bharpaaee mujhe jaldi
> hote
> > dikhaaee naheen deti. usmein marhoom Jaidev ka
> dhyaant
=== message truncated ===




________________________________________________________________________________\
____
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It is indeed a very good news that Pyarelel is returning with the
banner of Laxmikant Pyarelal. They have really done great job. But
Subhash Ghai ditched them and opted Nadim Shravan , Anu Malik and A.R.
Rehman.

Clip: bhang ka rang jamaa ho chakaachak (Don)

doston, 80 aur 90 ka dashak jis geetkaar ke geeon par jhooma tha,
wohi geetkaar Anjaan hain hamaare Aaj Ke Fankaar!

Song: khaaike paan banaaraswaala (Don)

Ganga kinaare isi Banaaras shahar mein 28 October 1930 ko janam huya
tha Lalji Pandey ka.

Anjaan speaks: na poochh mera kaun hai watan, mera yeh apna vishvaas
hai aur yahi bhaavna agar har kisi ke dil mein ghar kar legi to
dharti par swarg utar aayegi, aur iske liye ek hi raah hai, pyaar ki
raah!

Clip: chhookar mere man ko kiya tune kya ishaara (Yarana)

Anjaan Banaaras mein kavi sammelanon aur mushaayron mein jaaya karte
the. unhe Hindi se bahut lagaav tha aur apni rachnaaon mein kam Urdu
ka prayog karte the, lekin yeh baat bhi sach hai ki Banaaras mein woh
mushaayron ki shaan the. unki pakaD Urdu par bhi kam mazboot naheen
thi.

Clip: aapki nigaah ne kahaa to kuchh zaroor hai (Baharen Phir Bhi
Aayengi)

Anjaan ne apni filmi 'career' shuru kee san 1953 mein banee Prem Nath
ki film Prisoners of Golconda mein geet likhkar. phir uske baad
kai 'low-budget' filmon mein geet likhe. inmein film Lambe Haath ka
gaana lokapriya huya tha.

Anjaan speaks: "pyaar ki raah dikha duniya ko, roke jo nafrat ki
aandhi, tumme hi koi Gautam hogaa koi hogaa Gandhi", yeh gaana suniye
jise G S Kohli ne swarbaddha kiya hai.

Clip: pyaar ki raah dikha duniya ko (Lambe Haath)

jis film ke geeton se Anjaan sahee maaine mein jaane gaye, woh film
thi Godaan aur is film ke sangeetkaar the Pt Ravi Shankar.

Clip: jaane kaahe jiya mora Dole re (Godaan)

phir uske baad 60 ke dashak mein unhone choTee ke sangeetkaaron ke
saath kaam kiya, inmein shaamil hain O P Nayyar ke saath Bahaaren
Phir Bhi Aayengi aur Bandhan, Kalyanji Anandji ke saath Kab Kyun
Kahaan, Shankar Jaikishan ke saath Umang aur Riwaaz, Ravi ke saath
Vandana, aur R D Burman ke saath Hungama.

Anjaan speaks: R D Burman ke sangeet mein taal ke uchhaal ka kamaal
bhi hai aur dardeele geeton mein miThaas bhi. leejiye Lata aur Mukesh
ki aawaazon mein film Hungama ka ek geet suniye.

Clip: sooraj se jo kiran ka naata (Hungama)

safalta ki charam shikhar tak pahunchne mein Anjaan ko kuchh saal aur
intezaar karna paDaa. jis geet ne unhe shohrat ki bulandion par
pahunchaaya woh geet tha film Do Anjaane ka jo banee thi san 1976
mein. Kalyanji Anandji ka sangeet tha aur film mein naayak the
Amitabh Bachchan. aur shuru ho gaya Anjaan, 'superstar' Amitabh
Bachchan aur 'superhit' geeton ka silsila. Anjaan ke laajawaab geeton
ko parde par Amitabh Bachchan ne amar banaa diya.

Clip: jidhar dekhoon teri tasveer nazar aati hai (Mahaan)
Clip: pyar mein dil pe maar de golee (Mahaan)
Clip: ke pag ghungroo Meera naachee thi (Namak Halaal)
Clip: tere jaisa yaar kahaan (Yarana)
Clip: intehaan ho gayi intezaar ki (Sharaabi)
Clip: jiska mujhe tha intezaar (Don)

doston, yeh thi jhalak un geeton ki jinke alfaaz the Anjaan ke aur
andaaz tha Amitabh Bachchan ka. 80 aur 90 ke dashakon mein Anjaan ne
kai safal aur manjhe huye sangeetkaaron ke liye gaane likhe jaise Anu
Malik, Laxmikant Pyarelal, Shivu Mitra, B Subhash aur Bappi Lahiri ke
dhuno mein bandhkar Anjaan ke geeton ne safaltaa ke naye aayaam
chhuye.

Clip: I am a Disco Dancer (Disco Dancer)

filmon ki vyaavsaayikta ko dhyaan mein rakhkar Hindi aur Urdu ka
prayog kiya geetkaar Anjaan ne apne geeton mein. 20 saalon tak Hindi
aur Urdu mein likhte rehne ke baawjood bhi unhone apni maatribhaasha
Bhojpuri ke rang ko apni kalam se utarne naheen diya. film Balam
Pardesia ka yeh gaana unke sabse baDe 'hits' mein shaamil kiya jaata
hai.

Song: gorki patarki re maare gulelwa jiyara uDi uDi jaaye (Balam
Pardesia)

90 ke dashak ke aarambh mein Anjaan ki sehat girne lagi lekin unhone
geeton mein bolon ko girne naheen diya. Eeshwar, Zindagi Ek Jua,
Shola Aur Shabnam, Dalaal, aur Aaj Ka Arjun jaisi filmon ke kaamyaab
gaane unhi ke kalam se nikle the.

Clip: gori hain kalaaiyaan (Aaj Ka Arjun)

13 Sitambar 1997 ko geetkaar Anjaan ka kalam hamesha ke liye Khaamosh
ho gaya, lekin kalam aur geeton ka silsilaajaari hai unhi ke suputra
Sameer ke zariye jo is daur ke jaane-maane aur behad kaamyaab
geetkaar hain. Anjaan ke kavitaaon ka ekmaatra sankalan "Ganga taT ka
Banjaara" prakaashit kiya gaya jiska vimochan kiya tha Khud Amitabh
Bachchan ne. wohi geetkaar Anjaan jinke geeton mein Gangajal ki
ThanDak bhi...

Clip: yaad aa raha hai tera pyaar (Disco Dancer)

wohi geetkaar Anjaan jinke geeton mein Ganga ke lehron ki khanak
thi...

Clip: pyaar ke dhaage toDe naheen TooTe (Ghungroo)

wohi geetkaar Anjaan jinke geeton mein Gangajal ki sheetalta thi...

Clip: aage sukh to peechhe dukh hai (Eeshwar)

wohi geetkaar Anjaan jinke geeton mein Ganga ki mamta thi...

Clip: maano to main Ganga maa hoon (Ganga Ki Saugandh)

wohi geetkaar Anjaan jinki taKhallus anjaan se jaanemaane huye. wohi
geetkaar Anjaan the Vividh Bharati par Aaj Ke Fankaar!

THE END

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Do you think that the absence of VIVIDH BHARATI in the metro cities on the FM
band adversely affecting its popularity in these big cities?

   o Yes, VB on FM in metros would have drawn the young generation much more
closer
   o No, I dont think so
   o No Idea


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Thanks!

Enter your vote today!  A new poll has been created for the
vividhbharati group:

Has AAJ KE FANKAAR programme lost its charm since it became a live programme?
(Earlier it used to be a recorded programme with good editing and
post-production.)

   o Yes, the standard of AKF has degraded
   o No, I dont think so
   o I do not listen to AKF


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Thanks!

aap sabhi ko Rajendra Tripathi ka namaskaar. doston, Aaj Ke Fankaar
hain mashoor sangeetkaar A R Rahman.

Song: barso re meghaa meghaa (Guru)

Mani Ratnam ki film Guru ka yeh gaana to aap ne sunaa lekin aaj ke
fankaar hain A R Rahman. Mani Ratnam ka zikr hamne isliye kiya kyunki
A R Rahman ko film sangeet ki or pryotsaahit unhone hi kiya tha.
shuru shuru mein A R Rahman vigyapan ki duniya mein aaye aur agle
kuchh saalon mein 300 se bhi zyada 'jingles' ka nirmaan kiya aur
Tamil vigyapan duniya mein dhoom machaa dee. ek 'award ceremony' mein
A R Rahman ki mulaaqaat ho gayi dakshin ke jaane-maane filmkaar Mani
Ratnam se jinhone unke 'jingles' sune huye the. Rahman ne apni kuchh
taaza dhune unhe sunaayi aur 1992 mein aanewaali film Roja ke liye
Maniratnam ne unhe bataur sangeetkaar 'sign' karwa liya. Roja film ke
gaane to aapko yaad hain na? filhaal jo geet ham sunwaa rahe hain woh
hai film Rang De Basanti ka.

Song: mohe mohe tu rang de basanti yaara (Rang De Basanti)

rang de basanti ho yaa koi aur parv, jab bhi hamaari miTTi ki saundhi
saundhi khushboo bas jaati hai hamaari zindagi mein, aise mein A R
Rahman ka naam sabse pehle yaad aata hai kyunki unke sangeet mein hai
miTTi ki wohi Khushboo. sangeet unko parivesh mein hi milaa hai.

Song: tumhaari adaaon pe main vaari vaari (Mangal Pandey - The Rising)

bhai vaari vaari jaana kisi baat ko, abhinandit karne ki baat ko
laagoo karta hai. A R Rahman ke sangeet ke prati shubhkaamnaa karna
bhi un par vaari vaari jaana hai kyunki abhi abhi ham parivesh ki
baat kar rahe the. A R Rahman ko unke pitaa se bhi shikshaa milee jo
ki Khud ek behatareen 'musician' aur 'arranger' the. aur yahi
behatareen shikshaa saaf nazar aati hai jab ham A R Rahman ke rache
geeton ko sunte hain. is misaal ko suniye to aap bhi mehsoos karenge.

Song: saanvariya saanvariya (Swades)

chaahe koi maane na maane film sangeet ke jaannewaale aur
chaahnewaalon ko yeh maaloom hai ki A R Rahman ke sangeet ne dil ki
dhaDkanon aur gehraaee ko chhua hai. desh bhakti ka gaana ho ya koi
aur gaana, har kism ke gaane poori 'perfection' ke saath banaate hain
Rahman.un par yeh aksar aarop lagta hai ki woh paashchaatya sangeet
ka bahut zyaada sahaara lete hain lekin aisi baat naheen hai. 'film
situation' ke mutaabik woh dhun banaate hain aur jab bhi unhe aisa
koi mauka milta hai to woh shastriya sangeet aur lok sangeet ka bhi
baaKhoobi istemaal karte hain. jaise Amitabh Bachchan ko 'one man
industry' kahaa jaata hai, waise hi A R Rahman ko tamaam 'musicians'
ka sangam maana jaata hai. 'synthesizer' ke sakushal istemaal se woh
alag alag kism ke vaadya yantron ki aawazen tayyaar karte hain, ek
misaal pesh hai...

