Hemesha Jawaan Geet, Tribute to SriLanka Brodcasting Corporation Options

[khawar Sohail]

Another beautiful ghazal. ..khawar

[khawar Sohail]

Now lets turn to Madhok/Gyanndutt combination. Sung by Geeta...khawar

[khawar Sohail]

As the Lata 81st Birthday is approaching, I urgently need her 3 songs in reasonable or good recording quality. I will be grateful if anybody can upload...Thanking in advance...khawar
1.Lo woh aai nindiya re.....mandir...1948....vasant desai
2. kabhi hans hans ke.....chakori...1949.....hanshaj behl
3. jia naheen laage ho mera.......badnaam......1952......basant prakash

[khawar Sohail]

I am u/l SD Burman first compositions from film SHIKAARI 1946. Both songs are sung by Paaro....khawar
PS: the song Chup chup is 3-10 min duration and not 5.59 min.
S. D. Burman (1906-1975)Known as "Sachin Karta" to the music connoisseurs of Kolkata, "Burman Dada"
as fondly called by the musicians of Bombay, "Shochin Deb Bormon" by the radio
listeners of Bangladesh and West Bengal, India, "S.D. Burman" by the film cine
goers or simply "SD" by his film fans, was born on October 1, 1906 at Komilla in
a Royal family of Tripura. His uncles deceived his father and conquered the
throne. As a result, Burman family had to live in isolation like refugees in their
own kingdom. Many stories, myths and rumors isolated young Sachin even
further. With unrest and disturbed mind, he used to wander in streets of Agartala.
He did not like school much but was passionate about music and sports. His
father Navdweep Chandra Burman was Sitarist and a Dhrupad singer. Kumar
Sachin had first music lessons from him. Later on he learnt from Krishna
Chandra Dey, Badal Khan, Girija Shankar Chakraborty and Baba Allauddin Khan
of Maihar [father of Ali Akbar Khan and father in law of Ravi Shankar]. He was in
close association with a Sufi saint Saheb Ali and had recorded several songs of
Saheb Ali. He learnt folk music of Bengal such as Bhatiali, Baul, Bangla Keertan
from many gurus. He borrowed freely from folk music and composed several
songs both in Hindi and in Bengali. He used to handle and play several
instruments and had a mastery over sitar and flute. His passion and interest in
football was so deep that organizers of major football matches used to invite him
as referee. Soon he became star football player, singer and a musician. No
wonder then that he received an invitation from the Hindusthan Musical Products
Ltd. Calcutta for cutting gramophone discs on their Hindusthan record label.
He cut his first Bengali song disc in September 1932 at the age of twenty-six
years and it was released on ‘Hindusthan’ label. The record label reads as: by
Kumar Sachin Dev Burman. The word ‘Kumar’ relates to his stature as a Royal
Prince (Raj Kumar) and not as a child prodigy. Later on he dropped this title
‘Kumar’. Hindusthan Main List catalogue published in 1966 gives following
information about his Hindi records:
Kumar Sachin Dev Varma
H 461 Nain More Daras / Preetmen Huve Badnaam
H 548 Aab Main Sharan Tumhare / Mere Preetam Pyare
H 922 Chale Chalo Premke Sathi / Premki Pyari Nishani
H 1001 Dheerese Jana Bagiyanmen / Kaun Nagariya Jaore
H 1094 Pile Harinaamka Pyala / Mere Shyam Suno Meri
H 1179 Balam Mujhse Ruthke / Mere Jobanke Phulwari
51
H 1211 Nainonke Suljhake / Rimjhim Rimjhim
H 1321 Gundham Hamare / Sab Deshki Janata
Kumar Sachin Dev Varma and Meera Dev Varma
H 1232 Phulgendava Na Maro / Tumho Bade Chitchor
---------------------------------------------------------------------------
Due to the popularity and sale of these discs, some songs were reissued on EP
and LP records by the Hindusthan records.
Later on he also recorded prolifically for the Gramophone Company and many
78-rpm records were issued on HMV label. Compressive list is under
preparation.
As per the information from the record collectors, details of his solo songs are:
Hindusthan records – 55 songs, HMV - 19 songs and 4 songs on Super Seven
HMV EP.
Reissued on EP’s – Angel: 6, Hindusthan: 8, HMV: 3
LP’s – HMV: 4, Hindusthan: 3
Thus, in all 102 songs are available on discs. He has composed most of his
songs himself except 17 that were composed by Sursagar Himanshu Dutt and
Kazi Nasrul Islam. His lyricists are: Ajay Bhattacharya, Meera Dev Burman,
Gouriprasanna Mujumdar, Mohini Choudhury, Kazi Nasrul Islam, Munshi Zahid
Hussain, Pandit Bhushan, Shailendra, Majrooh Sultanpuri and Anand Bakshi.
------------------------------------------------------------------------------------------------------------
He used tunes of his several Bengali songs in Hindi films. Some examples are:
Pavan Diwani (Dr. Vidya), Jhan Jhan Payal Baje (Buzdil), Jane Kya Tune Kahi
(Pyasa), Nain Churaye Chain Churaye (Anurag), Hum Bekhudimen Tumko (Kala
Pani), Vahan Kaun Hai Tera (Guide), Khai Haire Humne Kasam (Talash). These
songs are hit even today because of their origin in sufi and devotional music.
Between 1937-43, he recorded these songs on 78-rpm discs. He also composed
music for five Bengali films: Rajshree, Nirbadshan, Jeevan Sangini, Chadma
Beshi and Matir Ghar. In 1966, ‘Matir Ghar’ was re-made in Nepali language as
‘Maiti Ghar’ and music of this film was composed by his assistant Jaidev.
In 1942, film producer Mr. Chandulal Shaha of Ranjit studio invited him to work
with him in Bombay but he did not come. Rai Bahadur Chunilal, Sushil Mujumdar
and Shashdhar Mukherjee of Filmisthan studio persuaded him and in 1944, he
shifted to Bombay and settled with his family. As a composer, Filmisthan’s
52
Shikari (1946) was his first Hindi film. He met Dev Anand in 1948 and then he
was the music director for most of Navketan’s films. His association with Dev
Anand was a long one beginning with Afsar (1950), Bazi, Taxi Driver, Ghar
no.44, Fantoosh, Nau Do Gyarah, Kala Pani, Kala Bazzar, Guide, Jewel Thief,
Prem Pujari, and Tere Mere Sapne (1971) . He also composed music for other
Dev’s films on other banners such as Paying Guest, Teen Devinya and Munimji
and the songs were very popular.
During 1950-60, Hindi films were centered around Raj Kapoor, Dev Anand and
Dilip Kumar with their own set of musicians and singers. Rafi and Mukesh were
the singing voices of Dilip Kumar and Raj Kapoor respectively. In such a
situation, Sachnda used every available voice for Dev Anand. In the beginning
Hemant Kumar sang ‘Gupchup Gupchup Pyar Karen’ (Saja, 1951), ‘Ye Raat Ye
Chandani Phir Kahan’ (Jaal, 1952), ‘Ter i Duniya Men Jeenese’, ‘Chup Hai
Dharati Chup Hai Chand Sitare’ (Ghar no. 44, 1955) for Dev. Talat Mehmood
sang ‘Jayen To Jayen Kahan’ in film Ta xi Driver. In Munimji (1955), Dev sang
‘Jeevanke Safarmen Rahi’ in Kishore Kumar’s voice whereas in the same film,
Hemant Kumar lent him his voice for the song ‘O Shivji Byahane Chale’. Later on
both Mohammad Rafi and Kishore Kumar sang many songs for Dev Anand and
cine-goers never found it odd.
Although S. D. Burman was at home in Navketan camp, he composed wonderful
music for many films of Bimal Roy and Guru Dutt. These songs are remembered
by film music lovers of all generations. He used large musical canvas using
words, chorus, tonal colors of instruments and orchestration in the following
songs: ‘Bichade Sabhi Bari Bari, ‘Waqt Ne Kiya Kya Hansi Sitam’ (Kagaz Ke
Phool), ‘Jane Wo Kaise Loga The Jinke’. ‘Jinhe Naj Hai Hindpar Wo Kahan Hai’,
‘Ye Duniya Agar Mil Jayen To Kya Hai’ (Pyasa). In spite of the rudimentary
recording equipment of 50’s, his songs are real masterpieces. The songs were
based on classical, light classical, folk and devotional music. He also composed
several duets, comedy, and cabaret numbers. This was part of his profession
that he had chosen. His family members and relatives criticized him heavily for
diluting and commercializing the art. Towards the end of his life, he severed the
relations with Agartala. Although he was denied the princely throne in Tripura, he
ruled over the hearts of millions of music lovers. He was a simple man wearing
dhoti-kurta and liked tamkuwala paan very much. His life style was simple but he
was extremely miser, money conscious and preferred to live in isolation. He used
to say, “ Make yourself rare, then only people pay you attention in this film
industry”.
He has sung very few solo songs in Hindi films and composed songs for Mukesh.
Although both of them had distinct voices, one can hear sufi/devotional music in
their songs. Some examples of Mukesh songs are: ‘Ae Dile Awara Chal’
(Dr.Vidya), ‘O Janewale Ho Sake To Lautke Aana’ (Bandini), ‘Ye Kisne Geet
Cheda’ (Meri Surat Teri Aankhe), ‘Chalri Sajani Aab Kya Soche’ (Bambai ka
Babu), whereas those of S. D. Burman are: ‘Wanha Kaun Hai Tera’ (Guide),
53
‘Suno Mere Bandhu Re’ (Bandini), ‘O Re Manjhi’ (Sujata), ‘Saphal Hogi Teri
Aradhana’ (Aradhana) and many others.
It is interesting to note that beginning with Mashal of 1950 to Barood of 1976,
Lata Mangeshkar has sung 132 solo songs composed by S. D. Burman. Among
other singers, number of songs are: Asha Bhosle (75), Kishore Kumar (53),
Mohammad Rafi (45) and Geeta Dutt (44). He set tunes to the songs of 27
lyricists and 57 singers have sung them. He has composed about 700 songs in
90 Hindi and five Bengali films out of which 157 Hindi film songs are duets.
Today, towards the closure of S. D. Burman’s birth centenary, most of his film
songs are available on CD’s and tapes. Internet sites are full with lot of
information. However, his Hindi and Bengali private songs are relatively less
known. Many of these songs need to be reissued and preserved for posterity and
researchers of film music. S. D. Burman passed away on October 31, 1975 at the
age of 69 years. However his voice and music is alive for ever.

