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.

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

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

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 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

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

SANGEET KE SITAARON KI MEHFIL

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

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.

---------------------------------------
Song: man paachhe bhaage (Bhakt Surdas)
---------------------------------------

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".

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

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.

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

------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.

--------------------------------------------------------------------
Song: maine dekhi jag ki reet meet sab jhooTe paD gaye (Sunehre Din)
--------------------------------------------------------------------

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".

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

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...

---------------------
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".

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

------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.

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

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.

-----------------------------------------------
Song: o jaanewaale baalamwa lauT ke aa (Rattan)
-----------------------------------------------

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.

------------------------------------------------------------------
Song: angDaai teri hai bahaana saaf kehdo hamein ke jaana (Rattan)
------------------------------------------------------------------

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.

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

------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

namaskaar, main hoon Shehnaz Akhtari, Aaj Ke Fankaar aaj suniye mere
saath. hamaare Aaj Ke Fankaar hain cine-sangeet jagat ke ek chamakte
sitaare jinki sureelee sangeet ne har dil ko Khushi hi pradaan kee
hai.

Song: aaj se pehle aaj se zyaada khushi (Chitchor)

Yesudas ke aawaaz mein film Chitchor ka yeh geet aapne suna jiske
geetkaar aur sangeetkaar the Ravindra Jain, aur Ravindra Jain hi hain
hamaare Aaj Ke Fankaar.

Song: kau disaa mein leke chala he baTohiya (Nadiya Ke Paar)

Nadiya Ke Paar film ka geet aap sun rahe the Jaspal Singh aur Hemlata
ke aawaaz mein. geet aur sangeet tha Ravindra Jain ka. Ravindra Jain
ne apni pratibhaa se jis sureele sangeet ki rachana kee hai woh amrit
kalash chhalkaati hai, ek sureelee sugandh ko desh ke kone kone mein
bikherti hai. ab suniye Chor Machaye Shor film ka ek geet Kishore
Kumar, Asha Bhosle aur saathiyon ki aawaazon mein, geet likha hai
Indrajit Singh Tulsi ne.

Song: dilwaale dulhaniya le jaayenge (Chor Machaye Shor)

apne guru se shaastriya sangeet ki vidhivat shikshaa lekar jab
Ravindra Jain Kalkatta se Bambai aaye, to unki guru-putri Hemlata se
behad khoobsoorat gaane gawaaye. ek aisa hi khoobsoorat geet Hemlata
ki aawaaz mein ab ham aapko sunwaayenge lekin usse pehle suniye
Ravindra Jain ke baare mein swayam Hemlata se:

Hemlata speaks: Daddu (Ravindra Jain) mere baba ke shishya huya karte
the Kalkatta se. To unke class ke baad woh mujhse apne gaane gawaaya
karte the. Aur woh mujhe har geet ke liye 1 rupay dete the. Pehle 50
paise rate tha (laughs), phir maine 'rate' badhaa diya, barf ke gole
mahenge ho gaye the (laughs). Woh seekhaate the mujhe, unki
bandishen. Jab yahaan aakar mujhe logon ko apni 'voice' sunaani padti
thi, main unhi ke yeh sab gaane gaati thi. Yun to mujhe filmon ke
gaane sab yaad rehte the, Rafi-sahab aur Mukesh-ji ke gaane bhi yaad
hote the, Lataji ke gaano ki to hisaab hi naheen thi. Dada is
industry mein early 70s mein aaye, tab tak 100/150 gaane main gaa
chukee thi.

Song: akhiyon ke jharonkhon se (Akhiyon Ke Jharokhon Se)

Hemlata ke alaawaa Yesu Das ne bhi apne 'career' ke kuchh behad 'hit'
geet gaaye. jaise jaise waqt guzartaa gaya, Ravindra Jain ke sangeet
mein aur nikhaar aata gaya. unki naye naye saazon ki jugalbadion aur
khoobsoorat bolon se log pyar karne lage. unki lokapriyata ke saath
saath unke gaane bhi lokapriyata ke shikhar par pahunche. Raj Kapoor
ki film Ram Teri Ganga Maili mein unke geet avismaraniya ban gaye.
suniye Lata Mangeshkar ki aawaaz mein is film ka unka likha aur
swarbaddha kiya yeh khoobsoorat geet.

Song: tujhe bulaaye yeh meri baahen (Ram Teri Ganga Maili)

behetareen geetkaar aur sangeetkaar hone ke saath saath Ravindra Jain
ke achchhe gaayak bhi hain. unki bahumukhi pratibhaa ke is andaaz ka
bhi ek namoona pesh hai.

Song: saagar ore saagar tu hai kitna baDaa (Madhumalti)

Ravindra Jain ka geet sangeet sadaa-bahaar hai, jo kisi Khushrang
mehendi ki tarah sooni zindagi ko rangeen banaati hai. Aaj Ke Fankaar
mein aaj hamne salaam kee geetkaar sangeetkaar aur gaayak Ravindra
Jain ki pratibhaa ko.

Song: main hoon khushrang henna (Henna)

THE END

RADIO ONE FM 94.3

BBC EK MULAAQAAT WITH SANJEEV SHRIVASTAVA - GHULAM ALI
------------------------------------------------------

GA: Ghulam Ali
SS: Sanjeev Shrivastava

SS: Hi, this is Sanjeev Shrivastava, welcome to BBC Ek Mulaaqaat.
Today, our guest is a personality whose voice is as sweet as honey,
as soft as velvette, the King of Ghazals, the Emperor of Singing,
Ghulam Ali.

GA: Bade Ghulam Ali Khan sahab, Mehdi Hasan sahab, they are the Kings
and emperors, not me.

SS: Welcome Ghulam Ali sahab! How do you feel coming to this show?

GA: When the name itself is BBC, BB or biwi and C after that
(laughs), so it must feel great anyway.

SS: You have got immense popularity across the boders. How do you
feel?

GA: When God gives, He gives in abundance (jab allah deta hai,
chappaD phaaD ke deta hai). I was born in Pakistan's Sialkot. At that
time, there was no road, there was just a canal. I did not go to this
place for a long time now. Not only Indians and Pakistanis, but the
Americans and the British have also listened to my ghazals. They
understand as music does not speak with a language (mausiki ki koi
zabaan naheen hoti, Gair zabaan ko bhi samajh aayegi).

SS: How easy and how difficult has been this profession for you?

GA: It requires knowledge and a lot of practice. One has to
understand which 'sur' to be used where. As for example, in "yeh
tanhaaee ke lamhe", one has to sing the word "tanhaaee" such that it
brings out the feeling of "tanhaaee". Similarly, "phool khilte hain"
expresses happiness, so this happiness should be there in your
singing. Now that I have completed 50 years, so I am more or less
used to all these things now. For me, life is music and music is
life. While travelling, every moment I think of music, classical
music and think of new things. An artiste should not stop at any one
point. To become a good singer, one definitely needs classical
music. "zakhm-e-tanhaaee mein khushboo-e-henna kiski thi", in this
song, I express the word "tanhaaee" very softly (explains by singing).

----------------------------------------------------------------------
--
Song: zakhm-e-tanhaaee mein khushboo-e-henna kiski thi (Non-film
Ghazal)
----------------------------------------------------------------------
--

SS: Which of your contemporary singers are your favourites?

GA: Jagjit has his own style, Hariharan is also very good. There is
no one like Mehdi Hasan sahab.

SS: Let us now listen to a ghazal of Mehdi Hasan sahab which you like
the most.

GA: "zindegi mein to sabhi pyar kiya karte hain, main to marke bhi
tujhe chaahoonga"

------------------------------------------------------------------
Song: zindegi mein to sabhi pyar kiya karte hain (Non-film Ghazal)
------------------------------------------------------------------

SS: You had started your career in Lahore Radio. Tell us about that.

GA: I was 14 years old when I was called for audition. Agha sahab was
the station director. I went for the audition, a red light was
flashing. As you know red light is the sgn of danger, so I was also
afraid, but I was interested equally. As soon as I started singing,
Agha sahab stoped me. I was very nervous an thought that he did not
like my singing. But later I saw that he had written 'excellent' on
my paper. These were very learned people. They understood my calibre
by just listening to my 'aalaap'. He said that he need not listen to
my full song as he knew that a young kid like me cannot sing such
an 'aalaap', so he realized my potential and I got into Radio
Pakistan at a remuneration of Rs 15. In 2 years, I kept on moving up
the ladder in radio and my name started spreading. In the programee
of ghazals, 3 out of 12 ghazals used to be mine. In shaping my
career, there was a big role of Radio Pakistan, there is no doubt
about it.

SS: We have heard that your father made you learn music at an age of
8 years?

GA: He kept my name Ghulam Ali after Bade Ghulam Ali Khan sahab only!

SS: Did Bade Ghulam Ali Khan sahab know that you would one day
enhance his name?

GA: My father badly wanted that I get to learn music under Bade
Ghulam Ali Khan sahab's guidance, so he took me to him and requested
him to make me his 'shagird'. Khan sahab asked, "shaagirdi kyun karte
ho?" My father relied that I was interested in music and he wanted
him to teach me music. Then Khan sahab asked me to sing something. I
sang one of his Thumris. He just smiled, blessed me and said, "kal
tumhaari shaagirdi hogi".

SS: So, are you continueing with this 'ustaad-shaagird' tradition?

GA: No, I am not an ustaad. I am very afraid of saying myself an
ustaad. An ustaad is a very big thing, I am not that big!

SS: Lets now listen to one more of your favourite songs.

GA: You can play Lataji's "bahaaron mera jeevan bhi sanvaaro", I like
this type of songs with feelings.

----------------------------------------------------
Song: bahaaron mera jeevan bhi sanvaaro (Akhri Khat)
----------------------------------------------------

SS: What type of school day memories you have? Any special incident
that you would like to share with us?

GA: I was 7 or 8 years old. I could sing pretty well. So, one day in
the class, I took out my homework and was humming something and
giving rhythm on my knees. The teacher came near me with a stick in
his hand and asked me, "tu gunguna raha raha tha?" I became afraid,
but he was happy and asked me to come to his house after school and
sing at his house. He was Rajendra Singh chacha. I went to his house.
His wife also liked my songs and asked me to come there daily. She
also gave me 5 rupees. My mother became angry as she suspected that I
had stolen that money from somewhere. When I told the reality to her,
she was convinced. I started growing up. My father was so conscous
about my singing that he never let me eat rice. In my 'nanihal',
there used tocultivation of very good quality rice, my mother used to
feed me secretly so that my father didn't know about it.

SS: OK, now which song of yours would you like us to play? Any of
your favourite songs?

GA: I did not sin anything, people have just listened (maine kuchh
gaaya naheen, logon ne suna hai), (sings) "dil mei ek lahar si uThi
hai abhi abhi", its in raag PahaaDi. It is also very important to
have understanding of the raagas. Every ghazal is based on one or the
other classical raagas.

--------------------------------------------------------------
Song: dil mei ek lahar si uThi hai abhi abhi (Non-film Ghazal)
--------------------------------------------------------------

SS: You also compose yor ghazals. is there any special attraction in
it?

GA: Eveybody cannot compose ghazals. One who has knowledge of the
Urdu culture can compose ghazals, composing film songs is totally
different. But good film music directors have also composed some of
the best film ghazals.

