atul's bollywood song a day- with full lyrics


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Chalte Chalte” (1976) was produced by Bheeshm Kohli and directed by Sundar Dar for Kailashpati pictures. The movie had Simi Garewal, Vishal Anand aka Bhisham Kohli, Nazneen, Chandrima Bhaduri, Dr ShreeRam Lagoo, Dinesh Hingoo, Jagdish Raj, Ashalata Wabgaonkar, Hakim, Ratan Gaurang, N.Mehra, B.Paremeshwar,Ghanshyam Dubey, Jaswant, Jankidas, Tarun Ghosh, Dinu Harish etc in it.

Four songs from this movie have been discussed in the past. Here is the fifth and final song from the movie. This song is sung by Sulakshana Pandit and Shailendra Singh. The song is picturised on Vishal Anand (aka Bheeshm Sahni) and Simi Garewal.

Amit Khanna is the lyricist. Music is composed by Bappi Lahiri.

Lyrics of this song were sent to me by Prakashchandra.

With this song,”Chalte Chalte” (1976) joins the list of movies that have all their songs covered in the blog.


Song-Sapnon ka raaja koyee man mein thha jis ko basaaya (Chalte Chalte)(1976) Singers-Sulakshana Pandit, Shailendra Singh, Lyrics-Amit Khanna, MD-Bappi Lahiri
Both

Lyrics(Provided by Prakashchandra)

sapnon ka raajaa koyee
mann mein tha jiss ko basaayaa
aaj hamein mil gayaa hai
yehi hai yehi hai yehi hai mera pyaar
yehi hai yehi hai yehi hai mera pyaar

sapnon ki raani koyee
mann mein thi jo samaayee
aaj hamein mil gayee hai
yehi hai yehi hai yehi hai mera pyaar
yehi hai yehi hai yehi hai mera pyaar

aankhein meri
bechain si
tujhko piyaa hain nihaarthi
pichhale janam ke
saathi hain hum
saansein yehi hai pukaarthi
dhadhkan mein tum
aisse bassey
aane lagaa hai qaraar
yehi hai yehi hai yehi hai mera pyaar
yehi hai yehi hai yehi hai mera pyaar

tumhara jo dil
gayaa hamko mil
aur hamein kyaa chaahiye
haathon mein haath
sadiyon ka saath
aur hamein kyaa chaahiye
aansoon bhi ab
hansne lagey
jaagi khushiyaan hazaar

yehi hai yehi hai yehi hai mera pyaar
yehi hai yehi hai yehi hai mera pyaar

ek aas hai
ek pyaas hai ae
sapne hamaare ek hain
sab dukh tumhaare
ab hai hamaare
khushiyaan hamari ek hain

hum jo miley
phool hain khiley
saraa jahaan hai bahaar
yehi hai yehi hai yehi hai mera pyaar
yehi hai yehi hai yehi hai mera pyaar

sapnon ka raajaa koyee
sapnon ki raani koyee
mann mein thaa jiss ko basaayaa
mann mein thi jo samaayee
aaj hamein mil gayaa hai ae ae ae
aaj hamein mil gayee hai ae ae
yehi hai yehi hai yehi hai mera pyaar
yehi hai yehi hai yehi hai mera pyaar

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This article is written by Satyajit Rajurkar, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Mohd Rafi in the 70s
————————-
The introduction to my Facebook group “Mohd Rafi – The Virtuoso” starts with – “Rafi Saab ek ehsaas hai jise mahsoos kiya jata hai, bayaan nehin. Yeh ek naam hai jise sunte hamare dil mein sukoon aur chhehre par muskurahat aa jati hai (Rafi Saab is a feeling that is felt, which cannot be told. It is a name that brings a smile on our face and we feel relaxed). To us he is ethereal; someone from another world; larger than life. No less than a God. This one name evokes a million feelings inside us. We have a smile on our lips and tears in our eyes. In other words, we feel alive when we hear this name – Mohammad Rafi.”

Laxmikant and Pyarelal duo are the most successful composers of Hindi film music. They were at the top during the 70s and 80s, having started as performers in orchestras, becoming arrangers for Hindi film music, which often included ghosting for composers. They composed music for about 635 Hindi movies from 1963 to 1998.