Bengali Films of S. D. Burman:
1937 Rajshree
1940 Rajkumar Nirbadshan
1943 Jeevan Sangini
1943 Chadma Beshi
1943 Matir Ghar
Hindi Films of S. D. Burman:
1946: Shikari, Aath Din
1947 Do Bhai, Dilki Rani, Chittod Vijay
1948 Vidya
1949 Kamal, Shabnam
1950 Afsar, Mashal, Pyar
1951 Baji, Bahar, Bujhdil, Ek Nazar, Naujawan, Saza
1952 Jal, Lal Kunwar
1953 Arman, Babla, Jeevan Jyoti, Shahanshah
1954 Aangare, Chalis Baba Ek Chor, Radha Krishna, Taxi driver
1955 Devdas, Ghar Number Chavalis, Madbhare Nain, Munimji, Society
1956 Fantoosh
1957 Miss India, Nay Do Gyarah, Paying Guest, Pyasa
1958 Chaltika Naam Gadi, Kala Pani, Lajwanti, Sitaronse Aage, Solvan Saal
1959 Insan Jaag Utha, Kagazke Phool, Sujata
1960 Apna Haath Jagannath, Bambaika Babu, Bewakuf, Ek Ke Baad Ek, Kala
Bazzar, Manjhil, Miyan Bibi Raji
1962 Baat Ek Raatki, Dr. Vidya, Naughty Boy
1963 Bandini, Meri Surat Teri Aankhen, Tere Gharke Samne
1964 Benzir, Kainse Kahun, Ziddi
1965 Guide, Teen Devinyan
1967 Jewel Thief
1969 Jyoti, Aradhana, Talash
1970 Ishq Per Jor Nahin, Prem Pujari
1971 Gambler, Naya Zamana, Sharmili, Tere Mere Sapne
1972 Anurag, Ye Gulistan Hamara, Zindagi Zindagai
1973 Abhiman, Chupa Rustom, Jugnu, Phagun
1974 Prem Nagar, Sagina, Us Par
1975 Chupke Chupke, Mili
1976 Arjun Pandit, Barood, Tyag, Diwangi
? Saaz [between 1950-60]