SS: Do you have interest in films also?

GA: No, I watch very less films. I liked some of them, like Mughal-e-
Azam, Andaz, Baghban, Sanjeev Kumar's Sholay. Amitabh Bachchan and
Dharmendra were also very nice in holay, but Sanjeev Kumar was at the
top.

SS: Who is your favourite Indian star?

GA: Dilip Kumar, Sanjeev Kumar and Amitabh Bachchan.

SS: have you ever met Dilip Kumar?

GA: Yes, we are just like brothers. He listens to my ghazals.

SS: OK, so lets listen to any of your favourite songs picturised on
Dilip sahab?

GA: "tu kahe agar" from Andaz.

--------------------------
Song: tu kahe agar (Andaz)
--------------------------

SS: What are your hobbies? Interested in cricket like the common
Indians and Pakistanis?

GA: Not really, I only can appreciate the game. Cricket is not my
hobby.

SS: Dont you think people of this subcontinent run too much after
this game?

GA: Yes, "too much" of anything is bad. hen a player performs well,
he is appreciated like anything, but when he fails to do so, peole
starts hating him (kabhi sar par biTha liya, kabhi joote maare).

SS: Why do you think this happens in Indo-Pak?

GA: 'jo bhaagnewaali cheezen hoti hain, unmein utaar-chaaDhaav hoti
hain' (laughs)

SS: Who are your favourite cricketers?

GA: Gavaskar, Imran Khan, Wasim Akram. Imran and Akram are my friends
and fans as well.

SS: Fans?

GA: Yes, Akram, Salim Malik, Miandad, they come to my shows after the
matches. Once Miandad came down to see my show straight from the
stadium without even chaging the clothes, as the show was just to
begin.

SS: What precautions do you take for singing?

GA: I stay away from curd and pickles. My health is like my nose gets
closed, cold overpowers me, so I try to avoid those things that may
worsen my condition. I do yoga of breathing, do not drink cold
drinks. In China, people keep drinking hot water and green tea
throughout the day. Drinking warm water is good for health. I
remember once in China I had taken 16 cups of green tea.

SS: Which are your favourite dishes?

GA: I like chicken and vegetables. I have left mutton due to urc acid
problem. I dont like to eat tasteless food.

SS: OK, so now lets listen to one more of your favourite songs.

GA: Around 38 or 38 years ago, I had recorded this ghazal in Radio
Pakistan. Once Salma Agha called me and got it recorded for her film
Nikaah.

-------------------------------------------------------------
Song: chupke chupke raat din aansoo bahaana yaad hai (Nikaah)
-------------------------------------------------------------

SS: Can you share the most memorable moment of your life?

GA: My mother used to tell me when  was 3 years old, I fell down from
the 3rd floor over a heap of staw. On seeing this, my mother fainted.
Lucking nothing happenned to me, but for my mother, it was a
horrifying incident.

SS: This is memorable incident of your mother, not yours. Tell us
about your memorable moment.

GA: Once I was ginvng an interview in Bonn, Germany. I had recorded
there as per contract. The interview told me that my Urdu doesn't
sound like Urdu, but as if I am singing in German. Then he asked me
what do I feel about the Germa singers. I replied that as it is very
cold in Germany, so the singers sing very strongly, and as ours is a
hot country, so we sing softly and calmly. Then once I had a show in
Boston, USA. The show was at 8 pm, but I could not reach on time.
There was a technical fault in the aircraft from New York to Detroit.
I reached the venue at 9:30 pm when the audience was leaving the hall
cursing me.

SS: Lets listen to one more of your favourite songs. Do you like Rafi
sahab's voice?

GA: I have seen very few such lucky singers. He was so talented and
great. I would choose "bahaaron phool barsaao".

------------------------------------
Song: bahaaron phool barsaao (Suraj)
------------------------------------

SS: Which is your favourite holiday destination?

GA: Australia, Sydney. It is a very peaceful place and very beautiful
as well. You get rivers, bridges, mountains, buildings, malls in the
same place and people are very well-mannered. Canada is also
peaceful, but Australia is the best place I have ever seen.

SS: What message would you liket ive to your listeners?

GA: Please do not forget to listen to good poetry, good music, and
good voices.

SS: Do you think that the interest of people in ghazals is decreasing?

GA: No, I dont think so. Those who are interested continue to have
so. I wont say that interest in ghazals is decreasing.

-----------------------------------------------------
Song: musaafir chalte chalte thak gaya hai, safar jaane abhi kitna
baDa hai (Non-film Ghazal)
------------------------------------------------------

SS: Do you have any strong desire, any strong aspiration today?

GA: I have got so much of love and fame due to my listeners, so much
of blessings from my parents and teachers, that I donot expect
anything more. I am very happy. Whatever is there its enough and
whatever is not there, is not there, thats it!

SS: Thank you very much Ghulam Ali sahab for giving precious time for
our listeners, wish you the all the best!

GA: Thank you very much!

THE END

Audio Courtesy: Ramaswamy & Parag

doston namaste, main hoon Amarkant, aur aaj ham baat karenge
sangeetkaar Snehal Bhatkar ki. hamaari jo aaj ki peeDhee ke shrotaa
hain, jo jawaan hain, woh shaayad is naam se parichit naheen, woh
shaayad is naam ko jaante naheen honge, lekin Bhoole Bisre Geet
kaaryakram ke jo shrotaa hain niyamit roop se, woh is naam se bhalee-
bhaanti parichit honge. unhe yeh naam baDaa pyaara lagta hoga, baDaa
meeTha lagta hoga. kyun lagtaa hoga, uske baare mein baat bas is geet
ke baad.

Song: haal-e-dil unko sunaana tha sunaaya na gaya (Fariyad)

haan to doston, ham baat kar rahe the sangeetkaar Snehal Bhatkar ki.
aur is geet ko sunkar hamaare bahut se doston ko shaayad kuchh kuchh
yaad aaya ho. aur hamne yeh bhi kaha ki hamaare jo Bhoole Bisre Geet
kaaryakram ke shrota hain, woh to zaroor hi Snehal Bhatkar saahab ko
yaad karte honge, unki dhuno ko jaante honge, unki miThaas ko
pehchaante honge. ham aapko bataa den ki Snehal Bhatkar, inkaa poora
naam tha V.D. Bhatkar. Vasu Dev Bhatkar ke naam se woh jaane jaate
the lekin inke saath ek dikkat thi. dikkat yeh ki ek 'recording
company' mein 'service' kiya karte the, lekin sangeet ke baDe
jaankaar the, aur phir khud bhi sangeetkaar banna chaahte the.
sangeetkaar banne ki jo khwaahish thi, iski aaDhe unki naukri aati
thi. isliye unhone B. Vasudev ke naam se unhone sangeet dena shuru
kar diya aur ab aur aage baDhne se pehle doston, ham aapko ek aur
geet sunwaana chaahenge jise sunkar aap sab ko nishchit roop se
Snehal Bhatkar saahab ki yaad aa hi jaayegi.

Song: kabhi tanhaaiyon mein hamaari yaad aayegi (Hamari Yaad Aayegi)

Snehal Bhatkar ki dhune nishchit roop se tanhaaiyon ko sehlaati hain.
Snehal Bhatkar ka janm 17 July 1919 ko Mumbai mein hi huya aur yeh
Mumbai ki Dergaon ilaake mein raha karte the. aur usi dauraan
filmkaar Kidar Sharma se unki mulaaqaat huyi. Kidar Sharma naye
kalaakaaron ko kaafi pryotsaahit karte the, aur yeh mulaaqaat Snehal
Bhatkar ke 'career' ke liye ek bahut achchhi baat saabit huyi, kyunki
iske baad Kidar Sharma ke dimaag mein yeh baat jam gayi ki is
kalaakaar ko mujhe kabhi na kabhi mauka dena hai. yeh mauka unhone
kab diya, kaisa diya, is baare mein ham karenge baat, magar is gaane
ke baad.

Song: aapne huzoor mujhe kya se kya banaa diya (Fariyad)

Kidar Sharma saahab ke umra bhar shukra-guzaar rahe Snehal Bhatkar,
kyunki unke poore 'career' mein adhiktar filmen Snehal bhatkar ne jo
kee, Kidar Sharma saahab ki hi theen. par ab ham baat pehle ki karte
hain, yeh baat hai 1947 ki. yeh woh saal tha ki jab desh aazaad
honewaala tha. doosri taraf Raj Kapoor jaisa baDaa sitaara filmon ki
taraf aane ki tayyaari mein lagaa huya tha. aur us samay Raj Kapoor
Kidar Sharma ke 'assistant' huya karte the. aur isi saal Kidar Sharma
ne Ranjit Studio ki 'banner' tale ek film 'plan' kee - Neel Kamal,
jismein woh Raj Kapoor ko bataur 'hero' lena chaahte the. bas yahi ek
mushkil khaDi ho gayi, kyunki Raj Kapoor isse pehle kabhi 'camera' ke
saamne to aaye naheen the. Ranjit Studio ke maalik us waqt huya karte
the Chandulal Shah, aur unhe yeh baat katai pasand naheen aayi. aur
sirf Raj Kapoor hi naheen, Madhu Bala ko bhi lena chaahte the Kidar
Sharma, aur sangeetkaar ke roop mein unhone Sbnehal Bhatkar ka naam
sujhaaya tha. yeh baaten Chandulal Shah ko pasand naheen aayi. unhone
is film ka virodh kiya. woh naheen chaahte the ki is tarah ka
koi 'risk' liya jaaye. lekin Kidar Sharma to apne dhun ke pakke the.
unhone jab tay kar liya ki is poori 'cast' ko lekar film banaayenge
to unhone film banaaee. yeh film kitni chalee woh ek alad mudda hai
lekin yeh ek baat itihaas mein hamesha ke liye darj ho gayi ki Raj
Kapoor jaisa baDaa sitaara jab rupahle parde pe aaya to sabse pehle
unke liye sangeet diya Snehal Bhatkar ne. yeh koi kam baat naheen hai
doston.

Song: ho ji main kya boloon sarkaar, mujhe aa gaya uspe pyar (

doston, aayiye ab baat karte hain jaani-maani abhinetri Nutan ki. ji
haan, Shobhna Samarth ki beTi Nutan. ab aap soch rahe honge ki
sangeetkaar Snehal Bhatkar ke kaaryakram mein Nutan ka zikr kyun!
uski wajah hai doston. Shobhna Samarth, jo apne zamaane ki jaanimaani
abhinetri rahi hain woh filmen bhi banaati theen, nirmaatri bhi
theen. aur unhone jab apni beTi Nutan ko filmon mein 'launch' karne
ke baaremein socha to ek film 'plan' kee Hamari Beti. yeh baat hai
san 1950 ki. aur is film ke liye jis sangeetkaar ka chunaav kiya gaya
woh the Snehal Bhatkar.