Laxmikant learnt the violin with Husnlal while Pyarelal learnt music from the his father Pandit Ram Prasad Sharma as well as goan music teacher, Anthony Gonsalves. Pyarelal assisted Bulo C. Rani at Ranjit, while both of them assisted Naushad, C. Ramchandra and Kalyanji- Anandji. Their first film as music directors, Parasmani, yielded a major hit, Hansta hua nurani chehra. They broke through big time with Milan (1967), with the Lata-Mukesh duet “Sawan Ka Mahina”.

And what can one say about the lethal combination of Mohd Rafi and the magical duo of Laxmikant and Pyarelal?!? They have given us hundreds of songs {total of 369songs, including 186 solos}.

Praising Rafi Saab, Pyarelal Ji once said: “What can I say about a man jo tareef se bahut hi oopar hai, and had countless golden qualities? I am only able to feel my deep regard for him, not to express it. Rafi Saab aisi sargam thi jisse koi bhi raag ban saktaa tha. He could sing in any range or octave. If today’s composers are to flower, the Almighty should create nine Rafis more!”

Together the LP-Rafi combination gave us many treats and amongst Rafi saab’s best ever sung songs are those composed by L-P. “Tere pyar ne mujhe gham diya” from Chaila Babu (1967) lyrics by Hasrat Jaipuri was LP & Rafi saab’s first song together. It was recorded in 1961 but it got released in 1967.

Rafi Saab was to give L-P a major hit with Chahoonga Main Tujhe in Dosti. Over the years, he’s rendered a string of hits for the music directors – including Beimaan Hai Bada (in Loafer), Na Tu Zameen Ke Liye (Dastaan), Aane Se Uske Aaye Bahar (Jeene Ki Raah), Chalkaaye Jaam and Hui Shyam Unka (Mere Humdum Mere Dost), Yeh Jo Chilman Hain and Itna To Yaad Hai Mujhe (Mehboob Ki Mehndi), the title songs of Patthar Ke Sanam and Khilona title song, Jhilmil Sitaron Ka (with Lata Mangeshkar in Jeevan Mrityu), Parda Hai Parda (Amar Akbar Anthony), Dafliwale (with Lata in Sargam), Dard-e-Dil (Karz) and scores of others. In fact, Rafi’s last song Tu Kahin Aas Paas Hai Dost was recorded for LP for the film Aas Paas.

LP were the staunch Rafi loyalist throughout their life. Their greatness lies in their simplicity, commitment and the quality of unconquered versatility gave Laxmikant-Pyarelal a supreme staying power of 35 years in the Hindi Film Music. Laxmikant-Pyarelal’s tunes used to be very simple but at the same time it used to be extremely sweet, catchy and melodious. When it came to composing great and classy music, LP were in a class of their own. Their melody and orchestration was outstanding and the variety in their work was excellent.

Rafi Saab voice was extensively used by this duo in all forms of film songs – Classical, Folk, Qawwali, Western, Lori, Bhajan, Ghazal etc. They were also outstanding at exploiting several instruments, including their favourite Dholak, Tabla, Violin, Guitar, Bongo, Piano, Santoor, Sitar, Mandolin, French Horn, Rabab and many other Indian as well as Western instruments.

LP churned out song after song with Rafi Saab from “Parasmani” till “Aas Paas”. The songs were simply out of the world.

Pyarelal has plenty of memories of Rafi Saab, among which, some are mentioned below, for the benefit of Mohd Rafi fans:

“Rafi Saab was like a farishta. No other word would be more appropriate to describe him” he recalls “He talked less and had a special style of nodding his head. He always looked down and talked, no matter whom he talked with. For him, everybody was the same, and he talked to everybody in the same tone,” he points out.

“Rafi Saab had a special habit of keeping his car spotless clean”; “Another thing he loved was good food. He’d have a lavish meal whenever he could,” he says.

Pyarelal, however, points out that Rafi rarely went to parties. “He liked to stay in his own world, and concentrate on two things – namaz and riyaz. But he has come to my birthday party twice. They may be among the exceptions he made, but we were so close,” he adds.