Song: yeh rishta kya kehlaata hai (Meenaxi)

sangeetkaar ke saath sunnewaalon ka jo rishtaa hota hai woh hai
mohabbat ka rishta, is rishte ko koi naam na hi den to achchha hai. A
R Rahman ka sangeet ek prayogshaala hai, prayogshaala yaani
ki 'laboratory', Bell Instruments ki 'laboratory' ki tarah. har din
kuchh naya sochnewaale, har naye film mein kuchh naya karne waale A R
Rahman!

Song: nach le o yaara nach le (Lakeer)

aap chaahen na chaahen, A R Rahman ke geeton par dil machalne lagta
hai, pair thirakne lagti hai. unke gaane sunwaane khatam ho na ho
lekin yeh 'programme' zaroor khatam ho jaayega. isliye unke tamaam
geeton mein se woh geet aapko sunwaate hain jo unhe bhi bahut pasand
hai aur unke behatareen gaano mein se ek hai.

Song: Radha kaise na jale (Lagaan)

bhai A R Rahman ko sunkar koi jale to jale, lekin unke chaahnewaalon
ki sankhya bhi bahut hai. ham yahi kaamna karte hain ki yeh sankhya
din duguni raat chauguni baDhti rahe aur woh hamein aise hi achchhe
gaane dete rahen. to yeh tha sangeetkaar A R ahman par kendrit Aaj Ke
Fankaar kaaryakram. ab deejiye Rajendra Tripathi ko ijaazat,
namaskaar!

THE END

This article appeared in the HT supplement HT Cafe, 22nd January.
The interviewer cum writer

can be contacted thru this mail address:
rachana.dubey@...

The article is as follows:

---------------------------------------------------------------------
-----------------------

---------------------------------

'I've cleaned up my act'



No Laxmikant, no cry. After a career lull and a drinking problem,
Pyarelal Sharma returns to

music beat.. interviewed by Rachana Dubey.


He lives in an apartment near Mount Mary Church, Bandra, with his
wife, son and

daughter-in-law. The 66-year old music legend offers evening prayers
at a small temple in

his house. Over a cup of chai and cool breeze, the latter half of
Laxmikant-Pyarelal

unwinds:

Interviewer: I believe you're back to work.

Pyarelal: I'm composing the music for a couple of films. I have a
project with Subash Ghai.

And I've just completed a song for Farah Khan's Om Shanti Om with
Vishal Shekhar. She wanted

a number in the 70s style.

I'm writing a book a book of quartets, which will be published by
Smith publishers, London.

They got in touch with me a year ago. There's also a concert of
Laxmikant Pyarelal songs in

London, in October this year. I will be there later this month to
conduct music workshops.
I'm also working on an album with top singers for Mauj.com. I'm
doing as much as I should at

this age. And please, its not for money's sake.

Interviewer: In hindsight, weren't Laxmikant Pyarelal sidelined a
little before Laxmikant

passed away 10 years ago?

Pyarelal: Politics is a part of showbusiness, but we never went
through it. We were always

strong and uncompromising. I'm not badtameez but I'm not scared of
anyone either. Once

Naushad saab said other that other composers work in twos but he
works alone. I told him he

had no right to say that, because others didn't have assistants...
he had six assistants!

Also, we worked with the highest number of producers. Every one else
has worked for certain

camps.

Interviewer: What happened towards the end?

Pyarelal: Everyone faces a lull. Towards the end in 1995, we had 19
releases. Quality

suffered. Then, after Laxmiji went into coma and died, I decided not
to work for a few

years. Now I've cleaned up my act. I'm trying to adjust to the
changing music business.

Interviewer: How did Laxmikant's death affect you?

Pyarelal: I didn't let his death affect me. I didn't cry even once
when he died. That wasn't

because I didn't love him. He was my dearest and closest pal. But I
never felt that he's

gone. I wasn't in town when he died. I've moved on.

Interviwer: Why didn't you go solo?

Pyarelal: Today, I'm working alone, but in the credits it will be
Laxmikant Pyarelal.

Interviewer: How come did Rahul Dev Burman become a cult and L-P
didn't, despite outstanding

music?

Pyarelal: Pancham became a composer before we did. Laxmiji and I
assisted Pancham in Bhoot

Bangla. We also assisted Naushad saab. Pancham was a cult then, is a
cult today.

But we never saw each other as rivals. Once we landed up using the
James Bond tune for our

films simultaneously. He consulted me, he removed the tune from his
compositions. We used it

in Farz.

Interviewer: Are you in touch with Laxmikant's family?

Pyarelal: Yes, they live where they always did in Juhu. It was a
bungalow earlier. But Jaya

bhabhi was missing him so much... she sold it to a builder. There's
a building on the same

plot now. She has two flats there. Laxmiji's children meet me often.

Interviewer: How would you relate to filmmakers today?

Pyarelal: I don't call up producers to ask for work.. or say when
are we starting the

project? I've never done that. Subhash(Ghai) approached me with his
film. So did Farah. The

overall importance of music composers has dropped.
Earlier, music release functions were never held without the music
director. Today, it's

only the hero, heroine and the producers who represent the music.

Interviewer: Apparently you had a drinking problem?

Pyarelal: Yes. I would love drinking. Rajji(Raj Kapoor) would always
make good company.

Subhash Ghai, Shankar Jaikishen would also come around. We would
drink at parties..at home

whenever we felt like. But in 2000, I met with an accident. I was in
bed for months. I got

fed up of drinking and I quit.

From then, I've reduced my intake of non-vegetarian food and sweets.
I control my diet

completely. I'm an early riser today. I give time to music.(Laughs)
Some people still think

that I drink. After quitting. I feel healthier and better.

Interviewer: Wouldn't it be better to take it easy?

Pyarelal: I'm not retiring so soon. Greta Garbo's boyfriend died at
97, after a concert. And

he had plans for the next two years in his diary. I want to do
something like that. I don't

say that I want to live too long, but I want to work, till I die.

Interviewer: What was your method of working?

Pyarelal: Laxmiji and I sat in the music room in his house every
evening after 6. He would

sit in one corner. After a while, we'd discuss and debate over
compositions, arrangements

and singers. Even today when I work, I feel he's here. We didn't
talk when we worked.

Interviewer: Weren't L-P accused of taking notes from Raj Kapoor?

Pyarelal: Yes, we were accused of taking notes and tunes from Rajji.
The truth is he never

gave us one tune or note. He would have sittings with us like every
filmmaker does. We

composed the tunes according to his briefs. But we never took notes
and tunes from him,

neither did he give us any.

Interviewer: How do you look back at your problem with Mohammed Rafi?

Pyarelal: Who told you that? We were such good friends with
everyone. If Mohammed bhai were

alive today, he would be sitting here, with his head held low. You
would ask him four

questions and he'd answer one.

Once, we were composing the song Vada tera vada. We called Kishore
for it and he recommended

Mohammed bhai to us. Later, after long debates, he agreed to sing it
for us. This is how

everyone was with us. There was never any problem.

Interviewer: Which would you say is your best composition?

Pyarelal: Ek Pyar Ka Nagma Hai.(Sits on the piano and plays) When we
composed the song, we

didn't know it would become the song that describe our lives with
each other.
Interviewer: Whom do you miss the most?

Pyarelal: I miss Laxmiji. Hum to Ram milaye jodi the. He was three
years older than me. He

was my friend of 49 years. Meri Jaya bhabhi se kabhi nahi bani. But
he would always stand by

me. I miss my friend. I am happy, but I would have been happier in
his company. Still...

life has just begun.

SANGEET KE SITAARON KI MEHFIL

AMEEN SAYANI'S PROGRAMME ON SHYAM SUNDAR
----------------------------------------
****************************************


baheno aur bhaaiyon, aap ke is dost Ameen Sayani ko aap ke 'e-mail'
bhi milte hain, aur kabhi kabhi Khat aur 'telephone' bhi, jinke
zariye aap ke pyar ka amrit jo hai woh aap ke is Sangeet Ke Sitaaron
Ki Mehfil tak pahunchta rehta hai. lekin pichhle dino ek Khaas baat
mujhe jaanne ko mili saahab. Dilli shahar mein ek devi-ji rehti hain,
jinke liye hamaari har mehfil ka intezaar bahut hi Khaas matlab
rakhta hai.

Clip: baiThi hoon teri yaad ka lekar ke sahaara (Gaon Ki Gori)

aayiye, us deviji ki baat main aapko zara 'detail' mein samjhaayun
baheno aur bhaaiyon! kuchh arsaa pehle Dilli mein rehnewaale ek pati-
patni Bambai aaye aur mujhse mile aur unhone mujhe ek aisi baat
bataaee saahab ki main dang reh gaya. unhone mujhe yeh bataaya ki us
jugal joDee ki jo patni-ji hain woh bahut arse tak bahut beemaar rahi
theen, wazan ghaTta jaa raha tha, tabeeyat bigaDti jaa rahi thi,
saKht 'depression' ka daura paDaa tha unke dimag par, ke unhone
hamaara aur aapka yeh 'programme' Sangeet Ke Sitaaron Ki Mehfil sunna
shuru kiya aur dheere dheere unka man bahalne lagaa. unki ghabraahaT
aur jhunjhlaahaT jo thi woh door hone lagi aur unki tabeeyat
sambhalne lagi. aur aaKhir kuchh hi maheeno mein woh kareeb kareeb
bilkul Theek ho gayeen. to doston, dekha aapne, yeh asar hai un dhuno
mein, un geeton ke shabdon mein, un bolti gaati aawaazon mein jinse
yeh mehfil sanvra karti hai. har mehfil aati hai aapki umangon ke
saath aur jaati hai aap ka dil lekar.

