SD Burman’s Bengali songs and their Hindi versions

October 22, 2013

Multiple Version Songs (14)

SD BurmanWith this post my SD Burman journey is intersecting Ashok Vaishnavji’s mega-project on multiple version songs. My journey has taken many interesting turns. I started with the idea of doing a post on my top ten favourite songs of SD Burman, which would have included his film as well non-film Hindi and Bengali songs. Then I came across Harvey’s post, Sun mere bandhu re, on his film songs. I then decided to cover only his non-film songs, which would have included both Hindi and Bengali songs. In course of searching his songs, I found there were so many of them in each category, and many of them absolutely outstanding, that I decided to cover his non-film Hindi and Bengalis songs in separate posts. I have already done his non-film Hindi songs, which was very well received. The readers also mentioned many of his Bengali songs, which were adapted by SD Burman as Hindi film songs in the voices of Mohammad Rafi, Lata Mangeshkar, Kishore Kumar and Geeta Dutt. These songs are among all time great compositions of SD Burman, without most of us being aware that these are adapted from original Bengali songs sung by SD Burman.

Now comes along Mr Ashok Vaishnav’s post on multiple version songs, in which one of the sub-categories is Hindi film songs and their Bengali versions. I knew of Salil Chaudhary and Hemant Kumar, who did a fairly large number of bilingual songs. SD Burman is a new discovery, and there are several things special about his bilingual songs. Firstly, most of these were sung by him in Bengali as private songs, whereas in Hindi he adapted these for films in other voices, unlike say Salil Chaudhary, whose most of well known bilingual songs are in the voice of the same singers such as Lata Mangeshkar and Hemant Kumar. SD Burman’s voice is so unique that the two versions impact the listener in completely different ways. SD Burman does not belong to this planet; his songs take you to another plane. For adapting these to films, he brought them down to the earth, yet giving us outstanding songs in other voices as we have known all these years.

Some of these songs are very well known, and have been already mentioned on this blog earlier by the readers, such as Ghum bhulechhi for Hum bekhudi mein tumko pukare chale gaye, or Rongila rongila rongila re for Aan milo aan milo Shyam sanwre. Some more may be known to the readers. But there are a number of songs which would dazzle you, either because of their beauty, or because the adaptation may not be obvious at the first instance. There are about two dozen such songs, which have a Hindi version – mostly film songs in the voice of well known playback singers, some in his own voice, both film and non-film. Let me present my favourite ten of SD Burman’s Bengali private songs, which have been adapted in Hindi, as my tribute to the great genius. With this I am also covering one of the sub-sub categories of Ashok Vaishnavji’s project and, therefore, treating it as the 14th article in the Multiple Version Songs. I have tried to give the meanings of some of these songs with the help of my Bengali friends.

1. Ami chhinu eka basaore jagaye, lyrics Ajoy Bhattacharya

At the top of my list is this song which has a legend behind it, which Moti Lalwani quoted from SD Burman’s biography by Khagesh Dev Burman:

SD Burman mesmerises K. L. Saigal
‘In a musical performance, Sachin was listed to perform after Saigal. Saigal had to sing a few more songs than scheduled on popular demand. He had to ignore further requests in order to keep his next appointment for which the organizers had already arrived.

Almost at the gate, Saigal came to a sudden halt and stood like a statue. Sachin had started singing ‘Ami chhinu eka’. It had not been recorded as yet. Overwhelmed, Saigal sat down in a chair. He was dumbfounded. Was it not his song! It was he who had rendered the tune in Khambaj for the first time in ‘Kaun bujhave Rama tapat mera man ki’, a thumri. But in Sachin’s voice, the intoxicating tune had been transformed completely.

A feeling of solitude and loneliness filled the hearts of the audience. They were swept away on the waves of the anguish-laden melody – surpassing the tune, beyond the dictates of Khambaj – a mix of thumri and folk, which rose, reached a crescendo and then fell only to rise again.

Saigal sat mesmerized till the song ended. He came to senses at the cry of joy from the audience. Such was the magic of Sachin’s style, the enchantment of his tune. In the words of Kabir Suman: ‘Sachin- karta is unparalleled in the art of assimilation’. He could internalize the tune by any music composer and give it his own style.’

 

While everything that is said about SD Burman mesmerising KL Saigal seems believable, its similarity with Kaun bujhave according to me is not very close. The song which comes much closer is this timeless duet by Mohammad Rafi-Lata Mangeshkar – Tere bin soone nain hamare from Meri Soorat Teri Aankhen (1963), lyrics Shailendra, composed by SD Burman himself.

