Naushad-C Ramchandra duel for Amirbai Karnataki

A tribute on the 50^th death anniversary of Amirbai Karnataki (c.1906 – 3 March 1965)

(As her death anniversary was too close to my scheduled post on Holi songs, I am posting my tribute to Amirbai Karnataki, with her songs by Naushad and C Ramchandra, with some lag.)

Which is the most popular Amirbai Karnataki song which even the new generation is aware of? Gore gore baanke chore kabhi meri gali aya karo (her duet with Lata Mangehskar) is a perennial favourite. If one is asked to name another song, the most likely answer would be O janewale baalamawa laut ke aa laut ke aa (her duet with Shyam Kumar). One by C Ramchandra, and the other by Naushad. In the vintage era, ‘A’ stood for Amirbai Karnataki. And the Great Mughal Naushad and the Mighty Maratha C Ramchandra were the two Ace music directors whose battle royal continued over Amirbai Karnataki too.

Naushad debuted as independent music director in 1940 with Prem Nagar (1940). He first used Amirbai, a year later, in Mala (1941). Thereafter, she comes in Station Master (1942), followed by Geet, Rattan (1944) with the iconic O jaanewale baalamwa and a solo, Mil ke bichhad gayi ankhiyan. She has three solos and a duet (with Amar) in Keemat (1946). Naushad uses her in Elaan (1947) as the lead singer with five songs. Her last appearance for him seems to be in Chandni Raat (1949) with a duet. About fifteen songs in seven films in a span of eight years – not a large number, but Naushad was never about quantity. Some of the songs of this combination are of incredible beauty.

C Ramchandra-Amirbai combination follows an uncannily parallel path. He made his debut as independent music director in Hindi films with Sukhi Jeevan (1942). Amirbai makes her first appearance, a year later, in Bhaktaraj (1943). Thereafter, she has songs in Samrat Chandragupta, Saawan (1945); Leela, Shenai (1947); Samadhi (1950); and Sagaai (1951). Eight films and about fifteen songs in a span of eight years – same as Naushad’s. Not a great number either, but matching him song for song as we shall see.

(Note: ‘Appearance’ refers to ‘singing’ here. Amirbai Karnataki might have acted in some of the films mentioned above, but that is beside the point for this post.)

Amirbai was born in a poor weaver family in the village Bilagi of Bijapur district in Karnataka in circa 1906, one among six sisters and a brother. She was fond of music from childhood. She was noticed by HMV who recorded some songs with her and she became famous as Baby Amirjan for her classical and semi-classical songs, qawwalis, naats, ghazals and thumris. After completing her matriculation she came over to Bombay. Her sister Gauharbai (different from the legendary Gauhar Jan of Calcutta) was a leading lady in films. She helped Amirbai get a bit singing role in the film Vishnu Bhakti (1934). Her first few years in films were not very successful, but in the 40s, with Kismat by Anil Biswas, Rattan by Naushad, Bharthari and Sindoor by Khemchand Prakash, and Shehnai by C Ramchandra, she earned big fame and became a leading playback singer. It is said that her rendering of Vaishnav jan to tene kahiye was immensely liked by Gandhiji. Gradually she reduced acting roles and concentrated generally on playback singing. She sang about 350 songs in 135 films, singing for most of the top heroines of the era. She married one Himalaywala, an actor who played the role of villains. This was a troubled marriage, and she later married Badri Kaanchwala, the editor of Paras.

Naushad was quite business-like in jettisoning his singers and moving on to new singers. Arrival of Lata Mangeshkar spelt Amirbai’s decline, as also of other great singers of the era. CR too discovered Lata Mangeshkar with whom he is supposed to have more than a professional relationship. From 1950 onwards, Amirbai’s singing reduced drastically, though she appeared in supporting roles in a number of films. Her voice was last heard in a pre-recorded thumri in Baankelal (1972). She passed away on March 3, 1965 after a paralytic attack.