Clip: saajan ki galiyaan chhoD chale (Bazar)

ha..haah, mujhe yakeen hai, baheno aur bhaaiyon, ke film Bazar aur
usse pehle Gaon Ki Gori ke geeton ke 'hit' geeton ke mukhDe sunkar
sangeet ke rasiya do tarah se taDpe honge. ek, taDap to hogi Khushi
ki ya arey, aaj Ameen bhai sangeetkaar Shyam Sundar ka 'programme'
karnewaale hain kya! aur unki doosri taDap jhunjhlaahaT ki taDap
hogi, ki oh ho ho... bhai Bazar aur Gaon Ki Gori ke geet bajaaye aur
bas mukhDe bajaaye, aisa kyun? arey bhai, aap bilkul fikar mat
keejiye, aapka taDapna bekaar naheen jaayega, yeh dono geet aage
chalkar aaj poore bajenge hi bajenge. aur haan, aap ne bilkul Theek
pehchaana baheno aur bhaaiyon, aaj ke mehfil ke sitaare mahaan
sangeetkaar Shyam Sundar hi hain. 'romantic' dhuno ke janamdaata,
saanvli salauni tarzon ke rachaitaa, Shyam Sundar. bhai wohi Shyam
Sundar jinke 'assistant' bankar kaafi arsaa unke kareeb rahe aage
chalkar Khud laajawaab tarzen banaanewaale mahaan sangeetkaar Madan
Mohan. wohi Shyam Sundar, jinkaa naam aate hi na jaane kitne jaane
pehchaane sangeetkaar baDe aadar se apne haath uThaakar apne kaano ko
chhoo lete hain aur sar hilaakar kehte hain ki 'aa ha ha, kyun sundar
sangeet rachaa karte the Shyam Sundar-ji'.

Song: ek bewafa ki yaad ne taDpaake maar Daala (Char Din)

yeh geet film Char Din ka tha, Suraiyya ki aawaaz pehchaan lee na
aapne? baheno aur bhaaiyon, sangeet ke puraane aashiqaana zamaane ke
sangeetkaar Shyam Sundar ke bas gaane hi aaj ham sunwaa rahe hain
Sangeet Ke Sitaaron Ki Mehfil par, kyunki woh bhi sangeet ke un gine-
chune sitaaron mein se hain jinka mere paas koi 'interview' naheen
hai. isliye main kuchh halki si jhalken unke sangeet safar ki pesh
karoonga. Shyam Sundar-ji ka poora naam tha S S Gawa. aur Shyam
Sundar-ji apne zamaane ke baDe 'senior' aur baDe guni 'music
director' Ghulam Haider se baDe prabhaavit the jo unhi ki tarah
Lahore mein base huye the. zaahir hai, bahut pyaara tha unhe Lahore
shahar. aur shaayad isiliye jab san 1949 mein film mili jiskaa naam
hi tha Lahore, to Shyam Sundar ne uski tarzon par apni saari sur
shraddha jo thi nyochhaavar kar dee.

Song: bahaaren phir bhi aayengi (Lahore)

jin sangeet premion ko puraani filme dekhne ka shauk hai,
chaahe 'repeat release' cinema ghar mein ya TV mein ya 'video' par,
unko yaad hogaa ki film Lahore ki 'heroine' theen Nargis, aur 'hero'
kaun the? Karan Diwan. maine woh film, baheno aur bhaiyon, naheen
dekhee thi magar main Nargis ji ko bahut achchhi tarah jaanta tha aur
Karan Diwan saahab se bhi main do-teen baar muil chukaa tha. baDe
achchhe tabeeyat ke insaan the woh. aur unka galaa bhi kaafi sureela
tha saahab. film Lahore mein unka Lata ke saath gaaya ek 'duet' tha,
woh geet bhi itna chala tha itna chala tha saahab ki kya arz karoon!

Song: diya hamaare pyar ke yunhi jawaan rahe (Lahore)

-----COMMERCIAL BREAK------

achchha Sangeet Ke Sitaaron Ki Mehfil ke doston, ab ek Khaas sawaal
aap se poochhta hoon. kya aap jaante hain ki Shyam Sundar hi the
woh 'musc director' jinhone Mohd Rafi ko Punjabi filmon mein sabse
pehle 'introduce' kiya tha. jee haan, Mohd Rafi ki aawaaz pehli baar
jis Punjabi film mein sunaaee dee woh thi 1942 ki film Gul Baloch.
uske baad to Shyam Sundar ke nirdeshan mein Rafi saahab ne kai Hindi
filmon mein gaaya, yaani Lahore mein bhi, Bambai mein bhi. jaise ki
film Alif Laila mein Lata ke saath gaaya huya yeh yaadgaar 'duet'.

Song: kya raat suhaani hai (Alif Laila)

achchha, aap mein se jo bahen bhai zara baDi umar ke hain na, unko
yaad hoga ki jis tarah shuru shuru mein Lata ne Noorjehan ko apna
aadarsh maankar filmi gaano ki duniya mein kadam rakha tha, aur jaise
kai gaayakon ne K L Saigal se preraNa paayi thi, usi tarah Mohd Rafi
bhi jab filmon mein gaane lage the na to unke saamne tha unse pehle
aaye huye ek aur baDe hi sureele gaayak ka naam aur kaam. woh gaayak
the G M Durrani. baheno aur bhaaiyon, G M Durrani saahab
ka 'interview' bhi aap hamaare is kaaryakram mein sun chuke hain. san
43 mein Shyam Sundar ki ek film aayi thi Nai Kahani, jismein G M
Durrani saahab ka ek baDaa hi pyaara geet tha ek kamseen aawaaz ke
saath gaaya huya. dekhiye yeh geet aapko yaad hai ki naheen!

Song: neend hamaari Khwaab tumhaare (Nai Kahani)

san 43 ki film Nai Kahani ke baad to, baheno aur bhaaiyon, ek kataar
si lag gayi Shyam Sundar ke sangeet se sajee huyi filmon ki, jaise ki
1945 mein Bhai Jaan aur 1946 mein Dev Kanya. ek bahut hi mashoor geet
suniye Dev Kanya ka Amirbai Karnataki ki aawaaz mein.

Song: piya milan ko jaanewaali sambhal sambhal ke chal (Dev Kanya)

aur phir 1947 mein Shyam Sundar ke sangeet se sajee Ek Roz film aayi
aur 48 mein Actress.

Song: ham apne dil ka fasaana unhe sunaa na sake (Actress)

uske baad 49 mein woh film Char Din aayi jiska ek geet aap sun hi
chuke hain aaj. aur phir usi saal 1949 mein aayi woh film jiski
jhalak ne aaj 'programme' ki shuru mein aapko taDpa diya tha, jee
haan, Bazar. baheno aur bhaaiyon, maine aapse vaada kiya tha ki Bazar
ka gaana aaj main aapko poora sunwaayunga, to bhai praan jaaye par
vachan na jaaye ki parampara ke mutaabik yeh aaya woh gaana aur yeh
aayi Lata Mangeshkar ki nai nai jawaani ki aawaaz.

Song: saajan ki galiyaan chhoD chale (Bazar)

-----COMMERCIAL BREAK------

baheno aur bhaaiyon, Sangeet Ke Sitaaron Ki Mehfil mein abhi abhi
aane film Bazar ka woh geet sunaa jiski dhun 'music director' Shyam
Sundar ki sabse mashoor dhuno mein shaamil hai. aur Lata Mangeshkar
Khud isey apne sab 10 chaheete geeton mein chunti hain. magar kya aap
jaante hain ki baheno aur bhaaiyon, ki Bazar mein geet kitne the? aji
poore 16, jee haan. yaani ki do-Dhaai ghanTe ki us film mein ghanTe
bhar to gaane hi chalte rahe honge aur shaayad 'cinemal-hall' mein
baiThe Shyam Sundar ji ke qadardaan jhoomte hi rahe honge saara waqt,
ki ek laajawaab geet Khatam huya aur chand hi 'minute'-on mein doosra
geet bajna shuru ho gaya.

Song: ae mohabbat unse milne ka bahaana ban gaya (Bazar)

Lata Mangeshkar aur Mohd Rafi ki aawaazen to aap ne pehchaan hi lee.
magar Bazar ke gaano mein aur bhi kai aawaazen sunaaee dee theen,
jaise Shamshad egum, G M Durrani, Satish Batra, aur Rajkumari. jee
haan, Rajkumari ka Lata ke saath gaaya 'duet' to yaad hi hai na
aapko? ya phir aapke 'mummy daddy', daada-daadi, naani-naani ko to
zaroor yaad hoga bhai!

Song: zara sun lo ham apne pyar ka afsaana kehte hain (Bazar)

achchha ek baat main aapko bataana bhool gaya tha ki 1942 mein jab
Shyam Sundar Punjabi film Gul Baloch mein sangeet dekar Mohd Rafi
saahab ko Punjabi filmon mein 'introduce' kar chuke, to uske kuchh
arse baad unko yeh khayaal aaya ki unhe Bambai chalnaa chaahiye,
kyunki tab tak Bambai 'film production' ki lihaaz se Lahore aur
Kalkatta se zoron se Takkar lene lagaa tha. to Shyam Sundar Lahore ko
chhoDkar Bambai padhaare. baad mein Mohd Rafi bhi aa gaye the. aur
saahab, shahar Lahore ki fizaayen roya apne mehboob sangeetkaar ko
yaad karke Shyam Sundar hi ki ek dhun mein Dhalkar yeh kehne lagi.

Song: kis tarah bhoolega dil (Gaon Ki Gori)

aapko shaayad pataa na ho baheno aur bhaaiyon, ya phir yaad na ho ki
Shyam Sundar ke sangeet se nikhri huyi san 1945 ke is film ke do naam
the. jee haan, ek tha angrezi naam Village Girl aur ek naam Hindi ka
tha Gaon Ki Gori. aur yeh main naheen jaanta ki gaaon ki us gori ko
angrezi naam dene ki kya zaroorat thi. shaayad yeh British sarkaar ko
Khush karne ki koi baat hogi! Khair, Gaon Ki Gori mein Bazar ki tarah
16 geet to naheen the par 12 geet zaroor the, kaafi geet huya karte
the un dino har film mein. achchha baheno aur bhaaiyon, ek baat ki
main maafi maang loon isse pehle ke aap iske liye mujhe dosh dene
lage. aaj maine Shyam Sundar ke sangeet rachnaaon ke saath maine
kuchh gaayakon aur gaayikaaon ka naam to liya magar ek bhi geetkaar
ka naam naheen liya. chaliye koi baat naheen, sabhi baDe hi jaane
pehchaane geetkaar the. aur unke jo geet aaj baje aur abhi bajne
waale hain woh sab ke sab laajawaab the aur hain aur hamesha rahenge.
ek bahut hi pyaare geet mein Shyam Sundar-ji ne Sulochana Kadam se
gawaaya tha, film thi Dholak.

Song: chori chori aag aisi dil mein lagaakar chal deeye (Dholak)

-----COMMERCIAL BREAK------

aur baheno aur bhaaiyon, Shyam Sundar ke sangeet ki lehron par
nahaate huye ab ham pahunchte hain Alif Laila ke kareeb. 1953 ki yeh
film Alif Laila, jo Shyam Sundar-ji ki aaKhri film thi.