 

Obviously, Tere bin soone nain hamare came much after Saigal. But I still felt uneasy. I was sure there was another Saigal song which was very similar to Ami chhinu eka with which he could have confused, and the biographer might have wrongly mentioned Ab kaun bujhave Rama. And then like a flash the song came to me – one of my greatest Saigal favourites. What about this Saigal song from Yahudi Ki Ladki (1933), music Pankaj Mullick? And let me add one more historical connection about this song. Burman’s biography states that his first recorded song was for Yahudi Ki Ladki (!) which Pankaj Mullick finally scrapped and got them re-recorded in the voice of Pahadi Sanyal. Now this completes the fascinating story of this song.

Lag gayi chot karejawa mei haye Rama

 

2. Ei kanoner phool niye jao

The next awesome song which held me spellbound for long is Ei kanoner phool niye jao.

 

Again I felt I knew a vintage song based on this tune. You know the feeling when something seems so familiar, but your memory is not able to retrieve it. I was obsessed with this song for quite some time, when it occurred to me just as I was about to give up – another of my greatest Saigal favourites, Hairat-enazare aakhir ban gayi ranaiyan from Kaarwaan-e-Hayaat (1935). These songs are so old that it is not clear who got inspired by whom. It is quite likely that Saigal song came earlier. I doubt if even SD Burman experts could conclusively tell which came first.  (P.S. Mr N Venkataraman says SD Burman’s song came earlier. See his comment#11.)

Hairat-e-nazara akhir ban gayi ranaiyan from Kaarwaan-e-Hayaat (1935), music Mihir Kiran Bhattacharya

 

3. Prem samadhi teere, lyrics Sailen Roy

The next song that fascinates me for its beauty and the historical importance of its Hindi version  is Prem Samadhi teere.

 

Its Hindi version has a historical standing as the first Hindi film song sung by SD Burman. And another unique fact about this song – this is perhaps the first and only song of his which was not composed by SD Burman himself, but by another composer, Madhavlal Damodar Master.

Prem ki pyari nishani from Taj Mahal (1941), music Madhavlal Damodar Master

 

4. Shono go dakhino hawa prem karechhi ami, lyrics Mira Dev Burman

We are familiar with Khai hai re humne qasam sang rahne ki  by Lata Mangeshkar from Talash – an outstanding song by any yardstick. And then you hear this SD Burman’s original Shono go dokhino hawa, and you realize, he lifts it to soaring heights.

English translation:
Oh listen, the southern winds
I’m in love.

My eyes are so intoxicated that I have forgotten my path.
This thirst was hidden somewhere within, and has risen at this beautiful moment.
I’m restless and mesmerised in love.
Oh listen sweet winds,
I have fallen in love.

During the hot summer, I become the devotee of love.
In the rainy season, I pour love.
I turn into the autumn moon, and create magic in hemant (season)
I’m like the sad winter, and desire sensual bliss in spring
Oh listen the southern winds,
I’m in love.

 

5. Ke jash re, lyrics Mira Dev Buman

Can you surpass the outstanding? Let us hear this outstanding song by Lata Mangeshkar:

Sun ri pawan purwaiya from Anurag (1972), lyrics Anand Baxi, music SD Burman

 

Then you hear SD Burman’s original Ke jash re at a different plane.

English translation:
Oh listen! Those who are leaving for the seams of Bhaati village
Give this message to my brother and sister that I have the ardent desire to meet them,
Tell them that my heart withers in pain!
Tell them that I have searched for them everywhere but could not find them
My heart had swelled with hopes and desires
But after being separated from you, my dear, my heart weeps profusely!
My eyes shed tears in silence,
I have no other resort but telling the shores
About my brother and sister and asking the shores to bring some news

The boat which left the banks of bhaati did not bring any news from my brother and sister
My beautiful sister has sent me some news but there has been no news from my brother
In your separation, my eyes are wet with tears of silent mourning
Oh those leaving for the seams of bhaati village
Tell my brother and sister about my withering pain …………and about my heart’s grief!

 

 

6. Nishitho jaiyo phholbone re bhanwra, lyrics and music Jasimuddin

I have mentioned earlier that SD Burman had something about honeybees. His first song that made him an all India phenomenon was the non-film song Dheere se jana bagiyan mein re bhanwra which is quite well known to the SoY readers. Besides, he has also sung some other bhanwra songs and composed a number of honeybee songs in films by other playback singers. I think its Bengali version is the original. So to have the real flavor of this beautiful song, let us hear its Bengali original. Wikipedia has this information on the lyricist and composer of this song, Jasimuddin.

 

English translation taken from YouTube
Come to the garden by night, my bee.
I shall stay up the night
Lighting the lamp of moon
And talking to the dew drops, my bee.
Come to the garden by night

Should I fall asleep
Tread softly my bee,
Do not break the branch
Or crush my flowers.
Or awaken the flower that is asleep
Come to the garden by night

 

7. Alo chhaya dola, lyrics Ajoy Bhattachrya
Let us hear this SD Burman beauty.

 

Without much effort you can recall its Hindi adaptation Pawan diwani from Dr Vidya (1962) and see how he adapts it to a film song by Lata Mangeshkar, picturised as classical dance on Vyjayanthimala. An outstanding song matched by its adaptation.