Song: dekho dekh raha tha papeeha (Fariyad)

doston, 50 ke dashak ki baat hai. us daur mein sangeetkaar jaise
Shankar Jaikishan, O P Nayyar jaise sangeetkaar apne dhuno ke kamaal
dikhaa rahe the aur yahi woh daur tha kab Snehal Bhatkar bhi apna
sangeet logon tak pahuncha rahe the, lekin Snehal Bhatkar ka jo
sangeet tha, woh pashchimi sangeet se zyaada prabhaavit naheen tha,
ya seedhee seedhee baat kahen ki pashchimi sangeet ka woh asar unke
sangeet mein nazar naheen aata tha, sunaaee naheen deta tha, jo
Shankar Jaikishan aur O P Nayyar jaise sangeetkaaron ne istemaal
karna shuru kar diya tha. aur jo dhune huya karti thi, jo gati huya
karti thi, unke saamne Snehal Bhatkar ke sangeet mein woh baat nazar
naheen aati thi, aur dheere dheere Snehal Bhatkar gumnaami ke andhere
mein khote chale gaye, lekin ek baat bataana zaroori hai ki Shobhna
samarth jinhone Snehal Bhatkar ko Hamari Beti mein mauka diya tha,
unhone apni chhoTi beTi Tanuja ko 'launch' karne ke liye jo Chhabili
film ka nirmaan kiya 1960 mein, to ek baar phir unhone Snehal Bhatkar
ke naam ka hi chunaav kiya. to yeh baat hoti hai vishvaas ki, yeh
baat hoti hai bharose ki, aur yeh baat hoti hai sangeet ko jaanne ki,
samajhne ki aur usse lagaav ki. kuchh filmon ke baare mein Snehal
Bhatkar ki aapko jaldi se bataa den, 1948 mein aayi film Suhag Raat,
1947 mein Meera, 1950 ki Hamari Beti ke baare mein hamne aapko
bataaya, aur isi saal ek film aayi thi Pagle, jismein ek gaana
tha "kyun shikwa karen, kyun aah bharen" jismein Mukesh, Talat
Mahmood aur Khan Mastana ki aawaazen theen, aur 1951 mein Bhola
Shankar, aur bahut hi zabardast hit film thi Hamari Yaad Aayegi 1961
mein, Faryaad, jiska geet abhi hamne aapko sunwaaya 1964 mein aayi,
1980 mein aayi Pehla Kadam, 1989 mein aayi Pyase Nain aur 1994 mein
Sehme Sitare. yaani abhi kuchh saal pehle tak Snehal Bhatkar ka
sangeet goonjta raha hai lekin aaj ki taareekh mein Snehal Bhatkar
saahab film sangeet se bahut door hain, lekin unka sangeet hamse door
naheen hai, woh sadaa hamaare saath rehta hai. Snehal Bhatkar saahab
bhale gumnaami ke andheron mein kho gaye hon lekin unka sangeet na
khoya hai na khoyega.

Song: farishton ki nagri mein main aa gaya hoon (Hamari Yaad Aayegi)

to doston yeh tha Aaj Ke Fankaar kaaryakram jo kendrit tha
sangeetkaar Snehal Bhatkar par. ab Amarkant ko ijaazat deejiye,
namaste!

THE END

Yes Anup, I keep banning and removing members as and when I see
those spam posts.
Sujoy

--- In vividhbharati@..., Anup Manchalwar
<anupmanchalwar@...> wrote:
>
> Sujoy...please check the unwanted members in the group. Some guys
are making menance by posting spams.
>
>
>
>
>
> Anup Manchalwar,
> Senior Analyst,
> Cbay Systems (India) Pvt. Ltd.,
> SP Infocity, Fursungi,
> Pune - 412 308
>
>
> Lata Mangeshkar Fan Club
>
>
>
> ----- Original Message ----
> From: soojoi_india <soojoi_india@...>
> To: vividhbharati@...
> Sent: Thursday, March 15, 2007 7:34:15 PM
> Subject: [vividhbharati] Aaj Ke Fankaar - Snehal Bhatkar
>
> Audio Courtesy: Ramaswamy & Parag
>
> doston namaste, main hoon Amarkant, aur aaj ham baat karenge
> sangeetkaar Snehal Bhatkar ki. hamaari jo aaj ki peeDhee ke
shrotaa
> hain, jo jawaan hain, woh shaayad is naam se parichit naheen, woh
> shaayad is naam ko jaante naheen honge, lekin Bhoole Bisre Geet
> kaaryakram ke jo shrotaa hain niyamit roop se, woh is naam se
bhalee-
> bhaanti parichit honge. unhe yeh naam baDaa pyaara lagta hoga,
baDaa
> meeTha lagta hoga. kyun lagtaa hoga, uske baare mein baat bas is
geet
> ke baad.
>
> Song: haal-e-dil unko sunaana tha sunaaya na gaya (Fariyad)
>
> haan to doston, ham baat kar rahe the sangeetkaar Snehal Bhatkar
ki.
> aur is geet ko sunkar hamaare bahut se doston ko shaayad kuchh
kuchh
> yaad aaya ho. aur hamne yeh bhi kaha ki hamaare jo Bhoole Bisre
Geet
> kaaryakram ke shrota hain, woh to zaroor hi Snehal Bhatkar saahab
ko
> yaad karte honge, unki dhuno ko jaante honge, unki miThaas ko
> pehchaante honge. ham aapko bataa den ki Snehal Bhatkar, inkaa
poora
> naam tha V.D. Bhatkar. Vasu Dev Bhatkar ke naam se woh jaane jaate
> the lekin inke saath ek dikkat thi. dikkat yeh ki ek 'recording
> company' mein 'service' kiya karte the, lekin sangeet ke baDe
> jaankaar the, aur phir khud bhi sangeetkaar banna chaahte the.
> sangeetkaar banne ki jo khwaahish thi, iski aaDhe unki naukri aati
> thi. isliye unhone B. Vasudev ke naam se unhone sangeet dena shuru
> kar diya aur ab aur aage baDhne se pehle doston, ham aapko ek aur
> geet sunwaana chaahenge jise sunkar aap sab ko nishchit roop se
> Snehal Bhatkar saahab ki yaad aa hi jaayegi.
>
> Song: kabhi tanhaaiyon mein hamaari yaad aayegi (Hamari Yaad
Aayegi)
>
> Snehal Bhatkar ki dhune nishchit roop se tanhaaiyon ko sehlaati
hain.
> Snehal Bhatkar ka janm 17 July 1919 ko Mumbai mein hi huya aur yeh
> Mumbai ki Dergaon ilaake mein raha karte the. aur usi dauraan
> filmkaar Kidar Sharma se unki mulaaqaat huyi. Kidar Sharma naye
> kalaakaaron ko kaafi pryotsaahit karte the, aur yeh mulaaqaat
Snehal
> Bhatkar ke 'career' ke liye ek bahut achchhi baat saabit huyi,
kyunki
> iske baad Kidar Sharma ke dimaag mein yeh baat jam gayi ki is
> kalaakaar ko mujhe kabhi na kabhi mauka dena hai. yeh mauka unhone
> kab diya, kaisa diya, is baare mein ham karenge baat, magar is
gaane
> ke baad.
>
> Song: aapne huzoor mujhe kya se kya banaa diya (Fariyad)
>
> Kidar Sharma saahab ke umra bhar shukra-guzaar rahe Snehal
Bhatkar,
> kyunki unke poore 'career' mein adhiktar filmen Snehal bhatkar ne
jo
> kee, Kidar Sharma saahab ki hi theen. par ab ham baat pehle ki
karte
> hain, yeh baat hai 1947 ki. yeh woh saal tha ki jab desh aazaad
> honewaala tha. doosri taraf Raj Kapoor jaisa baDaa sitaara filmon
ki
> taraf aane ki tayyaari mein lagaa huya tha. aur us samay Raj
Kapoor
> Kidar Sharma ke 'assistant' huya karte the. aur isi saal Kidar
Sharma
> ne Ranjit Studio ki 'banner' tale ek film 'plan' kee - Neel Kamal,
> jismein woh Raj Kapoor ko bataur 'hero' lena chaahte the. bas yahi
ek
> mushkil khaDi ho gayi, kyunki Raj Kapoor isse pehle kabhi 'camera'
ke
> saamne to aaye naheen the. Ranjit Studio ke maalik us waqt huya
karte
> the Chandulal Shah, aur unhe yeh baat katai pasand naheen aayi.
aur
> sirf Raj Kapoor hi naheen, Madhu Bala ko bhi lena chaahte the
Kidar
> Sharma, aur sangeetkaar ke roop mein unhone Sbnehal Bhatkar ka
naam
> sujhaaya tha. yeh baaten Chandulal Shah ko pasand naheen aayi.
unhone
> is film ka virodh kiya. woh naheen chaahte the ki is tarah ka
> koi 'risk' liya jaaye. lekin Kidar Sharma to apne dhun ke pakke
the.
> unhone jab tay kar liya ki is poori 'cast' ko lekar film
banaayenge
> to unhone film banaaee. yeh film kitni chalee woh ek alad mudda
hai
> lekin yeh ek baat itihaas mein hamesha ke liye darj ho gayi ki Raj
> Kapoor jaisa baDaa sitaara jab rupahle parde pe aaya to sabse
pehle
> unke liye sangeet diya Snehal Bhatkar ne. yeh koi kam baat naheen
hai
> doston.
>
> Song: ho ji main kya boloon sarkaar, mujhe aa gaya uspe pyar (
>
> doston, aayiye ab baat karte hain jaani-maani abhinetri Nutan ki.
ji
> haan, Shobhna Samarth ki beTi Nutan. ab aap soch rahe honge ki
> sangeetkaar Snehal Bhatkar ke kaaryakram mein Nutan ka zikr kyun!
> uski wajah hai doston. Shobhna Samarth, jo apne zamaane ki
jaanimaani
> abhinetri rahi hain woh filmen bhi banaati theen, nirmaatri bhi
> theen. aur unhone jab apni beTi Nutan ko filmon mein 'launch'
karne
> ke baaremein socha to ek film 'plan' kee Hamari Beti. yeh baat hai
> san 1950 ki. aur is film ke liye jis sangeetkaar ka chunaav kiya
gaya
> woh the Snehal Bhatkar.
>
> Song: dekho dekh raha tha papeeha (Fariyad)
>
> doston, 50 ke dashak ki baat hai. us daur mein sangeetkaar jaise
> Shankar Jaikishan, O P Nayyar jaise sangeetkaar apne dhuno ke
kamaal
> dikhaa rahe the aur yahi woh daur tha kab Snehal Bhatkar bhi apna
> sangeet logon tak pahuncha rahe the, lekin Snehal Bhatkar ka jo
> sangeet tha, woh pashchimi sangeet se zyaada prabhaavit naheen
tha,
> ya seedhee seedhee baat kahen ki pashchimi sangeet ka woh asar
unke
> sangeet mein nazar naheen aata tha, sunaaee naheen deta tha, jo
> Shankar Jaikishan aur O P Nayyar jaise sangeetkaaron ne istemaal
> karna shuru kar diya tha. aur jo dhune huya karti thi, jo gati
huya
> karti thi, unke saamne Snehal Bhatkar ke sangeet mein woh baat
nazar
> naheen aati thi, aur dheere dheere Snehal Bhatkar gumnaami ke
andhere
> mein khote chale gaye, lekin ek baat bataana zaroori hai ki
Shobhna
> samarth jinhone Snehal Bhatkar ko Hamari Beti mein mauka diya tha,
> unhone apni chhoTi beTi Tanuja ko 'launch' karne ke liye jo
Chhabili
> film ka nirmaan kiya 1960 mein, to ek baar phir unhone Snehal
Bhatkar
> ke naam ka hi chunaav kiya. to yeh baat hoti hai vishvaas ki, yeh
> baat hoti hai bharose ki, aur yeh baat hoti hai sangeet ko jaanne
ki,
> samajhne ki aur usse lagaav ki. kuchh filmon ke baare mein Snehal
> Bhatkar ki aapko jaldi se bataa den, 1948 mein aayi film Suhag
Raat,
> 1947 mein Meera, 1950 ki Hamari Beti ke baare mein hamne aapko
> bataaya, aur isi saal ek film aayi thi Pagle, jismein ek gaana
> tha "kyun shikwa karen, kyun aah bharen" jismein Mukesh, Talat
> Mahmood aur Khan Mastana ki aawaazen theen, aur 1951 mein Bhola
> Shankar, aur bahut hi zabardast hit film thi Hamari Yaad Aayegi
1961
> mein, Faryaad, jiska geet abhi hamne aapko sunwaaya 1964 mein
aayi,
> 1980 mein aayi Pehla Kadam, 1989 mein aayi Pyase Nain aur 1994
mein
> Sehme Sitare. yaani abhi kuchh saal pehle tak Snehal Bhatkar ka
> sangeet goonjta raha hai lekin aaj ki taareekh mein Snehal Bhatkar
> saahab film sangeet se bahut door hain, lekin unka sangeet hamse
door
> naheen hai, woh sadaa hamaare saath rehta hai. Snehal Bhatkar
saahab
> bhale gumnaami ke andheron mein kho gaye hon lekin unka sangeet na
> khoya hai na khoyega.
>
> Song: farishton ki nagri mein main aa gaya hoon (Hamari Yaad
Aayegi)
>
> to doston yeh tha Aaj Ke Fankaar kaaryakram jo kendrit tha
> sangeetkaar Snehal Bhatkar par. ab Amarkant ko ijaazat deejiye,
> namaste!
>
> THE END
>
>
>
>
>
>
>
_____________________________________________________________________
_______________
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> with Yahoo! Mail for Mobile. Get started.
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>