Song: bahaar aayi lekar yaad (Alif Laila)

1953 ki yeh film Alif Laila Shyam Sundar-ji ki aaKhri film thi aur
1953 ka woh saal Shyam Sundar ke jeevan ka bhi aaKhri saal tha. us
saal Alif Laila ka sangeet tayyaar ho hi raha tha baheno aur bhaaiyon
ki Shyam Sundar 'jaundice' ke shikaar ho gaye. suron ka ek aur
sitaara TooT gaya, sangeet ke matwaalon par phir ek baar udaasi chhaa
gayi. Shyam Sundar ke dehaant ke baad Alif Laila ke sangeet ko unke
dost aur 'assistant' Madan Mohan ne bojhal dil se poora kiya.

Song: yeh bebasi yeh mera haal (Alif Laila)

baheno aur bhaaiyon, aayiye ham sab milkar salaami den Shyam Sundar
jaise puraane sabhi sangeetkaaron ko, 'music director'-on ko,
shaayaron aur 'playback singers' ko jinhone hamein hasraton ka ujaala
diya, mohabbaton ki Khushboo dee, aur phir Khud chal deeye hamse door
apne chaahnewaalon ke dilon mein yaadon ka ek dard sa chhoDkar.

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

to madhur sangeet ke shehdaaiyon, aaj ki mehfil Shyam Sundar ke
sangeet ki mehfil thi. ab dekhna yeh hai ki agli mehfil kiski hogi
aur kaisi hogi! bas har baar aap sunte rahiyega apne 'radio' dost
Ameen Sayani ke saath SANGEET KE SITAARON KI MEHFIL!

THE END

dear sir

suraiya performed on radio as child artist.

Suraiya

Save for her arresting, almond-shaped eyes, Suraiya was not a classic beauty; nor did she trained in classical music. She still became a superstar singer-actress in the late 1940s and early 1950s. Suraiya was born in 1929 as Suraiya Jamal Shaikh in Lahore. Suraiya`s tryst with showbiz began in 1941 when she accompanied uncle Zahoor (popular villain) to the sets of Prakash Pictures` Taj Mahal. Nanubhai Vakil took an instant liking to 12-year-old Suraiya and cast her as the young Mumtaz Mahal. Her singing career found a mentor in music maestro Naushad. Suraiya had participated in a children`s programme on All India Radio after friend Raj Kapoor and neighbour Madan Mohan had cajoled her. Naushad heard Suraiya on the radio and chose her to sing as 13 year old for Mehtab in Kardar`s Sharda, 1942. Suraiya had to stand on a stool to reach the mike to croon Panchi ja, picturised on the much-older heroine, Mehtaab. She was effectively launched as a singing star in Bombay Talkies Humaari Baat, 1943. She made her presence felt in perhaps India`s first multi-starrer K.Asif`s Phool, 1944. Mehboob Khan`s blockbuster Anmol Ghadi, 1946 made Suraiya a draw in her own right despite the fact that she was only the second lead in the film. If Noorjehan had four fabulous Naushad songs in the film including Jawaan Hai Mohabbat, Awaaz de kahan hain, Suraiya had a winner in Socha tha kya, kya ho gaya. Singing superstar K. L. Saigal liked Suraiya`s voice at a rehearsal and recommended her as heroine in Tadbir, 1945. Suraiya costarred with Saigal in quick succession in Omar Khayyam, 1946 and Parwana, 1947. When Noorjehan migrated to Pakistan, she inadvertently contributed to Suraiya's success story. What gave Suraiya an edge over contemporaries like Kamini Kaushal and Nargis was her ability to sing her own songs. The years 1948-1949 were the best of her career. A trio of hits- Pyar ki Jeet, 1948, Badi Bahen, 1949 and Dillagi, 1949 she became the highest paid female star of her time. At her peak, Suraiya generated hysteria. Shop owners would down their shutters to see her starrers on the first day itself, crowds would throng outside her residence at Marine Drive in Bombay just to get a glimpse of her and actor Dharmendra remembers walking miles to see Suraiya`s Dillagi 40 times! Her songs from the above films Tere Nainon Ne Chori Kiya, O Door Jaanewaale, (Pyar ki Jeet), Woh Paas Rahe Ya Door Rahe, O Likhnewaale Ne, Bigdi Bananewaale (Badi Bahen) and Tu Mera Chand, Murliwaale Murli Bajaa (Dillagi) were hummed in every nook and corner of the country. However Suraiya`s reign at the top was brief. She suffered both professionally and personally. Her films started flopping one after another in the 1950s. She had got involved with Dev Anand and the two of them did six films together- Vidya, 1948, Jeet, 1949, Shayar, 1949, Afsar, 1950, Nili, 1950 and Do Sitare, 1951. They may not have been hits but she had no regrets as their love flourished. During the shooting of a song, a boat capsized and Dev saved Suraiya from drowning. Suraiya fell in love with her hero. Lore has it that Suraiya`s grandmother threw Dev`s ring into the sea. Suraiya remains unmarried to this day. She made a short-lived comeback with Waaris, 1954 and Mirza Ghalib, 1954. The latter saw her finest dramatic performance as she made alive and vivid the role of Chaudhvin, the married Ghalib`s lover, a courtesan. She adeptly conveyed pain and longing with eternal classics like- Aah ko Chaihiye Ek Umar, Dil-e-Nadaan Tujhe Hua Kya Hai, Yeh Na Thi Humari Kismet etc. Mirza Ghalib won the President`s gold medal. In fact India`s then PM Pandit Jawaharlal Nehru paid her the ultimate compliment by telling her she had brought Mirza Ghalib to life. (Tumne Mirza Ghalib ki Rooh ko Zinda Kar Diya). Unfortunately her work thereafter remained largely undistinguished. A spate of indifferent films followed. Suraiya had grew bulkier but her songs were still exquisite. Shama, 1961 was a musical hit and her last film was Rustom Sohrab, 1963, which also boasts of one of her finest ever songs- Yeh Kaisi Ajab Dastaan Ho Gayi. Today, the still unmarried Suraiya lives alone in her plush Marine Drive apartment. Rarely does one see a bejeweled Suraiya at a party. Even after her strict grandmother, who kept suitors at bay and producers at arm`s length, passed away, Suraiya continued to be inaccessible. Her decision to reside in an ivory tower has added to her mystique, while her resolve to shun character roles ensured that she is always remembered as a heroine. Most quaintly, Suraiya also chose not to sing any new film song in the last 40 years.

 