On Rafi Saab’s approach towards singing, Pyarelal says “He was God-gifted. He used to do so much riyaz that everything looked so simple. Then, he would modulate his voice to suit each hero, whether it was Dilip Kumar, Bharat Bhushan, Rajendra Kumar or Shammi Kapoor.” Pyarelal says Rafi was a strict disciplinarian when it came to work. He elaborates: “He never cancelled any recording, even if he had a 1020F temperature. In fact, he was the first singer to regularly go on foreign tours. He would go every year, first with his small orchestra, and later with a bigger group.”

Was there anything that Rafi Saab loved as much as singing? “Yes, he loved whistling. He would whistle regularly, either in the form of a tune or just loudly when he was happy.” For Pyarelal, the tales would never cease. But then, Laxmikant Pyarelal and Rafi Saab not only made some great music together, but shared a special bond too.

Some of my favourite (rarer) solo songs sung by Rafi Saab composed by Laxmikant Pyarelal are given below:

Tauba Ye Nazare Ye Katil Ishare “Dillagi” (1966)
Tere Pyar Ne Mujhe Gam Diya “Chhaila Babu”(1967)
Akela Hoon Main Humsafar Dhoondata “Jaal” (1967)
Aankh Milaye Na Muskuraye Na “Milan Ki Rat” (1967)
Kaise Koi Jaane Bhala “Taqdeer” (1968)
Gudiya Si Meri Ladli “Wapas” (1969)
Door Hai Wo Aanchal “Wapas” (1969)
Rom Ke Wadiyon Mein Do Dil “Spy In Rome” (1969)
Haseen Dilruba Kareeb Aaa Zara “Roop Tera Mastana” (1972)
Tu Mujhe Thaam Le Ke Main “Suraj Aur Chanda” (1973)
Main Wohi Wohi Baat Mere “Naya Din Nai Raat” (1974)
Muhobbat Hi Mubobbat Hai “Geeta Mera Nam” (1974)
Meri Dushman Hai Ye Mere Ulzan Hai “Main Tulsi Tere Aangan Ki” (1978)

“Roop Tera Mastana” (1972) stars Jeetendra, Mumtaz, Pran, I.S. Johar, Leela Mishra, Brahm Bhardwaj, Malika, Birbal, etc. It was directed by Khalid Akhtar for RKD Studios and had music by Laxmikant Pyarelal with lyrics penned by Asad Bhopali and Verma Malik.

The Story is about Princess Usha (Mumtaz), who is the successor to the throne. She is murdered by her minister Ajit (Pran) and is replaced by a duplicate, a happy village girl Kiran (Mumtaz), that looks exactly like her. She meets with Usha’s fiancé (Jeetendra), a Prince himself, and falls in love with him, not realizing that her feelings will soon be history when those few days come to an end, and she must then give up her wealthy life-style and go back to being poor again.

The story line is very similar to another movie released in the same year – Raja Jani (1972).

Now coming to today’s song, Rafi Saab has sung this beauty in an extremely romantic, sensuous and passionate way. The prelude music starts with beautifully played rubab, santoor, piano and guitar. And the song is accompanied by great orchestration primarily using these four instruments along with accordion, tens of violins and percussion.

Five songs of this movie have been discussed previously on this blog. This is the sixth out of the total seven songs in this movie.

“Haseen dilruba karib aa zara ke abhi dil nahi bhara” by Mohd Rafi, Music by Laxmikant Pyarelal, Lyrics by Asad Bhopali from “Roop Tera Mastana” (1972)


Song-Haseen dilruba kareeb aa zara (Roop Tera Mastaana) (1972) Singer-Rafi, Lyrics-Asad Bhopali, MD-Laxmikant Pyarelal

Lyrics

Hmm hmm hmmmm
hm hm hm Hmmm
ah hahaha

haseen dilruba
kareeb aa zara
ke abhi dil nahi bhara
kareeb aa zara
ke abhi dil nahin bhara

haseen dilruba
kareeb aa zara
ke abhi dil nahin bhara

raat kitni baar pee
mujhko yaad hi nahin
itna yaad hai ke pyaas
badh gayi bujhi nahin
shabaab se saja
gulaab mein basa
sharaab se bana
jawaan badan tera
idhar to la zara
ke abhi dil nahin bhara
haseen dilruba

sharm aur laaj ke saare
band khol de
mere ang ang mein apna
pyaar ghol de
na haath yoon chhuda
na aankhen yoon dikha
na chehra yoon chhupa
ke mujhse sharm kyaaa
Lipat bhi ja zara
ke abhi dil nahin bhara
haseen dilruba
kareeb aa zara
ke abhi dil nahin bhara
ke abhi dil nahin bhara