Even though I came to know of this event rather late, I was able to
book my ticket for the programme and attend it altogether in a
single day. I purchased Balcony seats early morning and rushed back
to my office by around 1 P.M.

The programme was in the evening. I left my office by around 6 P.M.
Thanks to a colleague who offered me a lift up to the station. She
was however little bit surprised that I was going all alone.

I reached the Auditorium by around 7 P.M. It took some five more
minutes before I had occupied my seats. The curtains were there
still so I was not that late. Just ahead of me a person was sitting.
I casually asked him If Manna Dey had arrived. He looked rather
surprised. He said that obviously he must have come. As we started
talking Perry, for that was his name said that he was in two minds
while coming to this event, whether to attend or not? He did
consider Manna Dey the only living legend so this must be
worthwhile. Perry has some talent. He takes notes and makes tunes.

I glanced across the stage. Still the Curtains were there. There
were some video songs played of his on the Video screen. Songs
included Professor, Awaara, Love & God, Raat Aur Din, Shree 420,
Ujala, Bawarchi and Waqt.

Then there was an announcement that Manna Dey had arrived. Then
Khurana Saab, who has been accompanying Manna Dey in all his
programmes, came to take centre stage when the Curtains were drawn
finally. He introduced us to Shailaja Subramaniam who was going to
sing some songs before Manna Dey would take over.

Shailaja started with `Raina Beethi Jaayein'. Then went on to
sing `Yeh Hain Reshmi Zulfon Ka Andheraa' and `Kuch Dil Ne
Kahaan' .This was followed by the introduction of another singer,
this time a male—Rana Chatterjee. He started with `Aa Chalke Tujhe
Main Leke Chalun' and then sang `Mohabbat Zinda Rehti Hain'.

Then Khurana Saab announced the arrival of the Legend, Manna Dey.
All rose to give him a thundering applause. Manna Dey seated himself
on a cushion with a harmonium in front of him. He started with `Bhay
Banjana Vandana Sun Hamaari'. Before singing, the song Manna Dey had
mentioned that he would start with some songs then will sing some
audience choices. Luckily, for me, even before I could think whether
I would be able to listen to one of my favourite songs, I was
pleasantly surprised when he mentioned about Kanu Roy and how he had
died in a very young age. He then sang `Hansne Ki Chaah Ne'.
Followed by `Phool Gendwa Na Maaro', `Jhanak Jhanak Tori Baaje
Payaliya', `Abhi Tho Haath Mein Jaam Hain', `Aye Meri Zohra Zabeen'.

The one non-film song he sung was `O Sajni, Sajni, Nathni Se'.

Then Sheela, another female singer accompanied Manna Dey in singing
some duets such as `Sochke Yeh Gagan Jhoome', `Dil Ki Girah Khol
Do', `Main Tere Pyar Main' before stopping for an interval.

Anil Trivedi the organizer announced the intermission. Post interval
Sheela Verma came on to sing songs `Rasm-E-Ulfat Ko', `In Aankhon Ke
Masthi Ke' and `Waqt Ne Kiya Kya Haseen Situm'. Then Anil Trivedi
called the Guest of Honour Mr. Nautiyal on to the stage. He
mentioned that Manna Dey had sung for as many as 19 languages and
overall 2,500 songs.

After that, Anand Daulat felicitated him with a shawl and bouquet of
flowers. When the felicitation was over Manna Dey resumed with his
songs. He sang some verses of `Madhushaala'. On request from some of
the Bangla audience, he sang one Bangla number, which had lyrics by
Pulok Banerjee. It went something like `Tumi Ek Jhot Ne'.

He followed this song with `Poocho Na Kaise Maine Rain', `Aayo
Kahaan Se Ghanshyam', `Laaga Chunri Mein Daag', and finally `Aye
Mere Pyare Watan', which was the last song.

Anil Trivedi then came along to mention the names of the members of
the musical troupe.  Mahendra Gokhale was on the synthesizer, Guitar
by Richard, Tabla by Indranath Mukherjee, Dholak by Shyam and Side
Rhythm by Waman Kohli.

I returned home remembering an evening well spent.

2004

hamaare desh ke rakhvaale, pyaare fauji bhaaiyon ko Jagjit Singh ka
namaskaar, salaam, satsri-akaal, ham log aap ke bahut aabhaari hain,
ki aap hi kee vajah se hamaari seemaaen surakshit hain, aur ham chain
ki neend sote hain. aaj main aapko sangeet ki duniya mein le
jaayunga, aur uske alag-alag roop se vaaqif karavaayunga. sabse pehle
suniye Maine Pyar Kiya, Lata-ji ki aavaaz mein...

Song: dil deewana bin sajnaa ke maane naa (Maine Pyar Kiya)

mujhe yaqeen hai ki is geet ko sunkar aapko kisi na kisi se pyaar ho
jaayega, aur jab ho jaayega to aap ka dil gaayega yeh geet...

Song: yeh tera ghar yeh mera ghar (Saath Saath)

Saath Saath film ke is Khoobsoorat geet ka sangeet banaayaa tha
Kuldip Singh-ji ne, aur likhaa thaa Javed-bhai ne. Kuldip Singh-ji ke
saath kaam karne ka ek aur maukaa milaa film Phir Hogi Barsaat mein,
jiske geet likhe the Faaqir-saahab ne. jab teen Punjabi mile to ek
bahut Khoobsoorat cheez ban gayi...

Song: na mohabbat na dosti ke liye vaqt rukta naheen kisi ke liye
(Phir Hogi Barsaat)

kuchh puraani yaaden baar-baar ubharkar saamne aa jaati hain. aur
ajeeb baat yeh hai ki inse koi na koi puraana gaanaa juDaa rehta hai.
maine jab bachpan Khatm karke sangeet seekhne ki shuruwaat kee, to ek
aisa hi gaana maine sunaa. Rustom Sohrab film ka yeh gaana hai,
sangeet hai 'music director' Sajjad-saahab kaa, aur aawaaz dee hai
Lata-ji ne...

Song: ae dilruba nazren milaa (Rustom Sohrab)

kuchh samay pehle tahalkaa machaa diyaa thaa, magar geet ne naheen,
sirf 'oye oye' ne...

Song: oye oye...tirchhi Topiwaale (Tridev)

'oye oye' - sunne mein jaise koi Punjabi geet hai. mujhe pataa hai
aap log ab ek Punjabi geet sunne ke liye taiyaar hain.
lekin 'please', ise zaraa shaanti se sun lo, uThkar thoDaa-saa
naachnaa chaaho to naach lo, magar seeTee mat bajaanaa!

Song: saare pinD chup aaDe paaye, haay ni tere gore rang ne (Non-film)

dekhiye, jis baat ka manaa kiyaa tha, woh to aapne kar hi dee, seeTee
to bajaa hi dee na! ab film Razia Sultan ka yeh geet suniye - 'ae dil-
e-naadaan' - Khayyam-saahab ne jitni achchhi dhun banaaee hai, Lata-
ji ne utnaa hi achchhaa gaaya hai. suniye yeh 'haunting melody'...

Song: ae dil-e-naadaan (Razia Sultan)

ho saktaa hai aaj kaa yeh 'programme' meri biwi bhi sun raheen hon.
agar unka gaana naheen sunaaya to ghar mein khaana naheen milegaa.
leejiye film Ravan ka geet suniye, jismein Sudarshan Faaqir ke bol
hain, dhun taiyyaar kee hai maine, aur gaayaa hai, Chitra-ji ne...

Song: mohe aaj na dekho harjaaee main ghar pe chunariya bhool aayi
(Ravan)

leejiye suniye Ghazal jiska meri zindagi se lambaa rishtaa hai. yeh
Ghazal hamaari pehli 'LP' mein aayi thi, 1976 mein, aur yeh
baDee 'popular' bhi huyi thi, magar jaldi-jaldi naheen, aahistaa
aahistaa...

Song: sarakti jaaye hai ruKh se naqaab, aahistaa aahistaa (Non-film)

jaise har aaGhaaz kaa ek anjaam hotaa hai, har din ki shaam hoti hai,
usi tarah is 'programme' kaa bhi Khatm hone ka waqt aa gayaa hai.
jaate-jaate Mir kaa ek sher yaad aataa hai - 'ab to jaate hain
maiqade se 'Mir', phir milenge, gar Khudaa laayaa to'.

THE END

doston swaagat hai aapka Aaj Ke Fankaar mein, aap sabhi ko Ajay Joshi
ka namaskaar! har baar ki tarah kuchh nayaa, kuchh jaana-pehchaana,
jee naheen, ham kisi jaane-maane geetkaar, ya sangeetkaar ya phir
nirdeshak ki baat naheen kar rahe hain aaj. hamaare Aaj Ke Fankaar
hain apni Asha, hamaari Asha, aapki Asha, yaani paarshwagaayika Asha
Bhosle.

Song: hanste milaa na karo jaani tum unse (Non-film)

yeh woh maKhmalee aawaaz hai, jaani pehchaanee si, kuchh nayee kuchh
puraani si, kabhi komal kabhi buland si. aawaaz wohi par andaaz
nayaa, kuchh is tarah...