--- In vividhbharati@yahoogroups.co.in, "soojoi_india" <soojoi_india@...> wrote:
>
> SANGEET KE SITAARON KI MEHFIL
>
> AMEEN SAYANI'S PROGRAMME ON G M DURRANI
> ---------------------------------------
> ***************************************
>
> ------------------------------------------------------------------
> Song: haath seene pe jo rakh do to qaraar aa jaaye (Mirza Sahiban)
> ------------------------------------------------------------------
>
> malikaa-e-tarannum Noorjehan ke saath Pandit Amarnath ki dhun par
> film Mirza Sahiban ka yeh geet gaaya tha G M Durrani ne. baheno aur
> bhaaiyon, film Mirza Sahiban ke wahi gaayak G M Durrani hain aaj ke
> Sangeet Ke Sitaaron Ki Mehfil ke sitaare. aur Durrani saahab sitaare
> the ek naheen teen teen daayron ke. jee haan, gaayan bhi, 'acting'
> bhi aur 'broadcasting' bhi. jee haan, aap hi ka jo woh 'radio' hain
> na, uske bhi woh baadsheh huya karte the kisi zamaane mein. aaj main
> aapko G M Durrani saahab ke jeevan ka haal aur unke mashoor geet to
> sunwaayunga hi baheno aur bhaaiyon, magar saath hi saath apne paas
> 1978 ka 'record' kiya huya baDaa hi anooTha 'interview' bhi hai jiske
> kuchh hisse bhi aaj pesh honge. mujhe yaad hai baheno aur bhaaiyon,
> 1978 mein jab woh hamaare 'studio' mein aaye the tab unke shohrat ka
> zamaana beet chukaa tha aur Durrani saahab ne ek aah si bharke apne
> baare mein yeh sher mujhe sunaaya tha:
>
> G M Durrani speaks: jalaa hai jism magar dil bhi jal gaya hogaa,
> quredte ho jab raaKh justaju kya hai
>
> maine Durrani saahab ko yakeen dilaaya tha ki unke geeton ki goonj
> shaayad kam ho gayi ho, magar janata ke dil mein unki aawaaz abhi tak
> basee huyi hai.
>
> G M Durrani speaks: bahar-haal janata ka to main shukriya adaa karta
> hi chaloon ki mere janata mujhe bhoole naheen hain.
>
> ---------------------------------------------------------------------
> Song: nazar pe ro na hamse ham hain tum par marnewaalon mein (Deedar)
> ---------------------------------------------------------------------
>
> yeh sangeet tha Naushad ka aur film thi Deedar.
>
> G M Durrani saahab ka janm Peshawar mein huya tha, saal tha 1919. aur
> phir 16 saal ki umra mein hi woh apni kismat aazmaane Bambai chale
> aaye. kaise aur kyun yeh main aapko unhi ki aawaaz mein sunwaayunga
> usi puraani 'recording' se.
>
> G M Durrani speaks: main paThaan hoon, aur banaaspati paThaan naheen
> asli paThaan hoon. Mohammad Zayi Durrani kabeele ka hoon. mera
> gharaana jo hai woh bahut hi puraane Khayaalaat ka mutaamil hai. ham
> logon ke yahaan chaay naheen pee jaati, doodh ya phir lassi, bhale hi
> jaaDaa ho garmi ho. to saahab ham jis kisi bhi dukaan par doodh ya
> lassi peene pahunchte, do chaar aawaazen hamaare kaano mein paD
> jaati 'yaar is chhokre ko to Bambai bhaag jaana chaahiye, filmwaale
> fauran isey 'hero' banaa lenge'. Khair saahab, 'hero vero' to samjhe,
> bas Bambai ka naam sunkar tabeeyat bahut lalchaane lagti thi. aur
> saahab ham Bambai aan dhamke. to saahab, Bambai dekhee aur Khoob
> dekhee. dekhne dikhaane mein laaye huye jo paise the woh sab khatam
> ho gaye aur ab peT poojaa ki fikar huyi. waise ham Thehre paThaan
> aadmi, bhookh lage to baDi museebat, baDe pareshaan hon, kya karen
> kya na karen, aisa bhi yaad aaya ki kuchh log 'hero heroine' ban
> jaane ki baaten kiya kate the, to saahab hamne sochaa ki chalo
> laao 'try' karo. ab hamne logon se poochhna woochhna shuru kiya
> ki 'bhai woh film company ka studio kidhar hai?' Khair, logon ne
> bataaya hamein aur ham film 'studio' mein pahunch gaye. naukri waukri
> mil gayi, do ek filmon mein kaam bhi kiya.
>
> saahab baDi hi anokhi hai G M Durrani ki daastaan-e-zindagi aur main
> woh kahaani chhoTi chhoTi kishton mein sunwaayunga aaj aur beech
> beech mein aate rahenge dhundli yaadon ke parde ke peechhe chhupe
> unke kuchh madhur mashoor geet jo ab aa rahe hain aapke saamne.
>
> ----------------------------------------
> Song: duniya mein sab joDe joDe (Sharda)
> ----------------------------------------
>
> yeh bhi Naushad ka sangeet tha saahab, puraani film Sharad se. jab G
> M Durrani saahab ne yeh geet gaaya tha tab tak to mera Khayaal
> hai 'playback singing' ka zamaana shuru ho chukaa tha magar jab woh
> Peshawar se Bambai aaye the tab...
>
> G M Durrani speaks: us waqt 'playback system' naheen tha. 'actor' ko
> khud hi gaana paDta tha. baat yeh huyi ki jab maine apne aap ko film
> ke parde par 'hero heroine' aur laDkiyon ke aage peechhe dauDte
> bhaagte dekhaa to mujhe yeh bilkul achchha naheen lagaa. aur do ek
> filmon mein kaam karne ke baad maine filmon mein kaam karne se manaa
> kar diya, bhai ham kaam naheen karenge. matbal yeh huya ki kaam
> Thukraane ka matlab bhukho marna huya. ab apne saath bhi yahi maamla
> huya. Khair, martaa kya na kartaa! ghar lauTkar waapas jaa naheen
> sakte kyunki gharwaale bahut hi puraane Khayaalaat ke the, aur phir
> naachaaki bhi thi, woh sab is tarah ke kaam karnewaalon ko kanjar
> kahaa karte the, yaani ki kanjan. 'arey yaar falaane aadmi ka ladka
> kanjar ho gaya, film-line mein kaam karta hai'. Khair saahab,
> ham 'actor' to naheen ban sake par gaana hamein bahut bhaaya. aur ham
> kisi bhi soorat haath pair maarkar Bambai 'radio station' mein 'drama
> artiste' ki haisiyat se naukar ho gaye.
>
> to is tarah G M Durrani saahab daakhil huye 'radio' ki duniya mein.
> aur baheno aur bhaaiyon, main aap ko itna yakeen dilaa doon ki
> Durrani saahab ka naam un dino 'All India Radio' ke behetareen 'drama
> artiste'-on mein ginaa jaata tha. magar taqdeer baar baar unhe bulaa
> rahi thi sangeet ki duniya ki taraf shaayad yeh kehne ke liye
> ki 'Ghulam Mustafa Durrani, niraash na hona, ek din aisa bhi aayega
> ki tujhe Shyam Sundar, Pandit Amarnath, Ghulam Haider, Ghulam
> Mohammad, Anil Biswas, Naushad, Roshan aur Shaukat Haideri jaise
> guni 'music director'-on ke liye gaane ka mauka milega.
>
> ----------------------------------------------------------
> Song: kar sakega na juda tumko kabhi hamse zamaana (Aaiye)
> ----------------------------------------------------------
>
> G M Durrani ke saath Lata ki aawaaz pehchaanee aapne? film thi Aaiye.
> baheno aur bhaaiyon, aaj Sangeet Ke Sitaaron Ki Mehfil mein ek
> puraane 'interview' se G M Durrani ki aawaaz sun rahe hain. G M
> Durrani apni kahaani sunaate sunaate 'radio' ki duniya mein pahunch
> gaye the yaad hogaa aapko. aur wahaan unka sangeet ka shauk kis tarah
> parwaan chaDhaa, yeh suniye ab:
>
> G M Durrani speaks: dil mein umangen karwaT lene lagi ki 'yaar
> Durrani, tumne filmon mein itna baDaa 'chance' 'actor' banne ka
> Thukra diya, lekin yaar ab kuchh to karo, oonchaai par pahuncho aur
> is lagan ka anjaam yeh huya ki 'All India Radio' par is koshish mein
> lagaataar kabhi bhi koi baDaa 'singer baDaa 'artiste' aata to main
> koi na koi bahaana banaakar taanpura lekar aur us gaanewaale ke saath
> baiTh jaaya karta tha aur main unhe sunta tha. ek mazedaar waaqya
> yaad aa gaya ki ek qawwaal aaya karta tha us zamaane mein aur us waqt
> ham teen aadmi the, hamaare teen aadmiyon ki guT thi. hamaare guT ki
> ek aadmi jo aaj Hindustan mein poore apne shorat ke Danke bajwaa rahi
> hai aur woh hasti hai Ustad Allah Rakha, tablaa-nawaaz. Khair saahab,
> to jab woh qawwaal gaana gaata to ham teeno usko rok kar ham teen
> uski ek ek 'line' gaaya karte the, dohraaya karte the, usmein jagah
> hai, murkiyaan, taane-vaane, nateeja yeh huya ki uska 'programme
> popular' hone lagaa. pehle ek maheene mein usko ek 'programme' milta
> tha, ab usko ek maheene mein chaar chaar 'programme' milne lage.
>
> aur saahab aage chalkar Ustad Allah Rakha Khan ne table ke sansaar
> mein dhoom machaane ke saath saath kuchh filmon mein sangeet bhi
> diya, jee haan, A R Qureshi ke naam se, shaayad aapko pataa hoga.
> unhi ke sangeet nirdeshan mein G M Durrani ne baDaa hi
> zabardast 'hit' geet gaaya tha, film thi Sabak.
>
> -----------------------------------------
> Song: ni sa ga ma pa haaye raamji (Sabak)
> -----------------------------------------
>
> G M Durrani ne film sangeet mein kadam rakhna shuru kiya jaane
> pehchaane 'producer director actor' Sohrab Modi ke Minerva company
> mein. iske baare mein bhi Durrani saahab ki aawaaz Khud bataayegi:
>
> G M Durrani speaks: 1935 mein 30 rupay maheene par Sohrab Modi saahab
> ki company mein naukri mil gayi. wahaan bhi ek mazedaar haadsa huya.
> Modi saahab ne 'soundtrack' par mera gaana 'record' kiya
> bataur 'test' ke. us waqt 'tape' vagerah kuchh bhi naheen tha. Khair
> saahab, doosre din Modi saahab ne mujhe bulwa bheja, main gaya to
> boley 'baDe tees maarkhaan bane firte ho, lo suno kya gul khilaaya
> tumne'. ab 'soundtrack' jo sunta hoon to main yeh bayaan naheen kar
> sakta ki meri kya haalat ho gayi. jyun jyun 'soundtrack' se aawaaz
> nikalti, mere paseene chhoTte jaate. aisa lagta ki jaise kisi jaanwar
> ki aawaaz mere gale se nikalkar 'soundtrack' par aa gayi hai. bas
> meri aankhon ke saamne jawaani mein andheraa aane lagaa, ke
> yaar 'actor' banne ki himmat naheen, gharwaale ghar mein ghoosne
> naheen denge, mere gale se jaanwaron jaisi aawaaz milne lagi hai,
> mere aansoo nikal paDe. Modi saahab ne mujhe tasalli dee aur
> Draamaaee andaaz mein bole 'bas yahi himmat lekar itne baDe shahar
> mein jeena chaahta hai? arey pagle, baDe shahar mein rehne ke liye
> sher ka dil laana chaahiye, teri aawaaz hamne ek baar naheen kai baar
> suni hai, bahut achchhi aawaaz hai, tumko pareshaan karne ke
> liye 'soundtrack' ulTaa chalaa diya tha, tum aaj se hamari company
> mein poore 30 rupay maheene par naukar'. naukri ki to saahab mujhe
> Khushi zaroor huyi lekin 30 rupay maheena...maana ki woh zamaana itna
> mehengaaee ka naheen tha, phir bhi Khair jeene ka sahaara tha. sabko
> maaloom huya ki Modi saahab ne naya 'singer' rakhaa hai. aisa mujhe
> Paarsion ki shaadi mein wahaan se 'invitation' aane lage.
>
> magar tab tak G M Durrani saahab ko filmon mein gaane ka 'invitation'
> naheen milaa tha saahab. unkaa gaaya jo sabse pehlaa geet mere paas
> hai, yaani isse pehle bhi inhone gaaya hogaa magar unka jo pehla get
> mere paas hai woh hai 1943 ki film Nai Kahani ka. Shyam Sundar the
> uske sangeet nirdeshak.
>
> ------------------------------------------------
> Song: neend hamaari khwaab tumhaare (Nai Kahani)
> ------------------------------------------------
>
> achchha G M Durrani ke rangeen sangeen jeevan ki kahaani mein aage
> baDhne se pehle, baheno aur bhaaiyon, main itna bataa doon ki unkaa
> inteqaal huya tha san 1988 mein. yaani mere liye unke 'record'
> keeye 'interview' ke 10 saal baad. us 'interview' mein unhone yeh bhi
> bataaya tha ki kis tarah naseeb ke ek aur dhakke ne unhe phir ek baar
> filmon se haTaakar 'radio' ki duniya mein bhej diya.
>
> G M Durrani speaks: Modi saahab ki Minerva Movietone company band ho
> gayi. to maine 'record' banaanewaali company mein 'as a singer' kuchh
> dino ke liye naukri kar lee. iske baad taqdeer ne palTaa khaaya aur
> main Dilli 'All India Radio station' mein chalaa gaya. aur yeh bahut
> hi achchha huya mere liye kyunki wahaan mujhe do mashoor hastion se
> meri mulaaqaat ho gayi. sabse pehli mulaaqaat to meri us waqt ke
> mashoor shaayar Bezaad Lucknowi, jinki ghazlen Begum Akhtar marhoom
> ne kaafi gaayi hain, aur uske baad mujhe Delhi se Bambai 'radio
> station' par aana paDaa. aur wahaan ek doosri baDi hasti se mulaaqaat
> huyi jinhone Bambai 'radio station' ko parwaan chaDhaane mein kaafi
> madad dee hai. aur woh hain mere ustaad-e-muKhtaram marhoom Z A
> Bukhari, unse meri mulaaqaat huyi. aisa lagaataar 3 saal 'radio
> station' mein kaam karne ke baad meri tankhwaa shuru mein to 40 rupay
> thi, magar 3 saal mein meri tankhwa 70 rupay tak pahunchee. taqdeer
> ne phir karwaT lee, isi zamaane mein mausikaar Naushad Ali saahab se
> meri mulaaqaat huyi aur mujhe unhone ek gaana gaane ki 'offer' kee.
> unki ek 'picture' us waqt ban rahi thi- Darshan. usmein ek gaana
> tha, 'chorous song' tha aur kaafi 'characters' usmein gaa rahe the.
> us zamaane mein Prem Adeeb aur Jyoti aur ek aur 'singer' the Ghosh,
> yeh teeno usmein the aur ek 'artiste' tha Shaakir naam ka jo gaana
> naheen jaanta tha, uskaa 'playback' mujhe dena tha. Khair saahab,
> Naushad saahab ne woh 'line'en mujhse gawaaeen, kudrat ne sohrat adaa
> kee, aur kaafi logon ne, matlab, saraaha ar har aanewaala din ek nayi
> izzat dene lagaa.
>
> jis puraani film Darshan ka zikr Durrani saahab ne apne 'interview'
> mein kiya tha na, usmein ek aur baat bhi huyi. us film ki 'heroine'
> theen Jyoti jinkaa asli naam tha Sitara Begum. aur Sitara Begum is
> madhhor aawazwaale 'handsome' paThaan par mar miTeen aur dono ki ho
> gayi shaadi. aur phir kuchh hi barson mein shuru huya G M Durrani
> saahab ke gaaye geeton ka woh zabardast kaamyaab daur jismein unka
> naam chamakta hi gaya, chamakta hi gaya. unki aawaaz kai filmon mein
> sunaaee dene lagi. magar G M Durrani ke gaaye huye geeton ke
> kaamyaabi ka yeh daur, baheno aur bhaaiyon, kareeb 6-7 saal chalaa,
> yaani 1944 ya 1943 se lekar 1951 tak. aur phir na jaane kya huya ki
> filmi duniya unse door hoti chali gayi.
>
> G M Durrani speaks: main jab 'top' par tha, shohrat ki oonchaaiyon
> par tha, maine gaana chhoD diya. meri gaana chhoDne ke do ojuhaat
> hain. sabse pehli wajah to yeh hai ki uparwaale ki marzi. yaani jisne
> aapko mujhko tamaam duniyawaalon ko paidaa kiya hai, uske kareeb
> pahunchne ke liye maine gaana bajaana 'film line' chhoD
> diya. 'bungalow' mein rehna, 'car'-on mein ghoomna, 'note'-on ko
> ginna, uske peechhe peechhe bhaagna, yeh baat san 51 ki hai. main
> kisi filmwaale ko dekhkar gardan neechee kar liya karta tha aur
> sochta tha ki isse baat karoonga to fizul baaten munh se niklengi aur
> daaDhee bhi maine isliye baDhaa lee thi ki koi mujhe jaldi pehchaan
> na sake. bas mere dil mein yeh hota rehta ki gaana bajaana, 'film-
> line' yeh tamaam buri baaten hain. maine 'bank' se thoDe se kuchh
> paise nikaalkar logon mein, gareebon mein baanne shuru kar diye aur
> be-niyaaz ho gaya. anjaam yeh huya ki main fakkaD ho gaya. phir
> saahab, kisi se maine thoDe se karz-varz lekar 'general merchant' ki
> dukaan khol lee.
>
> aur is tarah us zamaane ka ek shaandaar gaayak jisne adaakaari
> aur 'broadcasting' ki kalaaon mein bhi shohrat paayee thi, woh har
> kalaa ko chhoDkar ek maamoolee dukaandaar ban gaya. waise bhi tab tak
> aur kai zabardast aawaazen ubharne lagi thi. jo Mohd Rafi G M Durrani
> ke hi rang mein gaate huye film sangeet ki duniya mein daaKhil huye
> the, woh phir Khud hi har jagah chhaa gaye. achchha, kai saal baad
> uske Rafi saahab aur Durrani saahab ne ek saath bhi kai geeton mein
> gaaya, magar tab tak Rafi ka sitaara bahut zyaada buland ho chukaa
> tha.
>
> -------------------------------------------------------------
> Song: hamko hanste dekh zamaana jalta hai (Hum Sab Chor Hain)
> -------------------------------------------------------------
>
> yeh O P Nayyar ke sangeet mein 1956 ki film Hum Sab Chor Hain ka geet
> tha jise Rafi ke saath Durrani ne gaaya tha. Mohd Rafi ke saath saath
> Mukesh bhi ubhare aur Manna Dey bhi, aur log G M Durrani ko zara zara
> bhoolne lage. bas, kabhi kabhi 'radio' se unke kuchh geet baj jaate,
> aur puraane sangeet-premee achambhe se poochh baiThte ki 'arey yeh
> guzre huye zamaane ki sureelee aawaaz kahin G M Durrani ki to naheen!'
>
> ----------------------------------------------------------------------
> Clip: ...chhoDke tum bhi chalee jaaogi kismat ki tarah (Mirza Sahiban)
> ----------------------------------------------------------------------
>
> aur baheno aur bhaaiyon, jab 1978 mein G M Durrani saahab
> meri 'studio' mein aaye the apna 'interview record' karne, tab tak
> woh film aur 'radio' ki chakaachaund ko peechhe chhoDkar apni Sufiana
> raahon par kaafi aage nikal chuke the. aur us 'interview' ke aakhir
> mein maine Durrani saahab se guzaarish kee thi ki 'bhaijaan, dekhiye
> hamaari 'studio' mein 'harmonium' bhi rakha huya hai, kitna achchha
> hoga agar aap iska sahaara lekar yaheen hamaari 'studio' mein hamaare
> liye aur hamaare sunnewaalon ke liye apni madhur aawaaz mein kuchh
> sunaa den, aapko kareeb se gaate huye sunkar ham samjhenge ki hamaare
> bhaag khul gaye', aur G M Durrani saahab ne gaaya...
>
> -------------------------------------------------
> Ghazal: dil ki kismat mein Gham Gham tumhara hai,
> zindegi kya hai ek sahaara hai (Live in Studio)
> -------------------------------------------------
>
> Sangeet Ke Sitaaron Ki Mehfil ke shehdaaiyon ne abhi abhi puraane
> zamaane ke ek azeem pratinidhi gaayak G M Durrani ka 'interview'
> sunaa aur unki yaadgaar geet bhi sune. baheno aur bhaaiyon, ab aaj ki
> mehfil ka shamaa bujhaane ka waqt aa gaya hai. agli mehfil hote hi
> phir hogi roshni, phir goonjengi sureeli yaaden, to har baar suniyega
> zaroor apne 'radio' hamsafar Ameen Sayani ke saath SANGEET KE
> SITAARON KI MEHFIL.
>
> THE END
>