[khawar Sohail]

I am u/l SD Burman first compositions from film SHIKAARI 1946. Both songs are sung by Paaro....khawar
PS: the song Chup chup is 3-10 min duration and not 5.59 min.
S. D. Burman (1906-1975)Known as "Sachin Karta" to the music connoisseurs of Kolkata, "Burman Dada"
as fondly called by the musicians of Bombay, "Shochin Deb Bormon" by the radio
listeners of Bangladesh and West Bengal, India, "S.D. Burman" by the film cine
goers or simply "SD" by his film fans, was born on October 1, 1906 at Komilla in
a Royal family of Tripura. His uncles deceived his father and conquered the
throne. As a result, Burman family had to live in isolation like refugees in their
own kingdom. Many stories, myths and rumors isolated young Sachin even
further. With unrest and disturbed mind, he used to wander in streets of Agartala.
He did not like school much but was passionate about music and sports. His
father Navdweep Chandra Burman was Sitarist and a Dhrupad singer. Kumar
Sachin had first music lessons from him. Later on he learnt from Krishna
Chandra Dey, Badal Khan, Girija Shankar Chakraborty and Baba Allauddin Khan
of Maihar [father of Ali Akbar Khan and father in law of Ravi Shankar]. He was in
close association with a Sufi saint Saheb Ali and had recorded several songs of
Saheb Ali. He learnt folk music of Bengal such as Bhatiali, Baul, Bangla Keertan
from many gurus. He borrowed freely from folk music and composed several
songs both in Hindi and in Bengali. He used to handle and play several
instruments and had a mastery over sitar and flute. His passion and interest in
football was so deep that organizers of major football matches used to invite him
as referee. Soon he became star football player, singer and a musician. No
wonder then that he received an invitation from the Hindusthan Musical Products
Ltd. Calcutta for cutting gramophone discs on their Hindusthan record label.
He cut his first Bengali song disc in September 1932 at the age of twenty-six
years and it was released on ‘Hindusthan’ label. The record label reads as: by
Kumar Sachin Dev Burman. The word ‘Kumar’ relates to his stature as a Royal
Prince (Raj Kumar) and not as a child prodigy. Later on he dropped this title
‘Kumar’. Hindusthan Main List catalogue published in 1966 gives following
information about his Hindi records:
Kumar Sachin Dev Varma
H 461 Nain More Daras / Preetmen Huve Badnaam
H 548 Aab Main Sharan Tumhare / Mere Preetam Pyare
H 922 Chale Chalo Premke Sathi / Premki Pyari Nishani
H 1001 Dheerese Jana Bagiyanmen / Kaun Nagariya Jaore
H 1094 Pile Harinaamka Pyala / Mere Shyam Suno Meri
H 1179 Balam Mujhse Ruthke / Mere Jobanke Phulwari
51
H 1211 Nainonke Suljhake / Rimjhim Rimjhim
H 1321 Gundham Hamare / Sab Deshki Janata
Kumar Sachin Dev Varma and Meera Dev Varma
H 1232 Phulgendava Na Maro / Tumho Bade Chitchor
---------------------------------------------------------------------------
Due to the popularity and sale of these discs, some songs were reissued on EP
and LP records by the Hindusthan records.
Later on he also recorded prolifically for the Gramophone Company and many
78-rpm records were issued on HMV label. Compressive list is under
preparation.
As per the information from the record collectors, details of his solo songs are:
Hindusthan records – 55 songs, HMV - 19 songs and 4 songs on Super Seven
HMV EP.
Reissued on EP’s – Angel: 6, Hindusthan: 8, HMV: 3
LP’s – HMV: 4, Hindusthan: 3
Thus, in all 102 songs are available on discs. He has composed most of his
songs himself except 17 that were composed by Sursagar Himanshu Dutt and
Kazi Nasrul Islam. His lyricists are: Ajay Bhattacharya, Meera Dev Burman,
Gouriprasanna Mujumdar, Mohini Choudhury, Kazi Nasrul Islam, Munshi Zahid
Hussain, Pandit Bhushan, Shailendra, Majrooh Sultanpuri and Anand Bakshi.
------------------------------------------------------------------------------------------------------------
He used tunes of his several Bengali songs in Hindi films. Some examples are:
Pavan Diwani (Dr. Vidya), Jhan Jhan Payal Baje (Buzdil), Jane Kya Tune Kahi
(Pyasa), Nain Churaye Chain Churaye (Anurag), Hum Bekhudimen Tumko (Kala
Pani), Vahan Kaun Hai Tera (Guide), Khai Haire Humne Kasam (Talash). These
songs are hit even today because of their origin in sufi and devotional music.
Between 1937-43, he recorded these songs on 78-rpm discs. He also composed
music for five Bengali films: Rajshree, Nirbadshan, Jeevan Sangini, Chadma
Beshi and Matir Ghar. In 1966, ‘Matir Ghar’ was re-made in Nepali language as
‘Maiti Ghar’ and music of this film was composed by his assistant Jaidev.
In 1942, film producer Mr. Chandulal Shaha of Ranjit studio invited him to work
with him in Bombay but he did not come. Rai Bahadur Chunilal, Sushil Mujumdar
and Shashdhar Mukherjee of Filmisthan studio persuaded him and in 1944, he
shifted to Bombay and settled with his family. As a composer, Filmisthan’s
52
Shikari (1946) was his first Hindi film. He met Dev Anand in 1948 and then he
was the music director for most of Navketan’s films. His association with Dev
Anand was a long one beginning with Afsar (1950), Bazi, Taxi Driver, Ghar
no.44, Fantoosh, Nau Do Gyarah, Kala Pani, Kala Bazzar, Guide, Jewel Thief,
Prem Pujari, and Tere Mere Sapne (1971) . He also composed music for other
Dev’s films on other banners such as Paying Guest, Teen Devinya and Munimji
and the songs were very popular.
During 1950-60, Hindi films were centered around Raj Kapoor, Dev Anand and
Dilip Kumar with their own set of musicians and singers. Rafi and Mukesh were
the singing voices of Dilip Kumar and Raj Kapoor respectively. In such a
situation, Sachnda used every available voice for Dev Anand. In the beginning
Hemant Kumar sang ‘Gupchup Gupchup Pyar Karen’ (Saja, 1951), ‘Ye Raat Ye
Chandani Phir Kahan’ (Jaal, 1952), ‘Ter i Duniya Men Jeenese’, ‘Chup Hai
Dharati Chup Hai Chand Sitare’ (Ghar no. 44, 1955) for Dev. Talat Mehmood
sang ‘Jayen To Jayen Kahan’ in film Ta xi Driver. In Munimji (1955), Dev sang
‘Jeevanke Safarmen Rahi’ in Kishore Kumar’s voice whereas in the same film,
Hemant Kumar lent him his voice for the song ‘O Shivji Byahane Chale’. Later on
both Mohammad Rafi and Kishore Kumar sang many songs for Dev Anand and
cine-goers never found it odd.
Although S. D. Burman was at home in Navketan camp, he composed wonderful
music for many films of Bimal Roy and Guru Dutt. These songs are remembered
by film music lovers of all generations. He used large musical canvas using
words, chorus, tonal colors of instruments and orchestration in the following
songs: ‘Bichade Sabhi Bari Bari, ‘Waqt Ne Kiya Kya Hansi Sitam’ (Kagaz Ke
Phool), ‘Jane Wo Kaise Loga The Jinke’. ‘Jinhe Naj Hai Hindpar Wo Kahan Hai’,
‘Ye Duniya Agar Mil Jayen To Kya Hai’ (Pyasa). In spite of the rudimentary
recording equipment of 50’s, his songs are real masterpieces. The songs were
based on classical, light classical, folk and devotional music. He also composed
several duets, comedy, and cabaret numbers. This was part of his profession
that he had chosen. His family members and relatives criticized him heavily for
diluting and commercializing the art. Towards the end of his life, he severed the
relations with Agartala. Although he was denied the princely throne in Tripura, he
ruled over the hearts of millions of music lovers. He was a simple man wearing
dhoti-kurta and liked tamkuwala paan very much. His life style was simple but he
was extremely miser, money conscious and preferred to live in isolation. He used
to say, “ Make yourself rare, then only people pay you attention in this film
industry”.
He has sung very few solo songs in Hindi films and composed songs for Mukesh.
Although both of them had distinct voices, one can hear sufi/devotional music in
their songs. Some examples of Mukesh songs are: ‘Ae Dile Awara Chal’
(Dr.Vidya), ‘O Janewale Ho Sake To Lautke Aana’ (Bandini), ‘Ye Kisne Geet
Cheda’ (Meri Surat Teri Aankhe), ‘Chalri Sajani Aab Kya Soche’ (Bambai ka
Babu), whereas those of S. D. Burman are: ‘Wanha Kaun Hai Tera’ (Guide),
53
‘Suno Mere Bandhu Re’ (Bandini), ‘O Re Manjhi’ (Sujata), ‘Saphal Hogi Teri
Aradhana’ (Aradhana) and many others.
It is interesting to note that beginning with Mashal of 1950 to Barood of 1976,
Lata Mangeshkar has sung 132 solo songs composed by S. D. Burman. Among
other singers, number of songs are: Asha Bhosle (75), Kishore Kumar (53),
Mohammad Rafi (45) and Geeta Dutt (44). He set tunes to the songs of 27
lyricists and 57 singers have sung them. He has composed about 700 songs in
90 Hindi and five Bengali films out of which 157 Hindi film songs are duets.
Today, towards the closure of S. D. Burman’s birth centenary, most of his film
songs are available on CD’s and tapes. Internet sites are full with lot of
information. However, his Hindi and Bengali private songs are relatively less
known. Many of these songs need to be reissued and preserved for posterity and
researchers of film music. S. D. Burman passed away on October 31, 1975 at the
age of 69 years. However his voice and music is alive for ever.

