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3. 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.

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SD Burman's Bengali songs and their Hindi versions. Multiple Version Songs (1.

With 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 1. Multiple Version Songs. I have tried to give the meanings of some of these songs with the help of my Bengali friends. 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 bujhaveaccording 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 (1.

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 (1.

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. 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 (1. 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#1. Hairat- e- nazara akhir ban gayi ranaiyan from Kaarwaan- e- Hayaat (1.

Mihir Kiran Bhattacharya. 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 (1.

Madhavlal Damodar Master. 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.