 

8. Hai ki je kori e mono piya, lyrics Mohini Chowdury

We have seen that Rongila rongila rongila re’s Hindi version was not Rangeela re, but Aan milo aan milo aan saanwre. Let us now hear Hai ki kori e mono piya, which was adapted later as a Rangeela song.

 

This is another song which illustrates, according to me, that SD Burman sang on a different planet – very often their film versions, outstanding in their own right were lesser. Can you immediately connect its Hindi adaptation? This time it is done by his son RD Burman.

Tune O rangeele kaisa jadu kiya by Lata Mangeshkar from Kudrat (1981)

 

9. Tak dhoom tak dhoom baje Bangladesher dhol, lyrics Mira Dev Burman

This is a fascinating folk song with prominent dhol beats, proudly proclaiming the glory of Bangla nation (here referring not to the political State of Bangladesh, but ethnic/linguistic Bengali nationality). A song to make every Bengali dance with pride.

 

SD Burman uses the same tune in Manna Dey’s voice with the same mukhda to create this interesting song in Bambai Ka Babu

Tak dhum tak dhum baje by Manna Dey from Bambai Ka Babu (1960), lyrics Majrooh Sultanpuri

 

10. Gaaner koli surer durite, lyrics Mira Dev Burman

I end this post with a fabulous SD Burman song as good as any I have discussed so far.

 

But more important is the quality and period of its adaptation. I have remarked in my earlier posts that SD Burman was the only one among his great contemporaries to continue at the top even post-69 right till the end of his life. In fact he was the harbinger of the post-69 phenomenon, later on taken over by his son RD Burman, Kalyanji Anandji and Laxmikant Pyarelal. So, enjoy its adaptation in 1970 in the voice of Mohammad Rafi, which would have been in the list of my best Rafi songs by SD Burman, but I kept it reserved for this post.

Mehbooba teri tasweer by Rafi from Ishq Par Zor Nahi (1970), lyrics Anand Bakshi

 

The readers would have noticed that four of these lovely songs are written by SD Burman’s wife Mira Dev Burman. An immensely talented lady in her own right, she also composed some of SD Burman’s Bengali songs and gave him voice accompaniment. So, let us also pay a tribute to her for giving us such outstanding melodies.

 

Acknownledgements:
1.    sdburman.com has been a valuable source of information on SD Burman’s life and music.
2.    I had some useful discussion with HQ Chawdhury (Bangladesh), an authority on SD Burman, who has also written his biography.

{ 34 comments… read them below or add one }

1 Ashok Vaishnav October 22, 2013 at 10:05 am

Indeed an astounding piece – whether we look at the angle of SDB’s range and repertoire, or his creativity in morphing a tune to the demands of the films situation or to his own high standards at all times or from the sheer value of documenting an essential chapter in the history of HFM.
And I have not been able to go beyond the First Song. That piece is itself is complete in itself as an article!

2 Ani October 22, 2013 at 3:44 pm

I am not sure where the Saigal info on Ami chinu eka is from. The bio on SD by K D Burman contains cooked stories. Anyway, the song is based more on Piloo than Khamaj. Hence Saigal identifying the melody as khamaj does induce a very high iota of doubt about the authenticity.

3 AK October 22, 2013 at 4:42 pm

Ani,
I have not read KD Burman’s book, but a reader quoted from the book in quotes. My interest was on the claimed similarity with Ab kaun bujhave Ram. You also agree that it is not the case. This by itself does not make the core of the story ‘cooked’. Coincidentally, Saigal’s Lag gayi chot karejawa mein haye Ram is very similar, so my conjecture was that while the story might be true, the author might have mentioned the wrong song.

4 Ani October 22, 2013 at 5:32 pm

Hi AK

I had not mentioned your story as cooked. Neither have I said that the reader made a mistake. It was nice of him to point out what he read.

Story of KLS as quoted in the book could be cooked. Primary reason – the song Ami chinu eka does not seem to be in Khamaj , hence KLS making a comment that this a a beautiful khamaj when the song in question is more Pilu then khamaj is hence very debatable.

Where did the author – K D Burman – get this info? And yes, I have read the book and there are stories which are cooked. I am not quoting the same here as it is not related to the context.

My 2 cents

5 mumbaikar8 October 22, 2013 at 10:58 pm

Ak,

I will have to go through the dictionary to describe in one word. “ab bemisal se kaam chalate hai”
and to get all of it I will have to go through it, atleast 10 times.
Till then, just Thank you.