Bengali Films of S. D. Burman:
1937 Rajshree
1940 Rajkumar Nirbadshan
1943 Jeevan Sangini
1943 Chadma Beshi
1943 Matir Ghar
Hindi Films of S. D. Burman:
1946: Shikari, Aath Din
1947 Do Bhai, Dilki Rani, Chittod Vijay
1948 Vidya
1949 Kamal, Shabnam
1950 Afsar, Mashal, Pyar
1951 Baji, Bahar, Bujhdil, Ek Nazar, Naujawan, Saza
1952 Jal, Lal Kunwar
1953 Arman, Babla, Jeevan Jyoti, Shahanshah
1954 Aangare, Chalis Baba Ek Chor, Radha Krishna, Taxi driver
1955 Devdas, Ghar Number Chavalis, Madbhare Nain, Munimji, Society
1956 Fantoosh
1957 Miss India, Nay Do Gyarah, Paying Guest, Pyasa
1958 Chaltika Naam Gadi, Kala Pani, Lajwanti, Sitaronse Aage, Solvan Saal
1959 Insan Jaag Utha, Kagazke Phool, Sujata
1960 Apna Haath Jagannath, Bambaika Babu, Bewakuf, Ek Ke Baad Ek, Kala
Bazzar, Manjhil, Miyan Bibi Raji
1962 Baat Ek Raatki, Dr. Vidya, Naughty Boy
1963 Bandini, Meri Surat Teri Aankhen, Tere Gharke Samne
1964 Benzir, Kainse Kahun, Ziddi
1965 Guide, Teen Devinyan
1967 Jewel Thief
1969 Jyoti, Aradhana, Talash
1970 Ishq Per Jor Nahin, Prem Pujari
1971 Gambler, Naya Zamana, Sharmili, Tere Mere Sapne
1972 Anurag, Ye Gulistan Hamara, Zindagi Zindagai
1973 Abhiman, Chupa Rustom, Jugnu, Phagun
1974 Prem Nagar, Sagina, Us Par
1975 Chupke Chupke, Mili
1976 Arjun Pandit, Barood, Tyag, Diwangi
? Saaz [between 1950-60]

[khawar Sohail]