Song: kabhi to nazar milaao (Non-film)

yaa phir aisa bhi ke sakte hain ki 'its an experimental voice'.
Ashaji ko ek 'melodious' aur 'versatile singer' banaane mein jinkaa
sabse baDaa haath tha woh the sangeetkaar R D Burman. ek unke sangeet
ka jaadoo, us par Ashaji ki aawaaz ka pehra!

Song: elo tum to dillagi mein gussa ho gaye jaani (Non-film)

Ashaji ki aawaaz aur andaaz sirf Hindustan mein hi naheen, videshon
mein bhi Khoob lokpriya huya. haal mein unhone kai videshi 'bands' ke
saath milkar 'pop albums' mein gaane gaaye hain, jo duniya bhar mein
Khoob sune gaye.

Song: meri nigaah chhalakta huya hai paimaana (Non-film)

Ashaji ki aawaaz ke liye sangeetkaar aur filmkaar aaj bhi aamaada
rehte hain. haal hi mein film Page 3 ke ek gaane ke liye Ashaji ki
aawaaz ko chuna gaya. lekin Ashaji do maheenon ke liye videsh gayi
huyi theen. isliye is geet ke 4 alag alag 'tracks' banaakar Ashaji ko
bhej diya gaya aur Ashaji ne binaa kisi sangeetkaar ke madad ke geet
ko 'record' karwaa kar bhijwa diya. jaante hain na film Page 3 ka woh
gaana kaun sa tha huzoor-e-aala? filhaal aap suniye yeh gaana...

Song: jaanam samjhaa karo (Non-film)

aur phir aayi 'album' Asha & Friends jismei unhone Sanjay Dutt aur
Urmila matondkar ke saath gaane gaaye. yaani is umra mein bhi naye
prayog, kuchh naya gaane ka, kuchh naya kar guzarne ka junoon.

Song: koi deeya jale kahin (Non-film)

aur doston, aanewaala waqt hi bataayega ki aapki yeh Asha apni
sureelee hunar ke aur kaun kaun se rang dikhlaayengi. hamein aur aap
sabhi ko iska intezaar rahega. ab deejiye apne dost Ajay Joshi ko
ijaazat, namaskaar!

Song: aankhon ko intezaar tha deke hunar chala gaya (Non-film)

THE END

Dear all,

As some of you might have already come to know that M. Iqbal of
Cochin, one of our friends and an ardent lover of old film music,
whose writeups and posts about HFM in various yahoo groups have given
us priceless information over the years, is no more among us. He was
also a true Vividh Bharati fan, who had once shown his concern about
AIR Cochin not relaying Bhoole Bisre Geet of 7 am, and finally got it
relayed.

Let us all pray for his soul rest in peace.

Below is the last mail that he had posted in this group.

Sujoy


--- In vividhbharati@..., "M. Iqbal"
<m_iqbal_kochi@...> wrote:
>
>
>
>
> Friends,
>
> Poovili poovili ponnonamaayi nee varu neevaru ponnona thumbi...
>
> (Flowers, they call us, golden Onam...Oh, golden fly
> you come up...)
>
> This was a very beautiful Onam Chorus composed by Salil
> Chowdhury Da!
>
> Onam is the Festival of Kerala. It is celebrated by all,
> despite any consideration religion, caste or creed.
> Onam has the beautiful nostalgia of a period, whereupon
> every body was equal, when the King Mahabali ruled Kerala.
> There was no theft, no corruption, no lying! King Mahabali,
> who honestly kept his promise to Vamanan, allowed him to
> measure three paces of space. For two paces Vamanan measured
> the whole universe and heaven. There was no pace for the
> third measure. Then Mahabali showed his own head and Vamanan
> pushed upon his head to the Pathaala, the Dungeon. Vamana
> asked for any Boon. Mahabali replied, "I want to visit the
> country every year, to see them..." The day Mahabali visits
> the country is Onam. On onam, flower arrangements are done
> with burning lamp infront of houses and instituitions. Onam
> Thumbi, Onam Nilavu (moon), Onam pookkal (flowers), Onam
> OOnjaal (swinging), Onappattu (songs) and above all the
> flowery landscape cherishing the memory of Oneness and Welfare
> of people greet Mahabali.
>
> For Keralites, I do wish all friends of our Group, a very
> happy Onam...
>
> Regards,
>
> M.Iqbal, Cochin
>

Vividh Bharati ke doston, namaskaar Yunus Khan ki or se.

Clip: chori chori jab nazren mili (Kareeb)

Aaj Ke Fankaar kaaryakram mein aaj baaten ek shaayar aur geetkaar ki.

Clip: bommbhro boombhro (Mission Kashmir)

ek geetkaar jinke geeton mein hai naazuki aur pyar ka shiddat bharaa
ahsaas.

Clip: chura lo na dil mera sanam (Kareeb)

to aaiye aaj karen baaten Rahat Indori ki.

Song: koi jaaye to le aaye (Ghatak)

Rahat Indori lambe samay se filmon mein geet likh rahe hain. lekin
usse bhi pehle se woh apne ashaar ke liye mashoor ho chuke the. aaj
bhi Rahat Indori mushaayron ki jaan hain.

Clip: aajkal aajkal dil mein ek duniya basee hai (Tamanna)

jaisa ki ham aapko bataa chuke hain Rahat Indori pehle shaayar hain
aur baad mein geetkaar. lambe samay tak Rahat Indori Indore mein
Hindi ke 'professor' reh chuke hain.

Clip: meri chaahaton ka samundar to dekho (Jurm)

Rahat Indori ka bachpan kaafi sangharshmay raha. chhoTe mote kaam
karke unhone apni paDhaai poori kee, saahitya mein snaatakottar bane
aur phir aa gaye paDhaai ki hi duniya mein, yaani ki we
bane 'professor'.

Clip: hamesha hamesha tu dil mein rahega (Hamesha)

Rahat Indori ki pehli kitaab thi Dhoop Dhoop. uske baad aaya unke
rumaani ghazlon ka sangrah Rut shirshak se. Rahat Indori ki
falsafaaee jhukaav ke sangrah ka naam hai 'Mere Baad' aur unke taaze
sangrah ka naam hai 'Paanchwa Darvesh'.

Clip: tum juda hokar hamein aur pyaare ho gaye (Mitwa - Nonfilm)

Rahat Indori ko khyaati milee film Kareeb ke naghmon se...

Clip: haan judaai se Darta hai dil (Kareeb)

isi tarah Mission Kashmir ke geeton ne bhi Rahat Indori ko ek
kaamyaab geetkaar banaa diya...

Clip: dhuyaan dhuyaan (Mission Kashmir)

Roop Kumar Rathod aur Sonali Rathod ki 'album' Mitwa mein Rahat
Indori ne kuchh naghmein likhe the.

Clip: kal raat mein phir khwaab mein (Mitwa - Nonfilm)

aaiye ab sune Jagjit Singh ki aawaaz mein Rahat Indori ka
kalaam, 'album' ka naam hai 'In Search'

Clip: dosti jab kisi se kee jaaye (In Search - Nonfilm)

sangeetkaar Anu Malik aur Rahat Indori ka lambaa saath raha. is joDi
ne banaaye kuchh bemisaal naghmein.

Clip: tujhe pyar karte karte (Najaayaz- Alka Yagnik)

aaiye, is joDi ke kuchh aur naghmon par nazar Daalen...

Clip: ham tumse mohabbat karte na karte to mar jaate (

film Tamanna...

Clip: yeh kya huya yeh kyun huya (Tamanna)

film Hamesha...

Clip: ae dil hamein itna bataa (Hamesha)

film The Gentleman...

Clip: ham apne Gham ko sajaakar bahaar kar lenge (The Gentleman)

film Ghatak...

Clip: koi jaaye to le aaye (Ghatak)

film Auzaar...

Clip: I love you (Auzaar)

film Daraar...

Clip: yeh pyar pyar kya hai (Daraar)

film Najaayaz...

Clip: tujhe pyar karte karte (Najaayaz- Sonu Nigam)

Aaj Ke Fankaar kaaryakram aaj kendrit tha shaayar aur geetkaar Rahat
Indori par. ab apne is dost Yunus Khan ko deejiye ijaazat, namaskaar!

THE END

hamaare Aaj Ke Fankaar hain film jagat ki suprasiddha paarshwa-
gaayika Alka Yagnik.

Song: mere angane mein tumhara kya kaam hai (Lawaris)

shrotaaon, sangeetkaar Kalyanji Anandji ke sangeet nirdeshan mein
film Lawaris ka yehi woh gaana tha jise Alka Yagnik ka pehla safal
geet kahaa jaa sakta hai, haalaanki Alkaji ne pehli baar san 1979
mein Rajashree Productions ki film Payal Ki Jhankaar ke ek geet mein
kuchh panktiyaan gaayi theen. Unka pehla full fledged gaana tha Basu
Chatterjee ki film Hamari Bahu Alka ka ek 'duet' gaana jismein unke
sehgaayak the Amit Kumar aur sangeetkaar the Rajesh Roshan. Rajesh
Roshan ke hi sangeet nirdeshan mein Alka Yagnik ne Kishore Kumar ke
saath milkar film Kamchor ka yeh lokapriya geet gaaya tha.

Song: tumse baDhkar duniya mein (Kamchor)

shrotaaon, jab Alka Yagnik film sangeet sansaar mein kadam rakhne ka
nishchay kiya, us waqt is kshetra mein Lataji aur Ashaji jaise choTee
ki gaayikaaen raaj kar rahi theen. aise mein kisi nayi gaayika ke
liye apni ek alag pehchaan banaana behad mushkil kaam tha. apni
mehnat, lagan aur dhairya se Alka Yagnik ne kaam liya aur phir woh
din aa hi gaya jiska unhe besabri se intezaar tha.

Song: ek do teen (Tezaab)

is geet ke baad aur phir Qayamat Se Qayamat Tak film ke geeton ke
baad Alka Yagnik ko kabhi peechhe muDkar dekhne ki zaroorat naheen
paDee. aaj bhi unki aawaaz mein wohi taazgee barkaraar hai. aaj woh
apni sangeet safar ke 25 saal poori kar chukee hain aur is dauraan
unhone har tarah ke geet gaate huye apni paripakwataa ka pramaaN diya
hai. film sangeet ke badalte mizaaj ko apnaaya hai unhone
bhalibhaanti. 'loud expression' waale gaano se lekar 'soft melodious'
gaane kya Khoob gaati hain woh. ekal geeton ke saath saath doosre
kalaakaaron ke saath gaaye unke yugal geet bhi utne hi lokapriya
hain, ek namoona pesh hai.

Song: oDhni oDh ke naachoon (Tere Naam)

Alka Yagnik ne sargam ki jo oDhni oDheen hain woh sirf is desh mein
hi naheen balki pardes mein bhi fehra rahi hain. kai puraskaar unhe
mile hain, Alkaji kaamyaabi ki aur bulandiyon ko chhuyen, yahi
hamaari shubhkaamnaa hai unke liye. Alkaji ko janamdin ki Dher saari
shubhkaamnaayen Vividh Bharati parivaar ki taraf se.

Song: sapnon ka shahar ho (Sehar)

hamaare Aaj Ke Fankaar the film jagat ki suprasiddha paarshwa-gaayika
Alka Yagnik. ab deejiye ijaazat, namaskaar!