6 AK October 22, 2013 at 11:07 pm

Mumbaikar8,
Thanks. I am happy you liked it. SD Burman is indeed Bemisaal.

7 Anu Warrier October 23, 2013 at 12:35 am

Nice. :)

My contributions:
1. Mono dilo na bodhu in Bengali which became Jaane kya tune kahi from Pyaasa
http://www.youtube.com/watch?v=XIrhfzC42bs
and
http://www.youtube.com/watch?v=mLGCAGHNTJU

2. Borne Gandhe Chhande Gitite in Bengali became the much slower Phoolon ki rang se from Prem Pujari.

ahttp://www.youtube.com/watch?v=GVY7xN12hac
and
http://www.youtube.com/watch?v=UULb2pAmz_A

3. A non-film song
http://www.youtube.com/watch?v=eXHNfIM4Ni8

which became Jhan jhan jhan payal baaje in Buzdil
http://www.youtube.com/watch?v=n8_VP6dFICQ

Looking forward to more examples in the comments. Thanks, AK.

8 AK October 23, 2013 at 9:28 am

Anu,
Thanks a lot. My favourite among the three you have mentioned is Jhan jhan jhan payal baje which I had included earlier in his non-film Hindi songs.

9 Canasya October 23, 2013 at 10:14 am

AKji, many thanks for this aptly timed tribute. SDB’s birth (Oct 1) and death (Oct 31) and Mira Dev Burman’s death (Oct 15) anniversaries fall within this month. Here is a link to Mira singing ‘Tum ho bade chitchor’ (Private; MD: SDB):

http://www.youtube.com/watch?v=3zIE8xJ70F8

And here are the two Burmans singing ‘Kali badariya chha gayi’ together:

http://www.youtube.com/watch?v=47oyYbQj9UY

There are couple of things that make SDB’s singing very special. One, according to http://sdburman.8m.com/singer.html, unlike traditional singers he ruled out the importance of sur, believing that it was more important to bring out the real depth of expressions in his voice.

Two, according to Wikipedia (https://en.wikipedia.org/wiki/S._D._Burman), “Burman paired with tabla maestro late Brajen Biswas for his Bengali songs. The beats or ‘thekas’ created by Brajen Babu for these songs are unique and no one in the world can sing these songs in the original ‘thekas’. All the thekas are according to the mood of the songs. …

“Burman had a unique style of composing film songs. While most of the composers used harmonium or piano to compose the tune, he composed tunes using rhythm such as clapping hands. … “

(I think I can identify most of his Bengali songs by beats alone and I believe I could say the same for the majority of his hindi film songs too.)

And three, the lovely way he breaks his voice sets his version of a song apart from, say, its Lata version. You will notice this in his ‘Jani bhromra keno’:

https://www.youtube.com/watch?v=LstNnUb8WUM

This was also sung by Geeta Dutt for an unreleased film Gauri:

https://www.youtube.com/watch?v=EnoKQ5esz9s

And by Lata (‘Jani tum to dole’, Dr Vidya):

https://www.youtube.com/watch?v=Tmw_A2wscrQ

10 AK October 23, 2013 at 12:41 pm

Canasya,
You always add something unique. I was not aware of Meera Dev Burman’s Tum ho bade chitchor. Beautiful song. Sounds like Juthika Roy. The tune of Mai to Dilli se dulhan laya re seems to be inspired from this song. Her voice in the duet Kali badariya chha gayi is very different. You can visualise Geeta Dutt style modelled on this.

Jani bhromera keno is among my SD Burman’s greatest favourites. But I was not aware of its film versions. This is another song which demonstrates he was on a different plane than the conventional playback singers.

Thanks for all this treat.

11 n.venkataraman October 23, 2013 at 9:55 pm

AKji,
First of all let me thank you for this exceptional post. Believe me; I was expecting this post to appear this month. The selection of songs and the associated commentary were outstanding too. Both, your post and the songs, are a treat for the connoisseurs and commoners alike.

Let me make a few observations.
Your approach to the first song, as Ashok Vaishnavji has stated, is an article by itself and the intended inference is very clear. Yes it is true that the song Ami chhinu eka is based on Raag Piloo and not Khambaj. May be the author had in mind S D Burman’s first record (Hindustan Records, H-11, 1932).On one side was a song of folk genre written by Hemendra Kumar Roy and on the other side was a Khambaj based song, Ei pathe aaj esho priyo, Here is the link to the song.

http://www.youtube.com/watch?v=X282uCxop4A

Here I would seek a small clarification. You have mentioned that ‘…Pankaj Mullick finally scrapped (the songs of S D Burman from the film Yehudi ki Ladki) and got them re-recorded in the voice of Pahadi Sanyal. Lag gayi chot karejawa mein was sung by K L Saigal. Was there any other song initially rendered by S D Burman for this film, which later was re-recorded in the voice of Pahadi Sanyal?