I am u/l SD Burman first compositions from film SHIKAARI 1946. Both songs are sung by Paaro....khawar
PS: the song Chup chup is 3-10 min duration and not 5.59 min.
S. D. Burman (1906-1975)Known as "Sachin Karta" to the music connoisseurs of Kolkata, "Burman Dada"
as fondly called by the musicians of Bombay, "Shochin Deb Bormon" by the radio
listeners of Bangladesh and West Bengal, India, "S.D. Burman" by the film cine
goers or simply "SD" by his film fans, was born on October 1, 1906 at Komilla in
a Royal family of Tripura. His uncles deceived his father and conquered the
throne. As a result, Burman family had to live in isolation like refugees in their
own kingdom. Many stories, myths and rumors isolated young Sachin even
further. With unrest and disturbed mind, he used to wander in streets of Agartala.
He did not like school much but was passionate about music and sports. His
father Navdweep Chandra Burman was Sitarist and a Dhrupad singer. Kumar
Sachin had first music lessons from him. Later on he learnt from Krishna
Chandra Dey, Badal Khan, Girija Shankar Chakraborty and Baba Allauddin Khan
of Maihar [father of Ali Akbar Khan and father in law of Ravi Shankar]. He was in
close association with a Sufi saint Saheb Ali and had recorded several songs of
Saheb Ali. He learnt folk music of Bengal such as Bhatiali, Baul, Bangla Keertan
from many gurus. He borrowed freely from folk music and composed several
songs both in Hindi and in Bengali. He used to handle and play several
instruments and had a mastery over sitar and flute. His passion and interest in
football was so deep that organizers of major football matches used to invite him
as referee. Soon he became star football player, singer and a musician. No
wonder then that he received an invitation from the Hindusthan Musical Products
Ltd. Calcutta for cutting gramophone discs on their Hindusthan record label.
He cut his first Bengali song disc in September 1932 at the age of twenty-six
years and it was released on ‘Hindusthan’ label. The record label reads as: by
Kumar Sachin Dev Burman. The word ‘Kumar’ relates to his stature as a Royal
Prince (Raj Kumar) and not as a child prodigy. Later on he dropped this title
‘Kumar’. Hindusthan Main List catalogue published in 1966 gives following
information about his Hindi records:
Kumar Sachin Dev Varma
H 461 Nain More Daras / Preetmen Huve Badnaam
H 548 Aab Main Sharan Tumhare / Mere Preetam Pyare
H 922 Chale Chalo Premke Sathi / Premki Pyari Nishani
H 1001 Dheerese Jana Bagiyanmen / Kaun Nagariya Jaore
H 1094 Pile Harinaamka Pyala / Mere Shyam Suno Meri
H 1179 Balam Mujhse Ruthke / Mere Jobanke Phulwari
51
H 1211 Nainonke Suljhake / Rimjhim Rimjhim
H 1321 Gundham Hamare / Sab Deshki Janata
Kumar Sachin Dev Varma and Meera Dev Varma
H 1232 Phulgendava Na Maro / Tumho Bade Chitchor
---------------------------------------------------------------------------
Due to the popularity and sale of these discs, some songs were reissued on EP
and LP records by the Hindusthan records.
Later on he also recorded prolifically for the Gramophone Company and many
78-rpm records were issued on HMV label. Compressive list is under
preparation.
As per the information from the record collectors, details of his solo songs are:
Hindusthan records – 55 songs, HMV - 19 songs and 4 songs on Super Seven
HMV EP.
Reissued on EP’s – Angel: 6, Hindusthan: 8, HMV: 3
LP’s – HMV: 4, Hindusthan: 3
Thus, in all 102 songs are available on discs. He has composed most of his
songs himself except 17 that were composed by Sursagar Himanshu Dutt and
Kazi Nasrul Islam. His lyricists are: Ajay Bhattacharya, Meera Dev Burman,
Gouriprasanna Mujumdar, Mohini Choudhury, Kazi Nasrul Islam, Munshi Zahid
Hussain, Pandit Bhushan, Shailendra, Majrooh Sultanpuri and Anand Bakshi.
------------------------------------------------------------------------------------------------------------
He used tunes of his several Bengali songs in Hindi films. Some examples are:
Pavan Diwani (Dr. Vidya), Jhan Jhan Payal Baje (Buzdil), Jane Kya Tune Kahi
(Pyasa), Nain Churaye Chain Churaye (Anurag), Hum Bekhudimen Tumko (Kala
Pani), Vahan Kaun Hai Tera (Guide), Khai Haire Humne Kasam (Talash). These
songs are hit even today because of their origin in sufi and devotional music.
Between 1937-43, he recorded these songs on 78-rpm discs. He also composed
music for five Bengali films: Rajshree, Nirbadshan, Jeevan Sangini, Chadma
Beshi and Matir Ghar. In 1966, ‘Matir Ghar’ was re-made in Nepali language as
‘Maiti Ghar’ and music of this film was composed by his assistant Jaidev.
In 1942, film producer Mr. Chandulal Shaha of Ranjit studio invited him to work
with him in Bombay but he did not come. Rai Bahadur Chunilal, Sushil Mujumdar
and Shashdhar Mukherjee of Filmisthan studio persuaded him and in 1944, he
shifted to Bombay and settled with his family. As a composer, Filmisthan’s
52
Shikari (1946) was his first Hindi film. He met Dev Anand in 1948 and then he
was the music director for most of Navketan’s films. His association with Dev
Anand was a long one beginning with Afsar (1950), Bazi, Taxi Driver, Ghar
no.44, Fantoosh, Nau Do Gyarah, Kala Pani, Kala Bazzar, Guide, Jewel Thief,
Prem Pujari, and Tere Mere Sapne (1971) . He also composed music for other
Dev’s films on other banners such as Paying Guest, Teen Devinya and Munimji
and the songs were very popular.
During 1950-60, Hindi films were centered around Raj Kapoor, Dev Anand and
Dilip Kumar with their own set of musicians and singers. Rafi and Mukesh were
the singing voices of Dilip Kumar and Raj Kapoor respectively. In such a
situation, Sachnda used every available voice for Dev Anand. In the beginning
Hemant Kumar sang ‘Gupchup Gupchup Pyar Karen’ (Saja, 1951), ‘Ye Raat Ye
Chandani Phir Kahan’ (Jaal, 1952), ‘Ter i Duniya Men Jeenese’, ‘Chup Hai
Dharati Chup Hai Chand Sitare’ (Ghar no. 44, 1955) for Dev. Talat Mehmood
sang ‘Jayen To Jayen Kahan’ in film Ta xi Driver. In Munimji (1955), Dev sang
‘Jeevanke Safarmen Rahi’ in Kishore Kumar’s voice whereas in the same film,
Hemant Kumar lent him his voice for the song ‘O Shivji Byahane Chale’. Later on
both Mohammad Rafi and Kishore Kumar sang many songs for Dev Anand and
cine-goers never found it odd.
Although S. D. Burman was at home in Navketan camp, he composed wonderful
music for many films of Bimal Roy and Guru Dutt. These songs are remembered
by film music lovers of all generations. He used large musical canvas using
words, chorus, tonal colors of instruments and orchestration in the following
songs: ‘Bichade Sabhi Bari Bari, ‘Waqt Ne Kiya Kya Hansi Sitam’ (Kagaz Ke
Phool), ‘Jane Wo Kaise Loga The Jinke’. ‘Jinhe Naj Hai Hindpar Wo Kahan Hai’,
‘Ye Duniya Agar Mil Jayen To Kya Hai’ (Pyasa). In spite of the rudimentary
recording equipment of 50’s, his songs are real masterpieces. The songs were
based on classical, light classical, folk and devotional music. He also composed
several duets, comedy, and cabaret numbers. This was part of his profession
that he had chosen. His family members and relatives criticized him heavily for
diluting and commercializing the art. Towards the end of his life, he severed the
relations with Agartala. Although he was denied the princely throne in Tripura, he
ruled over the hearts of millions of music lovers. He was a simple man wearing
dhoti-kurta and liked tamkuwala paan very much. His life style was simple but he
was extremely miser, money conscious and preferred to live in isolation. He used
to say, “ Make yourself rare, then only people pay you attention in this film
industry”.
He has sung very few solo songs in Hindi films and composed songs for Mukesh.
Although both of them had distinct voices, one can hear sufi/devotional music in
their songs. Some examples of Mukesh songs are: ‘Ae Dile Awara Chal’
(Dr.Vidya), ‘O Janewale Ho Sake To Lautke Aana’ (Bandini), ‘Ye Kisne Geet
Cheda’ (Meri Surat Teri Aankhe), ‘Chalri Sajani Aab Kya Soche’ (Bambai ka
Babu), whereas those of S. D. Burman are: ‘Wanha Kaun Hai Tera’ (Guide),
53
‘Suno Mere Bandhu Re’ (Bandini), ‘O Re Manjhi’ (Sujata), ‘Saphal Hogi Teri
Aradhana’ (Aradhana) and many others.
It is interesting to note that beginning with Mashal of 1950 to Barood of 1976,
Lata Mangeshkar has sung 132 solo songs composed by S. D. Burman. Among
other singers, number of songs are: Asha Bhosle (75), Kishore Kumar (53),
Mohammad Rafi (45) and Geeta Dutt (44). He set tunes to the songs of 27
lyricists and 57 singers have sung them. He has composed about 700 songs in
90 Hindi and five Bengali films out of which 157 Hindi film songs are duets.
Today, towards the closure of S. D. Burman’s birth centenary, most of his film
songs are available on CD’s and tapes. Internet sites are full with lot of
information. However, his Hindi and Bengali private songs are relatively less
known. Many of these songs need to be reissued and preserved for posterity and
researchers of film music. S. D. Burman passed away on October 31, 1975 at the
age of 69 years. However his voice and music is alive for ever.