If we look at Amirbiai Karnataki’s singing career in overall perspective, Anil Biswas first catapulted her to great fame with Kismet (1943); she sang the maximum number of her songs for Gyan Dutt and maximum number of his songs were sung by her; and Naushad and C Ramchandra arguably composed the most famous songs for her. But if I have to choose one composer for her songs, it would be the Master of Masters Khemchand Prakash, but that’s for another time.  We are celebrating 2015 as the Year of Naushad, and also remembering C Ramchandra in tandem.  Here is my tribute to the Ace singer with her songs by the two Ace music directors.

1.  O pretam pyare chhod chali ghar baar tujhse door tujhse door from Leela (1947), lyrics Gopal Singh ‘Nepali’, music C Ramchandra

Every music lover cherishes the memory of songs that moved him deeply on the very first listening and remained indelibly imprinted forever. O preetam pyare is one such song for me. For reasons I can’t explain in words, something happened to me when I first heard this song in the radio era, and its tune and words got etched in my heart. One reason for its charm was its rarity compared to her more famous songs, say from Kismet. I would not have heard it more than a couple of times in the radio era. Then the times changed, and this song along with so many became a part of one’s fond memories and yearning, until the Internet era arrived. Therefore, the readers can imagine when I heard this songs again after decades (probably on Atul’s site), it was a like an emotional reunion with a long lost love. The beautiful lyrics by ‘Nepali’, who was among the few from Hindi literature who wrote film lyrics, depict the pain of a woman who takes the slander on herself when the relationship goes awry; she is willing to go far to protect the honour of her lover, but she has nothing but the best wishes and love for him.

ओ प्रीतम प्यारे छोड़ चली घर बार तुझसे दूर तुझसे दूर
भर आये नैना, नैन नैन का प्यार जब से दूर जब से दूर

क्यूं आफत सर पे मोल ले तू मेरे वास्ते
तू अपने महल में राज कर मैं अपने रास्ते
तुझको सुख हो तो मुझको पिया परदेस भी मंज़ूर है मंज़ूर

करती थी तुमको प्यार मैं बदनामी ले चली
चोरी चोरी का खेल था जुर्माना दे चली
एक दिल था मेरा वो भी ठोकरें खा के चकनाचूर चकनाचूर

फागुन में होली खेलना सावन में झूलना
जब जब चमकेगा चाँद तू मुझको ना भूलना
मेरे टूटे मन में अब भी तुम्हारा प्यार है भरपूर है भरपूर

ओ प्रीतम प्यारे छोड़ चली घर बार तुझसे दूर तुझसे दूर

2.  Aayi azal ae zindagi from Elaan (1947), lyrics Zia Sarhadi, music Naushad

If CR is there, how can Naushad be far behind, and vice versa. In the same year, the Great Mughal comes up with one of the best songs for Amirbai, and his best for her, according to me. It is a broken-heart song of despair and utter hopelessness, as circumstances force Munawwar Sultana to forsake her lover Surendra, and get into a disastrous marriage. Zia Sarhadi was an eminent screenplay writer, director and lyricist of the 40s and 50s. While Preetam pyare was in simple colloquial Hindi, Zia Sarhadi uses difficult Urdu words. I have attempted its English translation, which I feel can be vastly improved, especially the last stanza.

आई अज़ल ऐ ज़िंदगी ग़म का ज़माना चल गया
अब क्या गिरेंगी बिजलियां जब आशियां ही जल गया
ग़म का ज़माना चल गया…

आओ शब-ए-ग़म आये जा सारे जहां पर छाये जा
अब तू ही तू रह जायेगी अब कल ना हरगिज़ आयेगी
वो दिन जो दुश्मन था तेरा वो ज़िंदगी का दिन मेरा
वो दिन हमेशा के लिये हां दिन वो ही दिन ढल गया
ग़म का ज़माना चल गया…

इस उम्र का अव्वल फना इस उम्र का आखिर फना
इक झूठ का दरबार है बातिन फना ज़ाहिर फना
ये ज़िंदगी कुछ भी नहीं ये ज़िंदगी कुछ भी नहीं
नाटक का झूठा खेल है जब तक चला था चल गया
ग़म का ज़माना चल गया…