Ami Chhinu eka was recorded in 1940. On the reverse side was the mesmerizing song Premer Samadhi teere, which was the 3rd song in your list. As far as I know, (and contrary to the popular belief that S D Burman seldom sang for other composers), this non-film song was penned by Shailen Roy and the music was composed by Himangshu Dutta. The Hindi version was recorded in the next year (1941) and the lyrics for the Hindi version was written by Munshi Zakir Hussain.

Reverting back to the 2nd song in your list, a semi-classical number, Ei kanoner phool niye jao was recorded in 1933, penned by Hemendra Kumar Roy and Kaarwaan-e-hayaat , as mentioned by you was a 1935 film. The lyrics for the Hindi version song, Hairat-e-nazara akhir ban gayi ranaiyan was penned by Hakim Ahmed Shuja Pasha and the composer was Mihir Kiran Bhattacharya.

The original version of the song Tak dhum tak dhum baje by Manna Dey from Bambai Ka Babu (1960) was actually a 1951 Bengali song starting with Sei je dinguli followed later by the line Shuni Tak dum Tak dum baje baje bhanga dol. Through this song S D Burman remembers his bygone days in Coomilla, A beautiful song which is popular even today. The song Aami tak doom tak doom bajai Bangladesher dhol penned by Mira Dev Burman was recorded in 1971.Here is the 1951 version.

Sei je dinguli, lyrics Mohini Choudhury
http://www.youtube.com/watch?v=VUifpVQigKM

Let me present two more version-songs of S D Burman

Har din hai naya har raat nirala hai by Ashok Kumar and Amirbai Karnataki from Shikari (1946), lyrics Gopal singh Nepali
http://www.youtube.com/watch?v=tgyiOCH5TU0

Gay je Papiya by S D Burman and Meera Dev Burman, lyrics Mohini Choudhury
http://www.youtube.com/watch?v=KaO3mvQ-vzI

The second version-song
Pehle na samjha pyar tha by Amirbai Karnataki from Eight days (1946), lyrics Gopal Singh Nepali
http://www.youtube.com/watch?v=PtVxdWJH-CM

The Bengali version Aj joi ki Sandhya
http://www.youtube.com/watch?v=Zh669knB2ZY

Expecting another surprise package next week on S D Burman’s birthday.

12 n.venkataraman October 23, 2013 at 10:44 pm

A minor correction. The last line should read as ‘Expecting another surprise package next week on S D Burman’s death anniversary’.

13 AK October 24, 2013 at 12:12 am

Venkataramanji,
If you are expecting an SD Burman post next week, it would be no longer a surprise package. But since the cat is out of the bag, yes there would be an SD Burman post.

For me, writing this, as you can very well imagine, was like stumbling upon a hidden treasure. Except the few familiar ones (which I have not used), most of the songs were new to me, and connecting them to the vintage gems, which were not obvious at the first instance, was delightful. My pleasure now is magnified manifold by all the scholarly comments from you and the other readers. I find collectively we are adding a good deal of new knowledge about this group of SD Burman’s songs.

The last word has not been said on the song #1, Ami chhinu eka. It is now clear KL Saigal could not have mistaken it for his Kaun bujhave, and we can now safely say that the song he might have intended (presuming the Khagesh Dev Burman story to be true) is Lag gayi chot karejawa mein. Let me clarify here that I am not suggesting for a moment that this was the song recorded in SD Burman’s voice in Yahudi Ki Ladki. I have no means of knowing it. His ‘official’ website mentions that some songs were recorded in his voice by Pankaj Mullick, but the latter felt that Pahadi Sanyal, having lived in Lucknow, was better-suited to sing these ghazals. Now the million dollar question – which are these songs? I doubt if anyone knows. HFGK lists 19 songs in the film, but identifies only 4 songs by KL Saigal (all well-known, and available on YT), and one song by Ratanbai (not available on YT; is she the same person who sang Tere poojan ko Bhagwan bana man mandir aalishaan?). For the remaining 14 songs, the singer is not identified, nor any of these songs are available on the YT. I believe the film is not commercially available, nor even New Theatres would have its print. So, probably all the dots in Ami chhinu eka cannot be finally connected, but yes, it has become an article by itself. (I have New Theatres contact details in Kolkata, which I would mail to you. You may like to call them.)

I have to thank you for all the other additions. I should especially thank you for establishing that Ei kanoner phool niye jao predates Hairat-e-nazara. It is interesting to note that SD Burman did Tak dhum tak dhum baajey twice with a gap of 20 years. Any reason why he did that?

In case of Pahle na samjha pyar tha, the similarity with its said original is not very obvious.