Bengali Films of S. D. Burman:
1937 Rajshree
1940 Rajkumar Nirbadshan
1943 Jeevan Sangini
1943 Chadma Beshi
1943 Matir Ghar
Hindi Films of S. D. Burman:
1946: Shikari, Aath Din
1947 Do Bhai, Dilki Rani, Chittod Vijay
1948 Vidya
1949 Kamal, Shabnam
1950 Afsar, Mashal, Pyar
1951 Baji, Bahar, Bujhdil, Ek Nazar, Naujawan, Saza
1952 Jal, Lal Kunwar
1953 Arman, Babla, Jeevan Jyoti, Shahanshah
1954 Aangare, Chalis Baba Ek Chor, Radha Krishna, Taxi driver
1955 Devdas, Ghar Number Chavalis, Madbhare Nain, Munimji, Society
1956 Fantoosh
1957 Miss India, Nay Do Gyarah, Paying Guest, Pyasa
1958 Chaltika Naam Gadi, Kala Pani, Lajwanti, Sitaronse Aage, Solvan Saal
1959 Insan Jaag Utha, Kagazke Phool, Sujata
1960 Apna Haath Jagannath, Bambaika Babu, Bewakuf, Ek Ke Baad Ek, Kala
Bazzar, Manjhil, Miyan Bibi Raji
1962 Baat Ek Raatki, Dr. Vidya, Naughty Boy
1963 Bandini, Meri Surat Teri Aankhen, Tere Gharke Samne
1964 Benzir, Kainse Kahun, Ziddi
1965 Guide, Teen Devinyan
1967 Jewel Thief
1969 Jyoti, Aradhana, Talash
1970 Ishq Per Jor Nahin, Prem Pujari
1971 Gambler, Naya Zamana, Sharmili, Tere Mere Sapne
1972 Anurag, Ye Gulistan Hamara, Zindagi Zindagai
1973 Abhiman, Chupa Rustom, Jugnu, Phagun
1974 Prem Nagar, Sagina, Us Par
1975 Chupke Chupke, Mili
1976 Arjun Pandit, Barood, Tyag, Diwangi
? Saaz [between 1950-60]

[Debopriyo]