My English translation

The life was born and thence began the days of gloom
Now what more could the lightning do when my nest is already burnt

Come, O the Night of Gloom! Come and spread your darkness on the whole world
Now will remain only you, and never will tomorrow come
That day that was your enemy, that was the day of my life
That day alas has set forever
And the days of gloom began…

With life starts misery, and the end of this life is death
It is a bundle of lies, there is destruction underneath, and destruction on the surface
This life is nothing, indeed this life is nothing
But a pantomime of false pretences, it lasted as long it could last
And the days of gloom began…

That was the best of C Ramchandra pitted against the best of Naushad. I am a confused lover between the two, in the mould of कोई दिल में है और कोई है नज़र में, मुहब्बत के सपने मैं किसपे लुटाऊं. I am leaving it to the rational readers to make a choice. Let us now see how their first songs for Amirbai compare.

3.  Kaahe barse jaye badariya from Mala (1941), lyrics DN Madhok, music Naushad

The first Naushad song for Amirbai written by his friend and benefactor, DN Madhok, is in the style of a traditional composition, set to a slow-paced melody.

4.  Bahaar ayi re koel kook uthi from Bhaktraj (1943), lyrics DN Madhok, music C Ramchandra

CR’s first song too for Amirbai is written by DN Madhok. It has similar elements of nature, but CR has set it to a faster tune. This difference in their style would generally continue in their songs.

Now let us compare some more of their early songs.

5.  Kabhi na himmat har bande from Station Master (1942), lyrics Pt. Indra, music Naushad

Naushad’s next song is picturised on Amirbai herself, as she sings this soothing song of encouragement when you see the protagonists in a hospital (following a train accident).

6.  Har dil mein mohabbat hai mera dil hai akela from Samrat Chandragupta (1945), lyrics Pt. Madhur, music C Ramchandra

A nice song of loneliness. The jury is still out between Naushad and CR.

7.  Phoonk do Bhagwan aa ke apna jahan from Keemat (1946), lyrics Majrooh Sutapuri, music Naushad

Amirbai Karnataki earned renown for singing bhajans. This one is with a difference; here the angry devotee is remonstrating with her God, apparently for his unjust ways. I heard it in the Internet era, but it is an excellent song.

8.  Main jaanti hun tum na aaoge kabhi piya from Leela (1947), lyrics Gopal Singh Nepali, music C Ramchandra

I was about to give my vote to Naushad when I came across this poignant romantic song of separation. The lady would light the lamp for her lover even though she knows he may not come at all. An effective reply to Naushad.

Now let us compare a pair of their less-heard duets.

9.  Sagar mein uthi do maujein (duet with Amar) from Keemat (1946), lyrics Majrooh Sultanpuri, music Naushad

What a wonderful song! Great poetry by Majrooh Sultanpuri: सागर में उठी दो मौजें, मौजों पर चली नैया / दो खोए हुए दिल बैठे मतवाला है नाव खेवैया.  So, not only the two lovers are lost, the boatman too is intoxicated. The two waves of the sea are also like lovers. In this romantic environment the moon comes out of the clouds and the stars sing a beautiful song. And the Great Mughal creates a timeless melody, so what if we have not heard it before the Internet Era.

10.  O janewale kuchh kahta ja (duet with GM Durrani) from Samrat Chandragupta (1945), lyrics Pt ‘Madhur’, music C Ramchandra

Before you declare Naushad as the runaway winner, listen to CR’s this beautiful Punjabi folk (Heer ?) style composition. He would do it in a surer way a year later in Rafi’s voice: Kah ke bhi na aye tum (Safar).  Anil Biswas would use it a decade later for Rafi in Heer (Le ja uski duayein ho jo tera ho na saka) and OP Nayyar in Naya Daur (Dil de ke daga denge wo).

Both Naushad and C Ramchandra are too good, and I have given up keeping scores. Therefore, let us compare their landmark Amirbai films: Elaan and Shehnai, both in 1947. I have already presented a solo by Naushad, which I consider his best for Amirbai. Here are a couple of more.