14 Subodh Agrawal October 24, 2013 at 1:52 pm

AK, I have a playlist on Youtube of SDB’s Bengali originals of Hindi songs. I expected you to cover that familiar territory in your inimitable style, but I should have known better. More than half of your list is new to me and it comes as a very pleasant surprise. Thanks a lot.

The only song in my playlist that I haven’t noticed in the comments already is the original of ‘Wahan kaun hai tera’ – ‘Dur kon parabase’:
http://www.youtube.com/watch?v=p3d4MpMFvfU&feature=share&list=PLTCdy2AkFRrm7fjA0c3_4VfhaKUe0Hc7T

15 AK October 24, 2013 at 4:18 pm

Subodh,
If an SDB-phile like you has got five new songs, I am delighted. It is the uncommon ones that are most charming. I am sure these are exactly up your alley. Would you like to throw some light on Ami chhinu eka – Khamaj/Piloo debate?

16 AK October 24, 2013 at 10:28 pm

In the midst of SD Burman series, we get the sad news of Manna Dey passing away today. With him the last titan of male playback singers of the Golden Era has gone. May his soul rest in peace. He is immortal with his everlasting melodies.

17 Ashok Vaishnav October 24, 2013 at 10:44 pm

He belonged to an era which was golden because of players like him.
Even as he remained some what underrated because of presence or popularity of some of his contemporaries, whatever came his way, he did full justice.
I join in wishing him eternal peace.

18 n.venkataraman October 24, 2013 at 11:40 pm

‘Life for us all is nothing but a long journey. We are born to traverse the course charted out for each of us. There is no way of turning back, once we have embarked on it, and it is, therefore best to accept the inevitable.’
‘If reincarnation is, indeed, a reality, my fervent hope would be to be reborn in India once again. If my wishes were granted, I would want a mother just like the one I had been blessed with in this life, an uncle like my Babu Kaka and the teachers who came my way like precious gifts. I long to be reincarnated as a singer once more, so that I can revive the lost art of many promising composers, lyricists and instrumentalists. As an artiste, I will look forward to the support of those who stood by me all these years. I will long for their love and affection all over again. This is the country to which I belong and it is here that I must be reborn so that I can savour its incomparable beauty now… and forever.
That was Manna Deys words, on Life and after-life, quoted from his autobiography.
I pray to almighty to bestow the departed soul with eternal peace.
http://www.youtube.com/watch?v=U2ROMgwdGl4

19 mumbaikar8 October 25, 2013 at 12:22 am

I join in praying for his eternal peace and may all his wishes for next life come true too.

20 raunak November 6, 2013 at 2:37 pm

Sir i must confess at the very beginning that i am a huge fan of your blog. It was through your blog that i came to know that Asit Baran was a very good singer too, though i was aware and a fan of his work as an actor in Bengali cinema. Moreover, it was through your blog again that i renewed my romance with New Theatres, Calcutta!!

Coming back to this post, it’s wonderful as most of your posts are. By the way there are 3 things that i want to say something about-
1) Yes, music of Yahudi Ki Ladki was composed by Pankaj Mullick indeed. Sadly, the film was a box-office flop,though it was later remade in Hindi as the superhit Yahudi by none other than Bimal Roy, who by the way was a New Theatres Discovery too!!
2) Ei Kanoner song was released earlier then the Saigal song. To be precise, Ei Kanoner was released in 1933 and the Saigal song was released in 1935. But both songs were composed by the same composer, Mihir Kanan Bhattacharya…so it’s more a case of reuse then copy.
3) Prem Samadhir Teere was composed by Himangshu Dutta and sung By Burmanda. Later of course the song was reused in hindi as you rightly mentioned, albeit by a different M.D.
Himangshu Dutta who composed Prem Samadhir Teere, is a giant figure of Bengali music. He was also a sort of a guru to burmanda, who sang quite a few numbers for Himangshu Dutta. Also, Himangshu Dutta was the first person who was given the title of Sursagar. The Sursagar title was later given to Pankaj Mullick & Jagmohan (Jaganmoy Mitra) too.

By the way ,sir, if you are interested in Manna Dey and his songs, then you can have a look at my tribute series To Mannada, where i talk about Manna Dey & his songs in his nativie tongue Bangla/Bengali & Assamese. Here’ the link-

http://raunakjoy.wordpress.com/2013/11/05/manna-dey-a-humble-tribute-part-1/

21 AK November 6, 2013 at 4:47 pm

Raunak,
Thanks a lot for your compliments. Hugely flattered that I, a non-bong, could tell something to a Bengali about Bengali stars. :)

But, honestly I learn a great deal from all the readers. Thanks a lot for all the info you have added about Yahudi Ki Ladki, Premer Samadhi teere and Ei kano re phool. Venkataramnaji also broadly confirmed these in his comment #11. I take it that you agree that Hairat-e-nazara is based on Ei kano re phool.