I am u/l SD Burman first compositions from film SHIKAARI 1946. Both songs are sung by Paaro....khawar
PS: the song Chup chup is 3-10 min duration and not 5.59 min.
S. D. Burman (1906-1975)Known as "Sachin Karta" to the music connoisseurs of Kolkata, "Burman Dada"
as fondly called by the musicians of Bombay, "Shochin Deb Bormon" by the radio
listeners of Bangladesh and West Bengal, India, "S.D. Burman" by the film cine
goers or simply "SD" by his film fans, was born on October 1, 1906 at Komilla in
a Royal family of Tripura. His uncles deceived his father and conquered the
throne. As a result, Burman family had to live in isolation like refugees in their
own kingdom. Many stories, myths and rumors isolated young Sachin even
further. With unrest and disturbed mind, he used to wander in streets of Agartala.
He did not like school much but was passionate about music and sports. His
father Navdweep Chandra Burman was Sitarist and a Dhrupad singer. Kumar
Sachin had first music lessons from him. Later on he learnt from Krishna
Chandra Dey, Badal Khan, Girija Shankar Chakraborty and Baba Allauddin Khan
of Maihar [father of Ali Akbar Khan and father in law of Ravi Shankar]. He was in
close association with a Sufi saint Saheb Ali and had recorded several songs of
Saheb Ali. He learnt folk music of Bengal such as Bhatiali, Baul, Bangla Keertan
from many gurus. He borrowed freely from folk music and composed several
songs both in Hindi and in Bengali. He used to handle and play several
instruments and had a mastery over sitar and flute. His passion and interest in
football was so deep that organizers of major football matches used to invite him
as referee. Soon he became star football player, singer and a musician. No
wonder then that he received an invitation from the Hindusthan Musical Products
Ltd. Calcutta for cutting gramophone discs on their Hindusthan record label.
He cut his first Bengali song disc in September 1932 at the age of twenty-six
years and it was released on ‘Hindusthan’ label. The record label reads as: by
Kumar Sachin Dev Burman. The word ‘Kumar’ relates to his stature as a Royal
Prince (Raj Kumar) and not as a child prodigy. Later on he dropped this title
‘Kumar’. Hindusthan Main List catalogue published in 1966 gives following
information about his Hindi records:
Kumar Sachin Dev Varma
H 461 Nain More Daras / Preetmen Huve Badnaam
H 548 Aab Main Sharan Tumhare / Mere Preetam Pyare
H 922 Chale Chalo Premke Sathi / Premki Pyari Nishani
H 1001 Dheerese Jana Bagiyanmen / Kaun Nagariya Jaore
H 1094 Pile Harinaamka Pyala / Mere Shyam Suno Meri
H 1179 Balam Mujhse Ruthke / Mere Jobanke Phulwari
51
H 1211 Nainonke Suljhake / Rimjhim Rimjhim
H 1321 Gundham Hamare / Sab Deshki Janata
Kumar Sachin Dev Varma and Meera Dev Varma
H 1232 Phulgendava Na Maro / Tumho Bade Chitchor
---------------------------------------------------------------------------
Due to the popularity and sale of these discs, some songs were reissued on EP
and LP records by the Hindusthan records.
Later on he also recorded prolifically for the Gramophone Company and many
78-rpm records were issued on HMV label. Compressive list is under
preparation.
As per the information from the record collectors, details of his solo songs are:
Hindusthan records – 55 songs, HMV - 19 songs and 4 songs on Super Seven
HMV EP.
Reissued on EP’s – Angel: 6, Hindusthan: 8, HMV: 3
LP’s – HMV: 4, Hindusthan: 3
Thus, in all 102 songs are available on discs. He has composed most of his
songs himself except 17 that were composed by Sursagar Himanshu Dutt and
Kazi Nasrul Islam. His lyricists are: Ajay Bhattacharya, Meera Dev Burman,
Gouriprasanna Mujumdar, Mohini Choudhury, Kazi Nasrul Islam, Munshi Zahid
Hussain, Pandit Bhushan, Shailendra, Majrooh Sultanpuri and Anand Bakshi.
------------------------------------------------------------------------------------------------------------
He used tunes of his several Bengali songs in Hindi films. Some examples are:
Pavan Diwani (Dr. Vidya), Jhan Jhan Payal Baje (Buzdil), Jane Kya Tune Kahi
(Pyasa), Nain Churaye Chain Churaye (Anurag), Hum Bekhudimen Tumko (Kala
Pani), Vahan Kaun Hai Tera (Guide), Khai Haire Humne Kasam (Talash). These
songs are hit even today because of their origin in sufi and devotional music.
Between 1937-43, he recorded these songs on 78-rpm discs. He also composed
music for five Bengali films: Rajshree, Nirbadshan, Jeevan Sangini, Chadma
Beshi and Matir Ghar. In 1966, ‘Matir Ghar’ was re-made in Nepali language as
‘Maiti Ghar’ and music of this film was composed by his assistant Jaidev.
In 1942, film producer Mr. Chandulal Shaha of Ranjit studio invited him to work
with him in Bombay but he did not come. Rai Bahadur Chunilal, Sushil Mujumdar
and Shashdhar Mukherjee of Filmisthan studio persuaded him and in 1944, he
shifted to Bombay and settled with his family. As a composer, Filmisthan’s
52
Shikari (1946) was his first Hindi film. He met Dev Anand in 1948 and then he
was the music director for most of Navketan’s films. His association with Dev
Anand was a long one beginning with Afsar (1950), Bazi, Taxi Driver, Ghar
no.44, Fantoosh, Nau Do Gyarah, Kala Pani, Kala Bazzar, Guide, Jewel Thief,
Prem Pujari, and Tere Mere Sapne (1971) . He also composed music for other
Dev’s films on other banners such as Paying Guest, Teen Devinya and Munimji
and the songs were very popular.
During 1950-60, Hindi films were centered around Raj Kapoor, Dev Anand and
Dilip Kumar with their own set of musicians and singers. Rafi and Mukesh were
the singing voices of Dilip Kumar and Raj Kapoor respectively. In such a
situation, Sachnda used every available voice for Dev Anand. In the beginning
Hemant Kumar sang ‘Gupchup Gupchup Pyar Karen’ (Saja, 1951), ‘Ye Raat Ye
Chandani Phir Kahan’ (Jaal, 1952), ‘Ter i Duniya Men Jeenese’, ‘Chup Hai
Dharati Chup Hai Chand Sitare’ (Ghar no. 44, 1955) for Dev. Talat Mehmood
sang ‘Jayen To Jayen Kahan’ in film Ta xi Driver. In Munimji (1955), Dev sang
‘Jeevanke Safarmen Rahi’ in Kishore Kumar’s voice whereas in the same film,
Hemant Kumar lent him his voice for the song ‘O Shivji Byahane Chale’. Later on
both Mohammad Rafi and Kishore Kumar sang many songs for Dev Anand and
cine-goers never found it odd.
Although S. D. Burman was at home in Navketan camp, he composed wonderful
music for many films of Bimal Roy and Guru Dutt. These songs are remembered
by film music lovers of all generations. He used large musical canvas using
words, chorus, tonal colors of instruments and orchestration in the following
songs: ‘Bichade Sabhi Bari Bari, ‘Waqt Ne Kiya Kya Hansi Sitam’ (Kagaz Ke
Phool), ‘Jane Wo Kaise Loga The Jinke’. ‘Jinhe Naj Hai Hindpar Wo Kahan Hai’,
‘Ye Duniya Agar Mil Jayen To Kya Hai’ (Pyasa). In spite of the rudimentary
recording equipment of 50’s, his songs are real masterpieces. The songs were
based on classical, light classical, folk and devotional music. He also composed
several duets, comedy, and cabaret numbers. This was part of his profession
that he had chosen. His family members and relatives criticized him heavily for
diluting and commercializing the art. Towards the end of his life, he severed the
relations with Agartala. Although he was denied the princely throne in Tripura, he
ruled over the hearts of millions of music lovers. He was a simple man wearing
dhoti-kurta and liked tamkuwala paan very much. His life style was simple but he
was extremely miser, money conscious and preferred to live in isolation. He used
to say, “ Make yourself rare, then only people pay you attention in this film
industry”.
He has sung very few solo songs in Hindi films and composed songs for Mukesh.
Although both of them had distinct voices, one can hear sufi/devotional music in
their songs. Some examples of Mukesh songs are: ‘Ae Dile Awara Chal’
(Dr.Vidya), ‘O Janewale Ho Sake To Lautke Aana’ (Bandini), ‘Ye Kisne Geet
Cheda’ (Meri Surat Teri Aankhe), ‘Chalri Sajani Aab Kya Soche’ (Bambai ka
Babu), whereas those of S. D. Burman are: ‘Wanha Kaun Hai Tera’ (Guide),
53
‘Suno Mere Bandhu Re’ (Bandini), ‘O Re Manjhi’ (Sujata), ‘Saphal Hogi Teri
Aradhana’ (Aradhana) and many others.
It is interesting to note that beginning with Mashal of 1950 to Barood of 1976,
Lata Mangeshkar has sung 132 solo songs composed by S. D. Burman. Among
other singers, number of songs are: Asha Bhosle (75), Kishore Kumar (53),
Mohammad Rafi (45) and Geeta Dutt (44). He set tunes to the songs of 27
lyricists and 57 singers have sung them. He has composed about 700 songs in
90 Hindi and five Bengali films out of which 157 Hindi film songs are duets.
Today, towards the closure of S. D. Burman’s birth centenary, most of his film
songs are available on CD’s and tapes. Internet sites are full with lot of
information. However, his Hindi and Bengali private songs are relatively less
known. Many of these songs need to be reissued and preserved for posterity and
researchers of film music. S. D. Burman passed away on October 31, 1975 at the
age of 69 years. However his voice and music is alive for ever.