THE END

SANGEET KE SITAARON KI MEHFIL

AMEEN SAYANI'S PROGRAMME ON ANIL BISWAS
---------------------------------------
***************************************

Sangeet Ke Sitaaron Ki Mehfil mein phir ek baar jal uThe sureelee
bhaavnaaon ke charaaG aur baheno aur bhaaiyon, aapke aane se aur
chaar chaand lag gaye is mehfil mein. aur baheno aur bhaaiyon, ab
aapka 'radio' dost Ameen Sayani aapse guzaarish karta hai ki aap apne
dhaDkanon par kaabu rakhiye kyunki aaj Sangeet Ke Sitaaron Ki Mehfil
mein aisa 'interview' hai aur aisa sangeet hai jo aapke dil mein
bhoolee huyi yaadon ka ek sehmaa sa toofaan panpaakar dega.

---------------------------------------------
Song: seene mein sulagte hain armaan (Tarana)
---------------------------------------------

yaad hai na aapko film Tarana ka yeh amar gaana Lata Mangeshkar aur
Talat Mahmood ka gaaya huya aur kyaa aapko iske sangeetkaar ka naam
bhi yaad hai? woh jo film sangeet ke sunehre yug ke Bhishma pitaamah
kehlaate hain aur jinkaa naam sunkar aaj bhi baDe baDe 'music
director'-on, geetkaaron aur 'playback singers' ka sar aadar se jhuk
jaata hai! yaani Anil Biswas.

---------------------------------------------------
Song: ae jaan-e-jigar dil mein samaane aaja (Aaram)
---------------------------------------------------

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

baheno aur bhaaiyon, 'break' se pehle aapne jo geet sunaa "ae jaan-e-
jigar, woh film Aaram ka geet tha aur usse pehle aapne Tarana ka amar
geet suna. yeh aur aise kai bemisaal dhuno ke janamdaata the Anil
Biswas, aur unhi ki yaadgaar, suhaani, sehmee sehmee si dhuno se
sajegi aaj ki Sangeet Ke Sitaaron Ki Mehfil.

--------------------------------------------------
Song: zamaane ka dastoor hai yeh puraana (Lajawab)
--------------------------------------------------

yeh film Lajawab ka 'hit' geet tha. aur film Waris ka yeh geet bhi
Khoob chalaa tha saahab!

---------------------------------------------
Song: raahi matwaale tu chheD ek baar (Waris)
---------------------------------------------

aur ek film aayi thi Sautela Bhai jiski dhuno mein Anilda ki 'normal'
dheemee si 'emotional' lay zaraa rooThkar tez ho gayi thi.

-----------------------------------------------
Song: jaa main tose naahi boloon (Sautela Bhai)
-----------------------------------------------

Anilda ki kai aur bhi laajawaab tarzen aanewaali hain aaj
ke 'programme' mein par ek chulbuli jhalak abhi sun leejiye, film
Ladli se.

-------------------------------------------------
Song: tumhaare bulaane ko jee chaahta hai (Ladli)
-------------------------------------------------

Anil Biswas ke sangeet ke kareeb saath saath hi Hindi film sangeet ka
sunehra daur shuru huya tha san 1937-36 ke aaspaas. magar kareeb 30
baras sangeet ki duniya mein raaj karne ke baad san 1963 mein
yakaayak filmon se munh moD liya. aisa kyun kiya unhone? yahi baat
ek 'interview' mein maine Anilda se poochhee thi aur unka jawaab jo
tha woh yeh tha:

Anil Biswas: kuchh aisa mehsoos kar raha tha, kuchh log aisa kehte
the ki woh 'tum 'record' leke jaayo to thoDe Anil Biswas 'record' ke
upar 'music' kar dega!' naheen karta tha main, main yahi kehta tha ki
mere paas jo kuchh bhi hai woh agar aapko chaahiye to haazir hai
magar doosri kisi ki cheez leke usey apna kehna, main usey, kya
samjhoonga, kya kahoonga, isey daaridra kehte hain, yeh Hindi aur
Sankrit ka lafz hai, jise 'poverty' kehte hain, bhikhaaripan. to yeh
bhikhaaripan mujhe manzorr naheen tha. aur 'industry'
mein 'whispering campaign' sa shuru ho gaya, yeh kaana-foosi shuru ho
gayi ki 'yeh Anilda ke jaake pair chhoo lo yaa haath joD lo, yeh baDe
achchhe 'artiste' hain magar jo biknewaali cheezen hain woh woh
naheen denge aapko, kuchh cheezen videshi hai, woh kehte hain'.

Anil Biswas ne apni ek dhun ek 'western hit' geet ke dhun ke aadhaar
par zaroor banaaee thi filmi duniya ko yeh bataane ke liye ki kisi
aur dhun se preraNaa paanaa chaaho to bhai paayo magar seedhee 'copy'
na karo, jaise aaj to unka khul-e-aam ho raha hai. woh videshi dhun
jis par inhone apni dhun banaaee thi woh thi (sings) "kay sera sera
whatever will be will be". aapne sunaa hoga yeh gaana. to Anilda ne
usey Hindstani rang mein Dhaalaa aur apnepan ki poshaak pehnaaya aur
yun pesh kee film Jasoos ki dhun Talat Mahmood ki aawaaz mein.

---------------------------------------------------------
Song: jeevan hai madhuban tu ismein phool khilaa (Jasoos)
---------------------------------------------------------

bahenon aur bhaaiyon, is samay Sangeet Ke Sitaaron Ki Mehfil mein ham
par un bhaavuk dhuno ki varshaa ho rahi hai jinhe 1936 se 1963 tak ke
filmi sangeet ke betaaj baadshaah Anil Biswas ne rachaa tha. ab main
aapko unhi ke aawaaz mein sunwaayunga us zamaane ka haal jab Anilda
ko Indo-Russian Co-Production ki film Pardesi ka 'music' dene ke liye
chuna gaya jiske liye unhe Russia jaakar kuchh arsaa rehna paDaa.
film Pardesi ke geet bhi bahut hi 'popular' huye the jaise ki yeh.

---------------------------------------
Song: na dir dir ta na dir na (Pardesi)
---------------------------------------

aur film Pardesi mein kaam Khatm karne ke baad jab Anilda Russia se
Hindustan lauTe to:

Anil Biswas: Russia se aane ke baad mein main ek martaba Delhi chalaa
gaya aur wahaan pe bahut bakaa ke bhai aap logon ko yeh karna
chaahiye woh karnaa chaahiye, iska ek maqsad bhi tha, woh yeh ki un
logon ke paas main apne Hindustan ke logon ke bahut naak oonchee
karke aaya tha, ki ham log bhi 'symphonies' banaa rahe hain, ham log
bhi 'ballets' banaa rahe hain, ham log bhi 'operas' banaa rahe hain,
haalaanki ham log kuchh naheen banaa rahe the. aur ham yeh samajhte
the ki shaayad yeh filmi duniya mein sambhav naheen hoga to Goverment
se kaho, unke paas to sab kuchh hai, woh chaahen to yeh kar sakte
hain. to maine faT se jawaab diya 'bilkul sankuchh ho jaayega, aap
kal se hamein 'join' kar leejiyega'.

'join karleejiyega' ka matlab tha Bambai chhoDkar Dilli aa jaayiye
aur All India Radio mein sangeet ka vibhaag sambhaaliye. to jab
Anilda ne apni patni se poochha ki filmi duniya chhoDkar,
unke 'career' ko chhoDkar Dilli aa basne ka unka kya Khayaal hai to
patni Meena Kapoor ne kya jawaab diya?

Anil Biswas: unhone mujhe yeh keh diya ki 'main aapke ghar isliye
naheen aayi thi ki 'career' banaayun, ham ghar banaane ke liye aaye
the aur ham chaahte bhi naheen hain ki aap is maahaul mein rahen aur
roz aapke paas yeh 'tension' ho ki kal koi 'producer' aayega tab mera
chulhaa jalega, main chaahti hoon ki 'routine' ek maahaul ho jismein
ham thoDe paise mein, usi mein guzaara karne ki bandobast kar
len, 'budgeted life' jisko kehte hain, usmein shaanti se rahen aur
roz aapka yeh 'ab kya hoga ab kya hoga' yeh Khatam ho jaaye. na to
yeh aapko chain de raha hai, na to yeh mujhe chain de saktaa hai'.

--------------------------------------------------------
Song: kuchh aur zamaana kehta hai (Chhoti Chhoti Baaten)
--------------------------------------------------------

yeh aawaaz Anilda ki patni ki hi thi, yaani mashoor gaayika Meena
Kapoor aur film ka naam Chhoti Chhoti Baaten. is samay guzre huye
zamaane ke sureele geet goonj rahe hain Sangeet Ke Sitaaron Ki Mehfil
mein, yeh tarzen hain film sangeet ke buzoorg sangeetkaar Anil Biswas
ki banaaee huyi aur Anilda ke sangeet safar ki yaadon se aapko milwaa
raha hai aapka 'radio' saathi Ameen Sayani.

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

aksar aisa hota hai ki insaan sochta kuchh hai aur hota kuchh aur
hai. Dilli mein Anil Biswas ke jo sapne the woh sach naheen ho paaye
magar phir bhi woh Bambai na lauTe. filmi duniya mein na lauTne ki jo
tessri wajah Anilda ne mujhe bataaee woh kuchh yun thi:

Anil Biswas: lauTkar waapas chalaa jaayun meri fitrat naheen, isliye
main waapas lauTke naheen aaya aur aana bhi naheen chaahta. yeh to
meri Guroor kaho ya Khuddaari kaho, jaise bhi, jo jee chaahe kahe
mujhe koi aetraaz naheen, iske peechhe ek baat aur thi jisse is
zameen se mujhe kuchh nafrat, kuchh dahshat si hone lagi thi, woh
meri zaati baat hai jo ki agar kahoon to jaayaz hai, na bhi kahoon to
koi fark naheen paDta ki 'main' cheez to yeh thi. woh hai bees din ke
faasle mein mera chhoTa bhaai aur mere baDe laDke ka dehaant ho
jaana, aur aisa laDka jo ki ek 'record' banaake gaya hai Air Force
mein jo abhi tak kisi ne toDaa naheen, aur aisa bhai jisko maine, jo
tabeeyat main naheen paa sakaa tha kisi kaaranvash, main naheen
jaayunga, 'political' kaaran, ghar se bhaag aana paDaa tha, jo
tabeeyat main naheen paa sakaa usko maine shikshit, 'educate' kiya
tha, taalim diya tha aur woh mere baDe laDke ki jagah pe tha. 16
April 1961 mein woh achaanak ekdam se dam toD diya 'heart' ki wajah
se. yeh 16 April ki baat hai aur 7 May ko mere laDke ka 'crash' ho
gaya. main iske 'detail' mein naheen jaana chaahoonga, aur uske baad
mein mujhe aisa lagaa ki yeh zameen mujhe kaaTne ko dauD rahi hai.
yeh zameen mujhe chhoD dena chaahiye.