Ameen Sayani's recorded Radio Program on a few musical artists are available at

 

http://music2.multiply.com/music/item/3

 

 

 

 

dear sir

suraiya performed on radio as child artist.

--- In vividhbharati@..., "soojoi_india" <soojoi_india@...> wrote:
>
> SANGEET KE SITAARON KI MEHFIL
>
> AMEEN SAYANI'S PROGRAMME ON G M DURRANI
> ---------------------------------------
> ***************************************
>
> ------------------------------------------------------------------
> Song: haath seene pe jo rakh do to qaraar aa jaaye (Mirza Sahiban)
> ------------------------------------------------------------------
>
> malikaa-e-tarannum Noorjehan ke saath Pandit Amarnath ki dhun par
> film Mirza Sahiban ka yeh geet gaaya tha G M Durrani ne. baheno aur
> bhaaiyon, film Mirza Sahiban ke wahi gaayak G M Durrani hain aaj ke
> Sangeet Ke Sitaaron Ki Mehfil ke sitaare. aur Durrani saahab sitaare
> the ek naheen teen teen daayron ke. jee haan, gaayan bhi, 'acting'
> bhi aur 'broadcasting' bhi. jee haan, aap hi ka jo woh 'radio' hain
> na, uske bhi woh baadsheh huya karte the kisi zamaane mein. aaj main
> aapko G M Durrani saahab ke jeevan ka haal aur unke mashoor geet to
> sunwaayunga hi baheno aur bhaaiyon, magar saath hi saath apne paas
> 1978 ka 'record' kiya huya baDaa hi anooTha 'interview' bhi hai jiske
> kuchh hisse bhi aaj pesh honge. mujhe yaad hai baheno aur bhaaiyon,
> 1978 mein jab woh hamaare 'studio' mein aaye the tab unke shohrat ka
> zamaana beet chukaa tha aur Durrani saahab ne ek aah si bharke apne
> baare mein yeh sher mujhe sunaaya tha:
>
> G M Durrani speaks: jalaa hai jism magar dil bhi jal gaya hogaa,
> quredte ho jab raaKh justaju kya hai
>
> maine Durrani saahab ko yakeen dilaaya tha ki unke geeton ki goonj
> shaayad kam ho gayi ho, magar janata ke dil mein unki aawaaz abhi tak
> basee huyi hai.
>
> G M Durrani speaks: bahar-haal janata ka to main shukriya adaa karta
> hi chaloon ki mere janata mujhe bhoole naheen hain.
>
> ---------------------------------------------------------------------
> Song: nazar pe ro na hamse ham hain tum par marnewaalon mein (Deedar)
> ---------------------------------------------------------------------
>
> yeh sangeet tha Naushad ka aur film thi Deedar.
>
> G M Durrani saahab ka janm Peshawar mein huya tha, saal tha 1919. aur
> phir 16 saal ki umra mein hi woh apni kismat aazmaane Bambai chale
> aaye. kaise aur kyun yeh main aapko unhi ki aawaaz mein sunwaayunga
> usi puraani 'recording' se.
>
> G M Durrani speaks: main paThaan hoon, aur banaaspati paThaan naheen
> asli paThaan hoon. Mohammad Zayi Durrani kabeele ka hoon. mera
> gharaana jo hai woh bahut hi puraane Khayaalaat ka mutaamil hai. ham
> logon ke yahaan chaay naheen pee jaati, doodh ya phir lassi, bhale hi
> jaaDaa ho garmi ho. to saahab ham jis kisi bhi dukaan par doodh ya
> lassi peene pahunchte, do chaar aawaazen hamaare kaano mein paD
> jaati 'yaar is chhokre ko to Bambai bhaag jaana chaahiye, filmwaale
> fauran isey 'hero' banaa lenge'. Khair saahab, 'hero vero' to samjhe,
> bas Bambai ka naam sunkar tabeeyat bahut lalchaane lagti thi. aur
> saahab ham Bambai aan dhamke. to saahab, Bambai dekhee aur Khoob
> dekhee. dekhne dikhaane mein laaye huye jo paise the woh sab khatam
> ho gaye aur ab peT poojaa ki fikar huyi. waise ham Thehre paThaan
> aadmi, bhookh lage to baDi museebat, baDe pareshaan hon, kya karen
> kya na karen, aisa bhi yaad aaya ki kuchh log 'hero heroine' ban
> jaane ki baaten kiya kate the, to saahab hamne sochaa ki chalo
> laao 'try' karo. ab hamne logon se poochhna woochhna shuru kiya
> ki 'bhai woh film company ka studio kidhar hai?' Khair, logon ne
> bataaya hamein aur ham film 'studio' mein pahunch gaye. naukri waukri
> mil gayi, do ek filmon mein kaam bhi kiya.
>
> saahab baDi hi anokhi hai G M Durrani ki daastaan-e-zindagi aur main
> woh kahaani chhoTi chhoTi kishton mein sunwaayunga aaj aur beech
> beech mein aate rahenge dhundli yaadon ke parde ke peechhe chhupe
> unke kuchh madhur mashoor geet jo ab aa rahe hain aapke saamne.
>
> ----------------------------------------
> Song: duniya mein sab joDe joDe (Sharda)
> ----------------------------------------
>
> yeh bhi Naushad ka sangeet tha saahab, puraani film Sharad se. jab G
> M Durrani saahab ne yeh geet gaaya tha tab tak to mera Khayaal
> hai 'playback singing' ka zamaana shuru ho chukaa tha magar jab woh
> Peshawar se Bambai aaye the tab...
>
> G M Durrani speaks: us waqt 'playback system' naheen tha. 'actor' ko
> khud hi gaana paDta tha. baat yeh huyi ki jab maine apne aap ko film
> ke parde par 'hero heroine' aur laDkiyon ke aage peechhe dauDte
> bhaagte dekhaa to mujhe yeh bilkul achchha naheen lagaa. aur do ek
> filmon mein kaam karne ke baad maine filmon mein kaam karne se manaa
> kar diya, bhai ham kaam naheen karenge. matbal yeh huya ki kaam
> Thukraane ka matlab bhukho marna huya. ab apne saath bhi yahi maamla
> huya. Khair, martaa kya na kartaa! ghar lauTkar waapas jaa naheen
> sakte kyunki gharwaale bahut hi puraane Khayaalaat ke the, aur phir
> naachaaki bhi thi, woh sab is tarah ke kaam karnewaalon ko kanjar
> kahaa karte the, yaani ki kanjan. 'arey yaar falaane aadmi ka ladka
> kanjar ho gaya, film-line mein kaam karta hai'. Khair saahab,
> ham 'actor' to naheen ban sake par gaana hamein bahut bhaaya. aur ham
> kisi bhi soorat haath pair maarkar Bambai 'radio station' mein 'drama
> artiste' ki haisiyat se naukar ho gaye.
>
> to is tarah G M Durrani saahab daakhil huye 'radio' ki duniya mein.
> aur baheno aur bhaaiyon, main aap ko itna yakeen dilaa doon ki
> Durrani saahab ka naam un dino 'All India Radio' ke behetareen 'drama
> artiste'-on mein ginaa jaata tha. magar taqdeer baar baar unhe bulaa
> rahi thi sangeet ki duniya ki taraf shaayad yeh kehne ke liye
> ki 'Ghulam Mustafa Durrani, niraash na hona, ek din aisa bhi aayega
> ki tujhe Shyam Sundar, Pandit Amarnath, Ghulam Haider, Ghulam
> Mohammad, Anil Biswas, Naushad, Roshan aur Shaukat Haideri jaise
> guni 'music director'-on ke liye gaane ka mauka milega.
>
> ----------------------------------------------------------
> Song: kar sakega na juda tumko kabhi hamse zamaana (Aaiye)
> ----------------------------------------------------------
>
> G M Durrani ke saath Lata ki aawaaz pehchaanee aapne? film thi Aaiye.
> baheno aur bhaaiyon, aaj Sangeet Ke Sitaaron Ki Mehfil mein ek
> puraane 'interview' se G M Durrani ki aawaaz sun rahe hain. G M
> Durrani apni kahaani sunaate sunaate 'radio' ki duniya mein pahunch
> gaye the yaad hogaa aapko. aur wahaan unka sangeet ka shauk kis tarah
> parwaan chaDhaa, yeh suniye ab:
>
> G M Durrani speaks: dil mein umangen karwaT lene lagi ki 'yaar
> Durrani, tumne filmon mein itna baDaa 'chance' 'actor' banne ka
> Thukra diya, lekin yaar ab kuchh to karo, oonchaai par pahuncho aur
> is lagan ka anjaam yeh huya ki 'All India Radio' par is koshish mein
> lagaataar kabhi bhi koi baDaa 'singer baDaa 'artiste' aata to main
> koi na koi bahaana banaakar taanpura lekar aur us gaanewaale ke saath
> baiTh jaaya karta tha aur main unhe sunta tha. ek mazedaar waaqya
> yaad aa gaya ki ek qawwaal aaya karta tha us zamaane mein aur us waqt
> ham teen aadmi the, hamaare teen aadmiyon ki guT thi. hamaare guT ki
> ek aadmi jo aaj Hindustan mein poore apne shorat ke Danke bajwaa rahi
> hai aur woh hasti hai Ustad Allah Rakha, tablaa-nawaaz. Khair saahab,
> to jab woh qawwaal gaana gaata to ham teeno usko rok kar ham teen
> uski ek ek 'line' gaaya karte the, dohraaya karte the, usmein jagah
> hai, murkiyaan, taane-vaane, nateeja yeh huya ki uska 'programme
> popular' hone lagaa. pehle ek maheene mein usko ek 'programme' milta
> tha, ab usko ek maheene mein chaar chaar 'programme' milne lage.
>
> aur saahab aage chalkar Ustad Allah Rakha Khan ne table ke sansaar
> mein dhoom machaane ke saath saath kuchh filmon mein sangeet bhi
> diya, jee haan, A R Qureshi ke naam se, shaayad aapko pataa hoga.
> unhi ke sangeet nirdeshan mein G M Durrani ne baDaa hi
> zabardast 'hit' geet gaaya tha, film thi Sabak.
>
> -----------------------------------------
> Song: ni sa ga ma pa haaye raamji (Sabak)
> -----------------------------------------
>
> G M Durrani ne film sangeet mein kadam rakhna shuru kiya jaane
> pehchaane 'producer director actor' Sohrab Modi ke Minerva company
> mein. iske baare mein bhi Durrani saahab ki aawaaz Khud bataayegi:
>
> G M Durrani speaks: 1935 mein 30 rupay maheene par Sohrab Modi saahab
> ki company mein naukri mil gayi. wahaan bhi ek mazedaar haadsa huya.