Bengali Films of S. D. Burman:
1937 Rajshree
1940 Rajkumar Nirbadshan
1943 Jeevan Sangini
1943 Chadma Beshi
1943 Matir Ghar
Hindi Films of S. D. Burman:
1946: Shikari, Aath Din
1947 Do Bhai, Dilki Rani, Chittod Vijay
1948 Vidya
1949 Kamal, Shabnam
1950 Afsar, Mashal, Pyar
1951 Baji, Bahar, Bujhdil, Ek Nazar, Naujawan, Saza
1952 Jal, Lal Kunwar
1953 Arman, Babla, Jeevan Jyoti, Shahanshah
1954 Aangare, Chalis Baba Ek Chor, Radha Krishna, Taxi driver
1955 Devdas, Ghar Number Chavalis, Madbhare Nain, Munimji, Society
1956 Fantoosh
1957 Miss India, Nay Do Gyarah, Paying Guest, Pyasa
1958 Chaltika Naam Gadi, Kala Pani, Lajwanti, Sitaronse Aage, Solvan Saal
1959 Insan Jaag Utha, Kagazke Phool, Sujata
1960 Apna Haath Jagannath, Bambaika Babu, Bewakuf, Ek Ke Baad Ek, Kala
Bazzar, Manjhil, Miyan Bibi Raji
1962 Baat Ek Raatki, Dr. Vidya, Naughty Boy
1963 Bandini, Meri Surat Teri Aankhen, Tere Gharke Samne
1964 Benzir, Kainse Kahun, Ziddi
1965 Guide, Teen Devinyan
1967 Jewel Thief
1969 Jyoti, Aradhana, Talash
1970 Ishq Per Jor Nahin, Prem Pujari
1971 Gambler, Naya Zamana, Sharmili, Tere Mere Sapne
1972 Anurag, Ye Gulistan Hamara, Zindagi Zindagai
1973 Abhiman, Chupa Rustom, Jugnu, Phagun
1974 Prem Nagar, Sagina, Us Par
1975 Chupke Chupke, Mili
1976 Arjun Pandit, Barood, Tyag, Diwangi
? Saaz [between 1950-60]

A Famous Story "Rajashri " Of Rabindranath Tagore A real story on King Of Tripura " Raja Gobindo Manikya" ----------S.D Burman R.D Burman ?

[khawar Sohail]

[attachmentid=342
041][attachmentid
=342037]
OP Nayyar
I will be posting his life history in JPEG. I do not know how to directly put as graphic file. I am sure some Computer expert can download all these and put as graphic files. This article & pictures courtesy Dr Suresh Chandvankar form his SIRC meetings....Khawar

[khawar Sohail]

Here are 3 songs from his first film Kaneez...khawar

[khawar Sohail]

[khawar Sohail]

[khawar Sohail]

 mughal_e_azam.pdf ( 1.65 MB ) Number of hits: 10 by members
An article on Mughal-e-azam by Dr Suresh Chandvankar is attached. I am attaching pdf file....khawar

[khawar Sohail]

[khawar Sohail]

[khawar Sohail]

[attachmentid=342
207]