-------------------------------------------------------
Song: ek main hoon ek meri beqasi ki shaam hai (Tarana)
-------------------------------------------------------

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

Anil Biswas ke tarzon ki suhaani dhoop chhaaon hi mein film sangeet
ne apni pehli pehli karwaT lee. shuru shuru mein Anilda ke dhuno ko
bhi filmi sitaare Khud gaaya karte the seedhe film ke 'scene'
ki 'shooting' karte samay. kareeb kareeb ek hi 'take' mein saara
gaana 'record' ho jaaya karta tha aur sitaare zara zor zor se bina
zyaada hile Dule buth ki tarah khaDe hokar geet gaaya karte the.
Tabla, Harmonium aur doosre saaz bajaanewaale kisi na kisi jhaaDi ya
deewaar ke peechhe chhupe rehte the taaki camere ki aankh unhe dekh
na le. haan, kuchh gaate sitaare yaani 'singing stars' kaafi sureele
bhi huya karte the jaise Khursheed aur Surendra.

----------------------------------------------
Song: mera chaand aa gaya mere dwaare (
----------------------------------------------

is geet ki dhun bhi Anilda ki thi, aur Suraiyya bhi to adaakaari ke
saath saath suron ki bhi mallika theen. Anilda ke sangeet mein film
Gajre ka yeh geet to yaad hi hoga aapko!

----------------------------------------------------
Song: door papeeha bolaa raat aadhi reh gayi (Gajre)
----------------------------------------------------

phir uske baad 'playback' ka zamaana bhi Anil Biswas jaise
sangeetkaaron ki dekhrekh mein aaya. Lata Mangeshkar aur Manna Dey ki
shuru shuru ki kaamyaabi mein Anilda ka baDaa haath tha saahab! 3 aur
laajawaab gaayakon ne bhi apni pehli pehli kaamyaabi mein Anilda ke
tarzon ke sahaare hi kadam rakhaa. inmein se do ke baare mein Anilda
se hi suniye:

Anil Biswas: usmein marhoom Mukesh bhi hain, hamaari 'picture' se
pehli baar baahar nikle the. "dil jalta hai to jalne de", mujhe
ummeed hai ki bahut logon ko yeh gaana yaad hoga.

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

Anil Biswas: iske baad jab Talat aaya, maine usey gawaaya
us 'picture' mein, Arzoo mein. tab tak to unko kisi ne haath naheen
lagaaya tha!

aur kyaa aap jaante hain isi ghaTna ke baare mein ek mulaaqaat mein
Khud Talat Mahmood saahab ne mujhe kya bataaya tha?

Talat Mahmood: Anil saahab ko sochiye, ki jab main doosri jagahon par
gaya to kisi ne kahaa ki 'microphone test' deejiye, kisi ne kaha ki
aapko film ka 'experience' to hai naheen, aap naye aadmi hain,
vagerah vagerah, lekin Anilda pehle se hi gaana tayyaar keeye baiThe
the.

---------------------------------------------
Song: ae dil mujhe aisi jagah le chal (Arzoo)
---------------------------------------------

aur film Arzoo ke sadaabahaar geet par ham zaraa sa Khaamosh hokar
puraani nashe mein kho jaayen?

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

Mukesh aur Talat ke alaawa ek aur baDe hi Gazab ke gaayak ne mujhse
Anil Biswas ka zikr kiya tha magar baheno aur bhaaiyon, uske liye
aapko zaraa sa intezaar karna paDegaa, tab tak suniye kuchh chhoTi
chhoTi jhalken un aur 'playback' sitaaron ki jinke shuru shuru ke
sureele 'career' mein Anil Biswas ka bhi haath tha, jaise Anilda ki
bahen aur mashoor baansuri-nawaaz Pt Pannalal Ghosh ki patni Parul
Ghosh...

--------------------------------------------------------------------
Clip: more aangan mein chhiTki chaandni ghar aaja sajan (Jwar Bhata)
--------------------------------------------------------------------

baheno aur bhaaiyon, kya aap jaante hain yeh film Jwar Bhata ka geet
tha. yeh wohi film hai jismein Dilip Kumar pehli baar 'introduce'
huye the. aur ab Anilda ke sangeet mein Amirbai Karnataki ko suniye,
jinke film Kismet ke is geet ne kya dhoom machaaee thi apne zamaane
mein.

----------------------------------------------------------------
Clip: ghar ghar mein diwaali hai mere ghar mein andhera (Kismet)
----------------------------------------------------------------

ek naam Arun Kumar, shaayad suna hoga aapne, baad mein to
yeh 'character actor'-on mein shaamil ho gaye magar kisi zamaane mein
kai achchhe geet bhi yeh gaa chuke the.

--------------------------------------------------------
Clip: mera bulbul so raha hai shorgul na machaa (Kismet)
--------------------------------------------------------

aur baheno aur bhaaiyon, Shankar Dasgupta ka yeh geet suna hai aapne,
Suraiyya ke saath gaaya huya film Jeet ka?

------------------------------------------------------------------
Clip: chaahe kitni kaThin Dagar ham kadam baDhaate jaayenge (Jeet)
------------------------------------------------------------------

achchha yeh bataaiye ki kya aap jaante hain ki swargeeya sangeetkaar
Roshan ki patni Ira bhi baDi achchhi gaayika huya karti theen aur Ira
Nagrath ke naam se gaaya karti theen. unki Lata Mangeshkar ke saath
gaayi huyi film Anokha Pyar ki yeh dhun suniye.

----------------------------------------
Clip: ae dil meri wafaa ka (Anokha Pyar)
----------------------------------------

aur yeh hain Sandhya Mukherjee ki aawaaz mein film fareb ka naghma
Anilda ke sangeet mein

-----------------------------------------------------
Clip: udaasion mein nazar kho gayi chale aayo (Fareb)
-----------------------------------------------------

aur ab ek jhalak Meena Kapoor ki aawaaz mein, yaani Mrs Anil Biswas,
film ka naam Char Dil Char Rahen.

------------------------------------------------------------------
Clip: kachchi hai umariya kori hai chunariya (Char Dil Char Rahen)
------------------------------------------------------------------

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

aur kyaa aap jaante hain baheno aur bhaaiyon, ek 'interview' mein
Khud Kishore Kumar ne bhi chhoTa sa ishaara kiya tha unki safalta
mein Anilda ki madad ke taraf.

Kishore Kumar: maine kisi 'music director' ko chakkar naheen diya,
balki unke chakkar mein paDkar mera bhaagya-chakra chal paDaa.
yeh 'music director' the Shri Anil Biswas, (sings) "aa mohabbat ki
basti basaayenge ham"

film Fareb ka yeh geet abhi kuchh der mein main aapko 'record' se
sunwaayunga, lekin ek Khaas baat aapko abhi bataana chaahta hoon.
baheno aur bhaaiyon, us zamaane mein to anek gaayak the, gaayikaaen
theen, sabki aawaazen ek saath goonjaa karti theen, magar uske baad
ek zamaana aisa bhi aaya jab sirf ginti ke gaayak aur gaayikaaon ki
ek prakaar ki 'monopoly' reh gayi film sangeet ki duniya mein. iske
baare mein ek baar maine Anilda se poochha to unhone yeh jawaab diya:

Anil Biswas: kisi se maine poochha tha 'kya baat hai tum logon ko,
dekho main sunta hoon TV ke upar, bahur Khoobsoorat aawaazen aa rahi
hai aajkal, do teen aawaazen mujhe bahut pasand aayi'. maine kaha ki
kya wajah hai ki logon ko 'chance' naheen dete ho?' kehte hain 'samay
kiske paas hai saahab? woh to Lata didi aati hain aur 'rehearsal'
viharsal kuchh naheen karti hain aur gaana waheen sun leti hain
aur 'record' ho jaata hai, sab kuchh Theek ho jaata hai'.
to 'rehearsal' dene ke liye in logon ke paas samay naheen hai. aur
hamaare saath to aisi baat huyi ki Lata didi ne hi, unke paas bhi
samay huya karta tha 'reheasal' dene ke liye aur ek gaana shaayad
aapko yaad hogaa, jo chaar Khayaal maine pesh kiya tha film Hamdard
mein, "hritu aaye hritu jaaye", 15 din baiThke Lata didi aur Manna
dada, 15 din baiThke uska 'practice' kiya tha.

-----------------------------------------------
Song: hritu aaye hritu jaaye sakhi ri (Hamdard)
-----------------------------------------------

chaar raagon par aadhaarit film Hamdard ke is geet ko gaaya tha Lata
Mangeshkar aur Manna Dey ne. is geet ke baare mein Manna Dey saahab
ne mujhe bataaya:

Manna Dey: Lataji aur maine, hamlog bahut mehnat karke yeh gaana
gaaye the, bahut mushkil tha gaana. aur chaar raag mein gaana tha,
aur mere khayaal se kuchh 6-7 ghanTon mein ham 'record' kar Daale.
uske baad jo gaana jab sunaaya gaya aur Anilda ko achchha lagaa to
aisa naachaa, aisa naachaa, ham, Anilda. Anilda bahut 'versatile',
naach bhi sakte hain, bahut achchhi tarah naach sakte hain.

aur Anilda bahut achchha gaate bhi hain yeh baat Talat Mahmood saahab
ne bhi kahee thi mujhse:

Talat Mahmood: jee haan, woh Khud bhi bahut achchha gaate hain aur
har woh 'artiste' jo unke saath gaata hai usko woh bahut kuchh
seekhaate bhi hain.

sangeet ki duniya mein kaion ne bahut kuchh seekhaa hai Anil Biswas
saahab se. iske baare mein ek aur Khoobsoorat saboot bhi maujood hai
hamaare saamne baheno aur bhaaiyon, Khud suron ki raani Lata
Mangeshkar ki aawaaz mein:

Lata Mangeshkar: Anilda ne mujhe bahut saari cheezen seekhaaee,
matlab maine unse seekhee, jaise gaane mein saans kahaan chhoDni
chaahiye, kahaan leni chaahiye, to yeh maine unse seekhaa, yahaan ki
main 'mike' ke saamne hoti thi to logon ko pataa bhi naheen chalta ki
maine kahaan saans lee, kahaan chhoDee, yeh maine unse seekha. doosri
baat maine unse yeh seekhee ki koi sur lagaana hai to kitna 'fade-in
fade-out' karna hai.

-------------------------------------------------
Song: aa mohabbat ki basti basaayenge ham (Fareb)
-------------------------------------------------

kitni sureelee thi woh mohabbat ki basti, meeThe madhur geeton se
goonjti huyi, uljhano se pare, jhunjhalaahaTon se door. woh mohabbat
ki basti jo film sangeet jagat ke Bhishma pitaamah sangeetkaar Anil
Biswas ne basaaee thi. baDe bhaagwaan the woh sabhi gaayak aur
gaayikaaen, woh sabhi sangeet premee, jinki jawaanion mein Anil
Biswas ke sangeet ne prem ka prakaash failaaya.

Manna Dey sings "tera haath haath mein aa gaya, ke charaag raah raah
mein jal gaye..."

Manna Dey saahab ne Khud gaake sunaaya tha hamaare 'studio' mein yeh
mukhDa film Hamdard ke geet se jiski laajawaab dhun bhi Anilda ne hi
banaaee thi. magar baheno aur bhaaion, aaj main film sangeet ke is
gazab ke Bhishma pitaamah ka zikr Khatm karna chaahoonga unki film
Arzoo ke ek geet se jo ittefaaq se film sangeet ka woh haal bayaan
karta hai jab 1963 mein Anil Biswas apne chaahnewaalon ko chhoDkar,
filmi sangeet ko tyaag kar, Bambai ke filmi duniya se munh moDkar
Dilli chale gaye.