> Modi saahab ne 'soundtrack' par mera gaana 'record' kiya
> bataur 'test' ke. us waqt 'tape' vagerah kuchh bhi naheen tha. Khair
> saahab, doosre din Modi saahab ne mujhe bulwa bheja, main gaya to
> boley 'baDe tees maarkhaan bane firte ho, lo suno kya gul khilaaya
> tumne'. ab 'soundtrack' jo sunta hoon to main yeh bayaan naheen kar
> sakta ki meri kya haalat ho gayi. jyun jyun 'soundtrack' se aawaaz
> nikalti, mere paseene chhoTte jaate. aisa lagta ki jaise kisi jaanwar
> ki aawaaz mere gale se nikalkar 'soundtrack' par aa gayi hai. bas
> meri aankhon ke saamne jawaani mein andheraa aane lagaa, ke
> yaar 'actor' banne ki himmat naheen, gharwaale ghar mein ghoosne
> naheen denge, mere gale se jaanwaron jaisi aawaaz milne lagi hai,
> mere aansoo nikal paDe. Modi saahab ne mujhe tasalli dee aur
> Draamaaee andaaz mein bole 'bas yahi himmat lekar itne baDe shahar
> mein jeena chaahta hai? arey pagle, baDe shahar mein rehne ke liye
> sher ka dil laana chaahiye, teri aawaaz hamne ek baar naheen kai baar
> suni hai, bahut achchhi aawaaz hai, tumko pareshaan karne ke
> liye 'soundtrack' ulTaa chalaa diya tha, tum aaj se hamari company
> mein poore 30 rupay maheene par naukar'. naukri ki to saahab mujhe
> Khushi zaroor huyi lekin 30 rupay maheena...maana ki woh zamaana itna
> mehengaaee ka naheen tha, phir bhi Khair jeene ka sahaara tha. sabko
> maaloom huya ki Modi saahab ne naya 'singer' rakhaa hai. aisa mujhe
> Paarsion ki shaadi mein wahaan se 'invitation' aane lage.
>
> magar tab tak G M Durrani saahab ko filmon mein gaane ka 'invitation'
> naheen milaa tha saahab. unkaa gaaya jo sabse pehlaa geet mere paas
> hai, yaani isse pehle bhi inhone gaaya hogaa magar unka jo pehla get
> mere paas hai woh hai 1943 ki film Nai Kahani ka. Shyam Sundar the
> uske sangeet nirdeshak.
>
> ------------------------------------------------
> Song: neend hamaari khwaab tumhaare (Nai Kahani)
> ------------------------------------------------
>
> achchha G M Durrani ke rangeen sangeen jeevan ki kahaani mein aage
> baDhne se pehle, baheno aur bhaaiyon, main itna bataa doon ki unkaa
> inteqaal huya tha san 1988 mein. yaani mere liye unke 'record'
> keeye 'interview' ke 10 saal baad. us 'interview' mein unhone yeh bhi
> bataaya tha ki kis tarah naseeb ke ek aur dhakke ne unhe phir ek baar
> filmon se haTaakar 'radio' ki duniya mein bhej diya.
>
> G M Durrani speaks: Modi saahab ki Minerva Movietone company band ho
> gayi. to maine 'record' banaanewaali company mein 'as a singer' kuchh
> dino ke liye naukri kar lee. iske baad taqdeer ne palTaa khaaya aur
> main Dilli 'All India Radio station' mein chalaa gaya. aur yeh bahut
> hi achchha huya mere liye kyunki wahaan mujhe do mashoor hastion se
> meri mulaaqaat ho gayi. sabse pehli mulaaqaat to meri us waqt ke
> mashoor shaayar Bezaad Lucknowi, jinki ghazlen Begum Akhtar marhoom
> ne kaafi gaayi hain, aur uske baad mujhe Delhi se Bambai 'radio
> station' par aana paDaa. aur wahaan ek doosri baDi hasti se mulaaqaat
> huyi jinhone Bambai 'radio station' ko parwaan chaDhaane mein kaafi
> madad dee hai. aur woh hain mere ustaad-e-muKhtaram marhoom Z A
> Bukhari, unse meri mulaaqaat huyi. aisa lagaataar 3 saal 'radio
> station' mein kaam karne ke baad meri tankhwaa shuru mein to 40 rupay
> thi, magar 3 saal mein meri tankhwa 70 rupay tak pahunchee. taqdeer
> ne phir karwaT lee, isi zamaane mein mausikaar Naushad Ali saahab se
> meri mulaaqaat huyi aur mujhe unhone ek gaana gaane ki 'offer' kee.
> unki ek 'picture' us waqt ban rahi thi- Darshan. usmein ek gaana
> tha, 'chorous song' tha aur kaafi 'characters' usmein gaa rahe the.
> us zamaane mein Prem Adeeb aur Jyoti aur ek aur 'singer' the Ghosh,
> yeh teeno usmein the aur ek 'artiste' tha Shaakir naam ka jo gaana
> naheen jaanta tha, uskaa 'playback' mujhe dena tha. Khair saahab,
> Naushad saahab ne woh 'line'en mujhse gawaaeen, kudrat ne sohrat adaa
> kee, aur kaafi logon ne, matlab, saraaha ar har aanewaala din ek nayi
> izzat dene lagaa.
>
> jis puraani film Darshan ka zikr Durrani saahab ne apne 'interview'
> mein kiya tha na, usmein ek aur baat bhi huyi. us film ki 'heroine'
> theen Jyoti jinkaa asli naam tha Sitara Begum. aur Sitara Begum is
> madhhor aawazwaale 'handsome' paThaan par mar miTeen aur dono ki ho
> gayi shaadi. aur phir kuchh hi barson mein shuru huya G M Durrani
> saahab ke gaaye geeton ka woh zabardast kaamyaab daur jismein unka
> naam chamakta hi gaya, chamakta hi gaya. unki aawaaz kai filmon mein
> sunaaee dene lagi. magar G M Durrani ke gaaye huye geeton ke
> kaamyaabi ka yeh daur, baheno aur bhaaiyon, kareeb 6-7 saal chalaa,
> yaani 1944 ya 1943 se lekar 1951 tak. aur phir na jaane kya huya ki
> filmi duniya unse door hoti chali gayi.
>
> G M Durrani speaks: main jab 'top' par tha, shohrat ki oonchaaiyon
> par tha, maine gaana chhoD diya. meri gaana chhoDne ke do ojuhaat
> hain. sabse pehli wajah to yeh hai ki uparwaale ki marzi. yaani jisne
> aapko mujhko tamaam duniyawaalon ko paidaa kiya hai, uske kareeb
> pahunchne ke liye maine gaana bajaana 'film line' chhoD
> diya. 'bungalow' mein rehna, 'car'-on mein ghoomna, 'note'-on ko
> ginna, uske peechhe peechhe bhaagna, yeh baat san 51 ki hai. main
> kisi filmwaale ko dekhkar gardan neechee kar liya karta tha aur
> sochta tha ki isse baat karoonga to fizul baaten munh se niklengi aur
> daaDhee bhi maine isliye baDhaa lee thi ki koi mujhe jaldi pehchaan
> na sake. bas mere dil mein yeh hota rehta ki gaana bajaana, 'film-
> line' yeh tamaam buri baaten hain. maine 'bank' se thoDe se kuchh
> paise nikaalkar logon mein, gareebon mein baanne shuru kar diye aur
> be-niyaaz ho gaya. anjaam yeh huya ki main fakkaD ho gaya. phir
> saahab, kisi se maine thoDe se karz-varz lekar 'general merchant' ki
> dukaan khol lee.
>
> aur is tarah us zamaane ka ek shaandaar gaayak jisne adaakaari
> aur 'broadcasting' ki kalaaon mein bhi shohrat paayee thi, woh har
> kalaa ko chhoDkar ek maamoolee dukaandaar ban gaya. waise bhi tab tak
> aur kai zabardast aawaazen ubharne lagi thi. jo Mohd Rafi G M Durrani
> ke hi rang mein gaate huye film sangeet ki duniya mein daaKhil huye
> the, woh phir Khud hi har jagah chhaa gaye. achchha, kai saal baad
> uske Rafi saahab aur Durrani saahab ne ek saath bhi kai geeton mein
> gaaya, magar tab tak Rafi ka sitaara bahut zyaada buland ho chukaa
> tha.
>
> -------------------------------------------------------------
> Song: hamko hanste dekh zamaana jalta hai (Hum Sab Chor Hain)
> -------------------------------------------------------------
>
> yeh O P Nayyar ke sangeet mein 1956 ki film Hum Sab Chor Hain ka geet
> tha jise Rafi ke saath Durrani ne gaaya tha. Mohd Rafi ke saath saath
> Mukesh bhi ubhare aur Manna Dey bhi, aur log G M Durrani ko zara zara
> bhoolne lage. bas, kabhi kabhi 'radio' se unke kuchh geet baj jaate,
> aur puraane sangeet-premee achambhe se poochh baiThte ki 'arey yeh
> guzre huye zamaane ki sureelee aawaaz kahin G M Durrani ki to naheen!'
>
> ----------------------------------------------------------------------
> Clip: ...chhoDke tum bhi chalee jaaogi kismat ki tarah (Mirza Sahiban)
> ----------------------------------------------------------------------
>
> aur baheno aur bhaaiyon, jab 1978 mein G M Durrani saahab
> meri 'studio' mein aaye the apna 'interview record' karne, tab tak
> woh film aur 'radio' ki chakaachaund ko peechhe chhoDkar apni Sufiana
> raahon par kaafi aage nikal chuke the. aur us 'interview' ke aakhir
> mein maine Durrani saahab se guzaarish kee thi ki 'bhaijaan, dekhiye
> hamaari 'studio' mein 'harmonium' bhi rakha huya hai, kitna achchha
> hoga agar aap iska sahaara lekar yaheen hamaari 'studio' mein hamaare
> liye aur hamaare sunnewaalon ke liye apni madhur aawaaz mein kuchh
> sunaa den, aapko kareeb se gaate huye sunkar ham samjhenge ki hamaare
> bhaag khul gaye', aur G M Durrani saahab ne gaaya...
>
> -------------------------------------------------
> Ghazal: dil ki kismat mein Gham Gham tumhara hai,
> zindegi kya hai ek sahaara hai (Live in Studio)
> -------------------------------------------------
>
> Sangeet Ke Sitaaron Ki Mehfil ke shehdaaiyon ne abhi abhi puraane
> zamaane ke ek azeem pratinidhi gaayak G M Durrani ka 'interview'
> sunaa aur unki yaadgaar geet bhi sune. baheno aur bhaaiyon, ab aaj ki
> mehfil ka shamaa bujhaane ka waqt aa gaya hai. agli mehfil hote hi
> phir hogi roshni, phir goonjengi sureeli yaaden, to har baar suniyega
> zaroor apne 'radio' hamsafar Ameen Sayani ke saath SANGEET KE
> SITAARON KI MEHFIL.
>
> THE END
>