The mystery about which was the song recorded in SD Burman’s voice in Yahudi Ki Ladki, which was scrapped by Pankaj Mullick and re-recorded in Pahadi Sanyal’s voice, still continues.

Sadly, sdburman.com does not mention the names of the composers of his non-film songs. I hope someone from that site is taking notice and fills up this information. They would also be doing a good service if they mention the Hindi songs that have been adapted from the Bengali songs. It would be difficult even for the bilingual experts to tell the Hindi adaptation of Prem jomunoi hoito keu.

I visited your blog. You are quite an authority on Manna Dey. I am learning a lot of new things. My own favourite Bengali singer among the three you have mentioned – Manna Dey, Hemant Kumar and Kishore Kumar – is Hemant Kumar.

22 raunak November 6, 2013 at 5:21 pm

Yes absolutely the sd burman-pahadi sanyal scene in yahudi ki ladki remains a mystery and i am quite afraid will remain so..
And yes i whole heartedly agree that Hairat-e-nazara is based on Ei Kanoner song.
Yes, sdburman.com needs to sort this out and give the composers name but i doubt they would considering even some of the info given there is wrong. Anyways, one thing i can say surely is that it was indeed Himangshu Dutta who was the composer of Prem Samadhir Teere. I am planning to write a post about Himangshu Dutta & S.D.Burman very soon.

By the way, thanks for visiting my blog. And one more thing, i hope to do a post on Hemantda’s bengali songs too very soon as i love his voice and now i have got the added incentive to do so since he is your fav Bong singer. Cheers

23 Canasya November 15, 2013 at 10:51 pm

AKji,
As heir to a treasure, RDB has adapted a number of SDB’s Bengali songs to Hindi. Some are well known such as ‘Tune o rangeele’ from Kudrat (1981) mentioned in above in this post, ‘Meethe bol bole bole payaliaa’ and ‘Abke na sawan barse’ (Kinara, 1977) based on ‘Madhu brindabone’ (1943) and ‘Kandibo na phagun gele’ (listen to the latter one here: http://www.youtube.com/watch?v=WiM1AZLaGyU). But there is a less known, unreleased RDB adaptation of Kazi Nazrul Islam’s ‘Kuhu kuhu kuhu kuhu koyelia’ for Gulzar’s Devdas that was shelved. Listen to SDB first and then to Lata giving the cuckoo a run for its money:

http://www.youtube.com/watch?v=xCVd18RW8KQ

http://www.youtube.com/watch?v=mjZLQAW9cRo

Incidentally, Manna Dey had also recorded this song (as have many other singers). Here is a link to Manna Dey’s version:

http://www.youtube.com/watch?v=hwgkhNQzJ9o

24 AK November 16, 2013 at 11:48 am

Canasya,
Thanks a lot for these additions. Madhu Brindabone is not even listed on sdburman.com, which was my compass for navigation. In all the three songs, after listening to their Hindi versions, I am more confident to say that SD Burman’s singing was on a different plane.

25 Abhijit December 26, 2013 at 1:21 pm

AKji,( post 13 )

The word “Bhanga” was replaced with “Bangladesher” during a fund raising programme held for the benifit of displaced people of bangladesh either during the Bangladesh war or just after it. Live footage can be seen in documentary directed by Ritwik Ghatak named”Joi Bangla” or “Joi Bagladesh”. It was one of the rare appearaces SD on stage. Prints probably not available. I have seen it long back.

Regards,
abhijit.

26 Abhijit December 27, 2013 at 1:08 pm

AKji,

I beg your pardon for provding incorrect information in my previous post. Actually the name of the Ritwik Ghatak directed documentary on civil war of Bangladesh is “Durbar Gati Padma”, as told by one of my film buff friends. My poor memory is responsible for the lapse. In fact I confused it with the big chunk of trash on Bangladesh war, dished out by I.S.Johar in 1975.

Regards,
Abhijit.

27 Moti Lalwani December 29, 2013 at 7:13 pm

@ 20 raunak has said in his post that, “Himangshu Dutta who composed ‘Prem Samadhir Teere’, is a giant figure of Bengali music. He was also a sort of a guru to Burmanda,”

As per my knowledge, Himangshu Dutta was not a guru to Burman Dada, but they were contemporaries and good friends. On some other matter I had written to HQ Chowdhury (biographer of SD Burman), who had replied as below:

“First of all, Himangshu Dutt is considered as one of the greatest composers of Bengal. He was known as the “Intellectual Composer” and was conferred the title “Sur Sagar”.

SD Burman, lyricist Ajoy Bhattacharya and Himangshu Dutt were all contemporaries from Comilla. But SD was senior to them by two years. In his younger days Himangshu Dutt was also a popular singer in Comilla.

