Bole re papihara – what a blockbuster song it was with a soul-stirring impact

The fact that composer Vasant Desai chose the south Indian Hindustani, and Carnatic singer Vani Jairam over Lata Mangeshkar for Bole re papihara speaks volumes about his assessment of the Hindustani classical raga Mein ki Malhar

MUSICALLY YOURS/Ramesh Kumar

Bole re papihara. (https://www.youtube.com/watch?v=56AUdC9mn4E) What a song it was! It was playback singer Vani Jairam’s maiden Hindi film song featuring Jaya Bhaduri’s maiden adult role in 1971’s Guddi as a star-struck (Dharmendra playing himself) high school girl. The movie was a runaway success.

That composer Vasant Desai chose the south Indian Hindustani, and Carnatic singer Vani Jairam over Lata Mangeshkar speaks volumes about his assessment of this Hindustani classical raga: Mein ki Malhar. He wanted someone exposed or trained in Hindustani classical music. Vani scored over Lataji on that account. The family’s poor financial conditions pushed the Mangeshkars into film singing at a very young age, and thus Lataji was deprived of any Hindustani classical training.

Gulzar wrote the lyrics. Rumour was that Lataji tried her best to wean her fellow-Marathi composer from hiring the services of Vani. Not to be forgotten is the anti-south Indian sentiment propagated by Shiv Sena those days. Still, Desai stuck with Vani and delivered a blockbuster with his soul-stirring songs.

The film had two songs, Bole re papihara and Hamko man ki shakti dena (https://www.youtube.com/watch?v=FyG6yfoyITA), both in the voice of Vani.

Guddi’s Bole Re Papihara was the film version. There is a conventional Hindustani rendition of this song. Listen to Dr. Ashwini Deshpande, renowned musicologist and singer, here: https://www.youtube.com/watch?v=joxB9QNW918). Hang on. Pandit Dattatreya Vishnu Paluskar also sang this mian ki malhar bandish. Listen here: https://www.youtube.com/watch?v=GuiMhf4QtCM. Kumar Gandharv did his version here: https://www.youtube.com/watch?v=aJBBWuf9k94.

Bole re papihara, papihara

Bole re papihara, papihara

Nit ghan barse, nit man pyasa

Nit man pyasa, nit man tarse

Bole re papihara

Bole re papihara, papihara

Bole re papihara

Palkon par ik boond sajaaye

Palkon par ik boond sajaaye

Baithi hoon sawan le jaaye

Baithi hoon sawan le jaaye

Jaaye pee ke des mein barse

Jaaye pee ke des mein barse

Nit man pyasa, nit man tarse

Bole re papihara

Bole re papihara, papihara

Bole re papihara

Sawan jo sandesa laaye

Sawan jo sandesa laaye

Meri aankh pe moti paaye

Meri aankh pe moti paaye

Daan mile baabul ke ghar se

Daan mile baabul ke ghar se

Nit man pyasa, nit man tarse

Bole re papihara

Bole re papihara, papihara

(In Hindi):

बोले रे पपिहारा, पपीघारा

नित घन बरास, नित मान प्यासा

एनआईटी मैन प्यासा, नित मान तारास

पाल्को पर एक बंड साजय, बैथी हू सावन ले जय

जय पीई के डेस मी बरास, नित मैन प्यासा, नित मैन टैरोज़

सावन जो सैंडेसा लाई, मेरी ऐंह एसई मोटी पेई

जन मील बाबुल के घर से, नित मान प्यासा, नित मान तारासे

By the way, Gulzar’s filmi version is longer, with more lines showcasing the scene’s mood wherein Jaya Bhaduri and her hubby are on a honeymoon trip. The classical version is very short, but the raga alapa is extensive, as is to be expected.

A gem, indeed. I would not have ventured into googling and finding the Hindustani classical version of the hit film song but for Vani Jayaram and Vasant Desai.

Also, by the same author: https://thenewsporter.com/satyajit-ray-the-magic-spell-of-mian-ki-malhar-raga-and-a-unique-jugalbandi/

The writer, a hardcore business and economic journalist-cum-author, dives into the entertainment world to bust his emotional stresses regularly. He lives in Greater Noida, India, with his wife and a parrot. He is reachable at ramesh@konsultramesh.com.