sabhi sunnewaalon ko Ashok Sonawane ka namaskaar. doston, aaj ke
fankaar ke baare mein ham bas yahi keh sakte hain ki...

Clip: subhanallah subhanallah (Fanaa)

jee haan, Aaj Ke Fankaar kaaryakram aaj kendrit hai gaayak Kailash
Kher par.

Song: o sikandar jhaank le dil ke andar (Corporate)

doston, zameen se uThkar jab koi zarra sitaara ban jaaye to sabhi ko
hairat hoti hai. seedhe saade zameen se juDe Kailash Kher ke saath
bhi yahi huya. jo bhi huya unke saath, mangalmay hi huya.

Song: mangal mangal (Mangal Pandey - The Rising)

doston, kehte hain zindagi ka doosra naam sangharsh hai. Kailash Kher
bhi sangharsh ka hi doosra naam hai. baalaavastha mein woh apne ghar
Meerut se bhaagkar ek guru ki talaash mein Dilli aa pahunche. 15
guruon se milne ke baad woh aaKhirkaar Mumbai aa pahunche. Mumbai
mein aane ke baad unhone Andheri 'railway station' par tamaam raaten
guzaaree. Sufiana gaayak Kailash Kher kartaa raha sangharsh umra bhar
aur unko iska salaam bhi milaa.

Song: allah ke bande (Waisa Bhi Hota Hai)

Kailash Kher ne shuru shuru mein kai vigyaapano ke liye 'jingles'
gaaye hain, jinmein se kai behad lokapriya bhi huye hain. hamaari
filmon mein 'hero' ke 'playback' ke liye jis tarah ki aawaazen lee
jaati hain, Kailash Kher ki aawaaz shaayad waisi naheen hai. lekin
jab bhi kisi film mein kisi charitra ke liye kuchh alag aawaaz ki
zaroorat paDti hai, to sangeetkaar unhi ke paas jaate hain. yahi baat
hamein yaad dilaate hain 70 aur 80 ke dashak ke gaayak Narendra
Chanchal ki. gaayak Kailash Kher ki aawaaz mein is miTTi ki khushboo
hai, jis wajah se woh jo bhi geet gaate hain dil ko chhoo jaate hain.

Song: tere naal zindagi beetawa (

doston, Aaj Ke Fankaar mein aaj aap sun rahe hain gaayak Kailash Kher
ke gaaye gaane. ab zaraa aapko kuchh aise filmon ke naam ginaate hain
jinmein Kailash Kher ne apni aawaaz dee hai. yeh filmein hain -
Swades, Waqt, Khosla Ka Ghosla, Mangal Pandey, Kaal, Fanaa, Andaaz,
Waisa Bhi Hota Hai, Khakee, Dev, Barsaat, Chocolate, Kyunki, Ek
Ajnabee, Dosti, Zinda, Alag, Aap Ki Khatir aur Naqsha. ab jo gaana
ham aapko sunwaane jaa rahe hain usey hamne film Dev se liya hai.
Nida Fazli ka likha huya gaana hai, lekin Kailash Kher ka saath diya
hai Mahua Kamat aur Shraddha Pandit ne bhi, aayiye sunte hain.

Song: rang deeni oDhni (Dev)

aaiye Kailash Kher ke gaaye kuchh aur geeton ki jhalkiyaan sunte
chalen...

Clip: duniya ooT paTaangaa (Khosla Ka Ghosla)
Clip: TooT gaya dil (Waqt)
Clip: rabba ishq na hove (Andaaz)
Clip: barf khushi hai (Ek Ajnabee)

doston, Kailash Kher ki gaayiki Sufiana Dhang ki hai. ab tak unhone
kai oonche makaam haasil keeye hain aur aage bhi karenge. abhi to
unhe pahunchna hai aur oonchaaiyon par, paar karne hain kai aur
kshitij. ham unke ujjwal bhavishya ki mangal kaamna karte hain.

Song: yunhi chalaachal raahi (Swades)

Aaj Ke Fankaar kaaryakram aaj kendrit tha gaayak Kailash Kher par. ab
deejiye Ashok Sonawane ko ijaazat, namaskaar!

THE END