11.  Rote huye aaye hain rote huye jayenge from Elaan (1947), lyrics Zia Sarhadi, music Naushad

This song of despondency perfectly matches with the theme of the film and is similar to Aayi azal ae zindagi. A quintessential Amirbai and a great song by any yardstick.

12.  Aaine mein ek chaand si surat nazar aayi (duet with Surendra) from Elaan (1947), lyrics Zia Sarhadi, music Naushad

Munawwar Sultana and Surendra did have time to romance in the beginning. Being a Muslim social, they can only see each other through a sheer curtain or a mirror. You have to ignore Surendra’s funny cap, Naushad creates a very good happy duet.

If you thought it would be difficult to match these songs, you have not reckoned with C Ramchandra. Shehnai was an out and out comedy. Therefore, the songs have a different mood, but being lighter does not make them any lesser. However, CR gets an opportunity to create a somewhat sad song (as a stage performance?) so that you have a same-to-same comparison with Naushad. Here is an iconic Amirbai solo.

13.  Maar katari mar jana ye ankhiyan kisi se milana na from Shehnai (1947), lyrics PL Santoshi, music C Ramchandra

But Naushad had a happy duet too in Elaan. So, you have two by CR in Shehnai. He could himself sing and turn it into gold. He sang Aao aao mohabbat ki kha lein qasam with Amirbai. But let me present this Happy-Sad duet with Shamshad Begum which belongs to the stratosphere.

14.  Hamare angana ho hamare angana aaj baaje baaje shehnai (with Shamshad Begum) from Shehnai (1947), lyrics PL Santoshi, music C Ramchandra

I should end with how they ended.

15.  Sainyan se bichhad gayi haye more Ram by Amribai Karnataki and Saadat Khan from Chandni Raat (1949), lyrics Shakeel Badayuni, music Naushad

This film had Shamshad Begum as the lead singer with six songs. Amirbai Karnataki only had a duet, with Saadat Khan. Very little is known about Saadat Khan except that he sang a few songs and composed music in some films. But this folk-based lovely dance-song (in a mela?) is up there with O janewale baalamwa. Naushad ends his innings with Amirbai in a terrific manner.

In comparison, CR’s last with Amirbai in Sagaai (1951), a duet with Lata Mangeshkar , O babu, kaise dil karun kaabu, is quite tepid. But if you take a year earlier, you have this song which achieved stupendous popularity, but it is based on a western tune. So, I end this post with the song I mentioned in my first sentence.

16.  Gore gore baanke chhore kabhi meri gali aya karo by Amirbai Karnataki and Lata Mangeshkar from Samadhi (1950), lyrics Rajendra Krishna, music C Ramchandra

It has been Ace for Ace, shot for shot, and winner for winner. In the heat of the duel it may be difficult to make a judgment. So, you can have replays at your leisure to just enjoy the great game of Naushad and C Ramchandra with Amirbai Karnataki.

Notes:
1.  Vidur Sury has written an exhaustive and excellent article on Amirbai Karnataki.

2.  There is a great deal of contradiction in some details about her life between different sources. For example, some sources give her date of birth in February 1912. Some sites mention that she was the eldest among her siblings, while some others state that she was second, after Gauharbai.  The profile given in this post is based on the reconciliation of discrepancies between different sources.

3.  Who is Amar in song #9? Arunji writes this about  him on Atul’s blog: The real name of Amar was Nasir. He was from Punjab. He was born in 1920. After doing bit roles in some films, he got a major break in film Sanyasi-45, in which he sang 5 duets and 1 solo. His solo song Tooti huyi kashti ka baney kaun sahaara became very popular. In 1946, he was hero of the film Bindiya,  Ragini (who later migrated to Pakistan) was his heroine, and MD was Kamal Dasgupta, who gave him 3 songs. Then he was hero of Suraiya in Natak-47.  He sang one duet with her and two solos. Later, he did films like Maang, Lalaji, Vijay, Shukriya, Keemat etc. After 1950 he was doing character roles till 1970. He died in 1980.