--------------------------------------------------------
Song: aankhon se door jaake jaana na dil se door (Arzoo)
--------------------------------------------------------

to doston, Sangeet Ke Sitaaron Ki Mehfil aaj mahkee Anil Biswas ki
tarzon se. sangeet ke aakaash ke aise hi jagmagaate sitaaron se sajaa
karta hai yeh 'programme', isliye baheno aur bhaaiyon, apne dil
ki 'diary' mein 'note' kar leejiye ki aapko har baar yaad se
apne 'radio' ke zariye, apne dost Ameen Sayani ke saath aate rehna
hai is mehfil mein jiska naam hai SANGEET KE SITAARON KI MEHFIL!

THE END

doston namaste, main hoon Amakant aur aaj mere saath hain Aaj Ke
Fankaar. hamaare jo aaj ke fankaar hain woh bahut hi sureelee hain,
bahut hi madmast aawaaz hai unki. is sureelee gaayika ko aap achchhi
tarah jaante hain, unki maasoom meeThee aawaaz ko achchhi tarah
pehchaante hain. jab yeh gaati hain to aisa lagta hai ki suron ki
barsaat ho rahi ho. jee haan, is sureelee gaayika ka naam hai Shreya
Ghoshal.

Song: barso re megha megha (Guru)

doston, Hindi film sangeet ko kaafi samay se talaash thi ek aisi
gaayika ki jiske aawaaz mein ho baarish ki boondon jaisi taazgee, woh
os, woh shabnami chhuvan thi Shreya Ghoshal ki aawaaz mein jise khoj
nikaala Sanjay Leela Bhansali ne kisi TV 'programme' ke zariye. aur
phir apni film Devdas mein unhone Shreya ko pehli baar gawaaya.
filhaal aayiye sunte hain film Vivah ka yeh behad pyaara sa naGmaa.

Song: piya piya bole mera jiya tumhe haq hai (Vivah)

poora haq hai Shreya Ghoshal ko naam, shohrat, paisa aur 'awards'
paane ka. woh 'talent', woh kalaa, woh fan, logon ke dilon mein ghar
kar gaya hai. Shreya ke pitaa ek 'scientist' hain. bachpan se hi
Shreya ko gaane ka shauk tha aur unke maata-pitaa ne is shauk ko
baDhaawa diya. Shreya Rajasthan  ki rehnewaali hain, unkaa bachpan
waheen guzraa aur sangeet seekhne ke liye woh bahut door jaaya karti
theen. abhi bhi woh bahut zyaada baDee naheen hain, abhi woh paDhaaee
kar rahihain, lekin bachpan ke woh din geelee miTTee ki tarah hoti
hai, jis roop mein Dhaal den usi mein Dhal jaaye. unki maa ne unhe
sangeet ke nuskhe bataaye aur aaj Shreya apni gaayika banne ka shrey
apni maa ko deti hain. chaliye, ab ek aur gaana sun liya jaaye, isey
sunkar aap bhi kahenge ki Shreya...

Song: koi tumsaa naheen (Krrish)

aur ham bhi yahi kehte hain ki Shreya, koi tumsaa naheen! film Krrish
ke is geet mein Shreya ke saath the Sonu Nigam. yeh film aur yeh
geet, dono behad maqbool huye the, safalta ke kitne jhanDe gaaDhe yeh
shaayad aapko bataane ki zaroorat naheen. ek aur film ka zikr karnaa
chaahenge jisne safalta ke kai kirtimaan sthaapit keeye hain aur
Oscar ke dauD mein bhi usey 'entry' milee, Oscar mein jaane ka
sammaan milaa, woh film thi Paheli.

Song: kangana re kangana re (Paheli)

Shreya Ghoshal ki pratibhaa ki ek aur jhalak pesh hai, ek aisa geet
jise sunkar aap behad Khush ho jaayenge. geetkaar Gulzar ke laajawaab
bol, sangeetkaar Shantanu Moitra ka sureela sangeet, aur film Yahaan.

Song: poochhe jo koi meri nishaani (Yahaan)

Shantanu Moitra ke nirdeshan mein Shreya ne kai meeThe geet gaaye
hain. Yahaan ke alaawaa Munna Bhai MBBs aur haal hi mein Lage Raho
Munna Bhai mein Sonu Nigam ke saath gaaya unka yeh yugal geet logon
ne Khoob gungunaaya.

Song: pal pal har pal (Lage Raho Munna Bhai)

aur doston, ab woh film jiska zikr karnaa behad zaroori hai, jiske
zariye Shreya Ghoshal Hindi Film Sangeet ko milee, yaani ki Devdas.

Song: Dolaa re Dolaa re (Devdas)

man aapka bhi Dolaa hoga, aap bhi jhoome honge, ab main Amarkant
aapse vidaa leta hoon, phir mulaaqaat hogi, namaste!

THE END

ADVERTISEMENT


A musician by the name of Bhoyi, who is now living in Girgaum is
going
through a bad patch.

He used to make musical instruments in his early career. And was a
musician who worked with many a big names. Unfortunately he has been
forced to sell the same instruments now.

He is a diabetic and has no other source of income. Interested
members
may contact him on the No. I am providing below :

(022) 22038397

Any suggestions as to what can be done are most welcome. I intend to
meet him in person soon.

Regards,
Ramaswamy

This is the most unfortunate and cruel side of our film industry. Is
there any NGO or any other body that works for such cause? Then
interested members can donate to that fund. This would look decent.
Personal donations given directly to an artiste might look bad IMO.
Ramaswamy, you meet him first and get the all details.

btw, with which music directors he worked?

There is a programme called 'Inse Miliye' on VB where artistes from
all fields are interviewed. VB can take his interview and in that way
help him financially to some extent.

Sujoy

--- In vividhbharati@..., "Ramaswamy"
<ramaswamy21in@...> wrote:
>
> ADVERTISEMENT
>
>
> A musician by the name of Bhoyi, who is now living in Girgaum is
> going
> through a bad patch.
>
> He used to make musical instruments in his early career. And was a
> musician who worked with many a big names. Unfortunately he has been
> forced to sell the same instruments now.
>
> He is a diabetic and has no other source of income. Interested
> members
> may contact him on the No. I am providing below :
>
> (022) 22038397
>
> Any suggestions as to what can be done are most welcome. I intend to
> meet him in person soon.
>
> Regards,
> Ramaswamy
>

Hi,

Download this old DD animated song Ek Anek Aur Ekta, composed by Vasant
Desai from the files section of this group.

Path:

/files/Audio Files/Good Old Doordarshan Days/

Sujoy

Hi Sujoy,
As such there is no NGO I am aware of. You remeber Dr. Kamath ?

He and his group had donated some 7,000 Rs. from a show they
organised. Kamaal suggested if one could open a Bank account for him
and people can send their contribution or atleast call him up.

Sometimes even people appreciating his contribution might be a good
aid to him too.

I intend to meet him soon.
Regards,
Ramaswamy

--- In vividhbharati@..., "soojoi_india"
<soojoi_india@...> wrote:
>
> This is the most unfortunate and cruel side of our film industry.
Is
> there any NGO or any other body that works for such cause? Then
> interested members can donate to that fund. This would look
decent.
> Personal donations given directly to an artiste might look bad
IMO.
> Ramaswamy, you meet him first and get the all details.
>
> btw, with which music directors he worked?
>
> There is a programme called 'Inse Miliye' on VB where artistes
from
> all fields are interviewed. VB can take his interview and in that
way
> help him financially to some extent.
>
> Sujoy
>
> --- In vividhbharati@..., "Ramaswamy"
> <ramaswamy21in@> wrote:
> >
> > ADVERTISEMENT
> >
> >
> > A musician by the name of Bhoyi, who is now living in Girgaum is
> > going
> > through a bad patch.
> >
> > He used to make musical instruments in his early career. And was
a
> > musician who worked with many a big names. Unfortunately he has
been
> > forced to sell the same instruments now.
> >
> > He is a diabetic and has no other source of income. Interested
> > members
> > may contact him on the No. I am providing below :
> >
> > (022) 22038397
> >
> > Any suggestions as to what can be done are most welcome. I
intend to
> > meet him in person soon.
> >
> > Regards,
> > Ramaswamy
> >
>

Dear all:

Thank you all for  your support.

To all of you who loved Iqbal Saheb, our father,  sorry for delay in acknowledging as we were trying to come out of the shock that my father's demise gave us.

 

Going through the writings of your heart that you all gave through the mail, scraps etc. regarding the loss of your 'Ikka', your 'Friend', your 'Bhai' and what all that you used to call him; we know it deserves not mere heartfelt thanks but much more and we don't know how to express it here.

 

One thing that we realized that at his demise that we are not  the only people to carry the sorrows but there are many around
the world.  Indeed it was the same intensity of pain that you  all also felt. Most of you have not even seen him in
person; you all loved him, and kept deep relation with him. He used to spend hours with you sitting in front of his computer and sharing the knowledge. He felt great satisfaction and felt very responsible in doing so. That very day in the early morning he was sharing his thoughts with you as usual . He went for the morning walk, and there was nothing unusual ,he felt little uneasy and stared sweating, everything finished very  fast. Only Irshad ,the first son was there. They took him to the hospital and were told that he was gone....

Nobody believed it at first. Many have met him and spoken to him the previous days, many have communicated him for different purposes over the phone just a few hours back and you all were also chatting with him just before few
minutes back. Everything looks like a bad dream.

What you  know about him is just one part of him. Not a doubt he was a scholar in Music but apart from that he was an literary genius, a story writer ,a historian, a poet , a photographer or he was a good orator on the public stages.  He stood for election , it was the political party in which he was strongly rooted, gave the seat and he won the Cochin Corporation election , people selected him happily and with hope. He helped and promoted each and every person without any discrimination .He had many dreams and he used to tell us about those . In the days of religious unrest he organized a Choir group called "Sangha Geetha" with association of his uncle. Patriotic songs in different Indian languages were tuned and composed by his uncle the   great music  director.Mr. Aziz Bava. The choir group performed in many places to create communal harmony. Even Mr. Yesudas have appreciated this attempt .

He used to write articles in many Malayalam dailies about music, musicians, and outstanding personalities in music .He even received an appreciation letter from Lathaji after writing a cover story in one of the weeklies. Many of his articles have won fame and many of them have been made into documentaries and short films.

 

What all plans and projects were in his mind! Like an unfinished story, an untold poem he went
away...

Your love and affections are unique and special.

Thanking you all once again for the same.

Irshad & Shihab
(Iqbal Saheb's Sons)


 

Hi all,
Music lovers in and around Mumbai can meet up in Matunga on 8th April.
The organiser, Subash Bhatt will be presenting a programme dedicated
to Ravi through some songs of his.

Time: 10: 00 A.M.

Venue: Gujarati Seva Mandal, Matunga (CR)

Famous Landmark is Saraswati Restaurant just after one gets down at
Matunga Station overbridge.


Regards,
Ramaswamy