The song in question was composed by Himangshu Dutt in raaga “Bahar” and immortalized by SD’s “gayaki”. These kind of “raag pradhan” or “raagasrayee” songs, it is more the “gayaki”, that matters not the tune!

You are right; SD Burman was inspired and used the same raaga for ‘Pawan diwani’ for a dance number but now the presentation is different. This means same color but different shade!

I personally think that the Hindi version is much better composed and orchestrated than the Bangla one, which is better sung!

Please forgive those “who do not know what they sayeth”.

(HQ Chowdhury, author ‘Incomparable Sachin Dev Burman’ and recipient of ‘Sachin Sanman’ award from Tripura Government in the centenary year 2006)

28 Moti Lalwani December 29, 2013 at 7:40 pm

@Canasya 9
I am adding to what has been posted by Canasya ji, “according to http://sdburman.8m.com/singer.html, unlike traditional singers he ruled out the importance of sur, believing that it was more important to bring out the real depth of expressions in his voice.”

There is a possibility of Dada Burman having discovered that the Sur is more important than words, even earlier than 1950s. This is how Kaifi Azmi protested when SDB asked him to write lyrics based on his tune:

Kaifi Azmi started his film career with S. D. Burman and his first movie was Buzdil (1951). This was his first song in his first movie. Incidentally, it was SD Burman who pioneered the creation of tunes first after which the lyric writer was asked to write the lyrics to match the tune.

Kaifi ji, an accomplished poet earlier, initially was not interested in writing for films. He was advised to change his thinking or remain poor. He said from this new experience, ‘Aisa laga ki kabar pehle hi khudi hui thi, aur kafan dhoondh ke usmein fit karna tha!” (I felt that the grave was ready, and I had to look for a dead body which could fit-in)

(Source: Javed Akhtar and Shabana in their narration on life of Kafi Azmi, ‘Kaifi Aur Main’ in Bhaidas Hall, Mumbai, in February 2012.)

Subsequently, two greats of our country too have given stress on Sur as compared to words:

Begum Akhtar
The queen of the Ghazals and melody has subsequently gone on record that, “The ‘sur’ of the singer should make the desired impact. Lyrics come later”. (Source: ‘A tribute to the queen of Ghazals’ an article by Amarendra Dhaneshwar in Mumbai Mirror dated February 22, 2009.)

Gulzar:
“I believe that in any song that becomes a hit, the primary factors are the rhythm and the tune. The words follow. In fact, the quality of the words depends on how much it matches the melody and the beat. That is why I consider the role of the lyricist as secondary to that of the composer.”
(Source: ‘bollywood melodies by Ganesh Ananthraman – Page 133)

29 AK December 30, 2013 at 9:48 am

Moti Lalwani,
As a listener I entirely agree that what lingers is the tune. While we relate a song to the film, singer and music director, in most cases we can hardly relate its lyricist. How many of us can differentiate between a Shailendra song and a Hasrat Jaipuri song in the same film?

Talking of Gulzar, he gave a very interesting insight in a DD interview on the relationship between words and music in our film songs. He said that even our silent films were not really silent and there was music (and songs!) in those films too. The musicians would sit in a pit near the screen and compose and play live music as the film was screened, to match with its theme and mood. In course of time some of theses tunes became very popular and acquired an identity of their own, and wordsmiths would write songs to fit in these tunes. He was clear that in films songs the words follow the composition.

Naushad’s sittings with Shakeel Badayuni for creation of songs is legendary.

This does not mean that this is universally true. There could be famous poetry, traditional lyrics, songs which an MD may like to use. About Sahir Ludhiyanvi many of his songs were part of his literary work earlier. So would this be true of some other famous ghazals.

30 Moti Lalwani December 30, 2013 at 6:30 pm

AK
I tried to bring out that SD Burman was the pioneer in case of tune first and words later. As I am told, this was followed later in 90% of compositions by others too.

At the same time, ‘Yeh mehlon, yeh takhton, yeh taajon’ (Pyaasa) is written first for the situation, and music given later.

I have gathered that SDB too used to sit with his lyricists and tell them about some words not fitting in the meter of the tune. Besides, there are cases where he even told the lyricist which words to avoid and which words to use.

I can quote all this and more from my interviews, but that may be going away from the subject.

31 mumbaikar8 February 21, 2014 at 6:20 pm
32 AK February 21, 2014 at 7:28 pm

Mumbaikar 8,
Nice songs both. Out of two dozen such songs, I left the most common ones. The readers have added some more unknown gems.

33 mumbaikar8 February 21, 2014 at 11:56 pm
34 AK February 22, 2014 at 9:55 am

Mumbaikar8,
Thanks for refreshing our memory of these outstanding songs. RD Burman has done complete justice to his father. These songs were earlier mentioned by Canasya in comment #23

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