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Hindi film industry is like an ocean.Several small and big rivers join it and the ocean too gracefully accepts everything. Once inside, the individual rivers lose their identity and become a part of the ocean. Similarly, people from all corners of India join this industry, but only few get proper opportunity and recognition here. The rest simply disappear in this ocean. Success, they say, has no formula. Famous composer C.Ramchandra had once said, ‘If only there is anyone who can predict correctly what will succeed and what the public will like, such a person can earn millions here !’

To succeed, only Talent is not enough, one requires the backing of Good luck too. There are hundreds of cases to prove this. If it were not so, actress Farida Jalal would have become Top Heroine or composers like C.Arjun, Jamal Sen, Daan Singh or composer GANESH would have become A grade Music Directors !

Two years back, I had written an article on Composer Ramprasad Sharma, in the series ” Unknown composers”, on 17-12-2012. GANESH was the son of this Ramprasad Sharma. His siblings were Pyarelal, Naresh, Mahesh and Gorakh. Being son of a Musician, Ganesh wanted to learn music and instruments. He soon learnt and became an expert Violin player. In fact all the brothers were Violinists. Gorakh was a good Guitarist and played for several eminent composers in later years. Father Ramprasad was a Trumpet player (He had played Trumpet in the film ‘Barsaat’-1949). He was an expert in writting ” Notations ” ( Swar Lipi)…perhaps, being in the British Band had helped him. He taught this to all his sons. only Pyarelal ( who was a part of Laxmikant-Pyarelal jodi) and Ganesh understood its importance and they became experts in this.

Ganesh was also an expert in making Tunes. It was a natural Gift to him. being a lead – violinist and Tune builder, he started his music career as an assistant to L-P. ( Same time even Shashikant-brother of Laxmikant was also an assistant to L-P ). There was a special style of Ganesh in making a Tune. In all his songs, there used to be one player, only clapping, throughout the song, to maintain rhythm. This ” clapping ” was a trademark of Ganesh, and his songs could be recognised by this clapping.

His contribution in the initial success of L-P was well known in the industry and many producers offered films to Ganesh. So much so that at one time he had many offers on hand and he had to say ‘NO’ to many. He started his independent career with ” Husn aur Ishq”-1966. The Mukesh song-‘Aye mere dil’, Usha/Krisnha kalle song-‘Nahin nahin’ and Rafi’s-‘Jin ki tasweer’ from this movie became quite famous. In 1966, Ganesh did 3 more films, including Thakur Jarnail Singh-66. This was a B grade film, Dara Singh in the lead, but its song-‘ Hum tere bina ‘ by Asha Bhosle was included in the “My Favourites” series of Asha Bhosle.

No composer gives best songs all the time or in every film, but some Gems become All Time Hits. Talented composers like Ganesh did give such gems, from whatever little number of films they got. These songs signify their originality and talent. For whatever reasons, Ganesh never got into the Big League and ended up giving music only to these 16 films- Husn aur ishq, Shera Daku, Smuggler, Thakur Jarnail Singh, Sub ka Ustaad, Anjaam, Ek nanhi munni ladki thi, Kahin aar kahin paar, Kundan, Shararat, Dhamkee, Sa re ga ma pa, Chaalaak, Ek naari do roop, Badnaam and Dozakh-1986.

He composed a total of 87 songs, out of which 52 songs are already posted on this Blog. Today’s song is his 53rd song to appear in the blog. After his last film in 1986, Ganesh was not keeping good health and he died of a sudden Heart attack on 28th march 2000, leaving behind wife, one son and a daughter.

It is worthwhile noting that Hindi Film music is enriched not only by the famous and A grade Big time composers alone,but talented small time composers-like Ganesh-have also contributed substantially to the heritage of our film music.

Today’s song is from film ‘ Ek nanhi munni ladki thi ‘-70. It was a Ramsay films production. Yes,they were the same Ramsays, who started Horror films in India with their first film-‘Do gaz zameen ke neeche’-72. The producer was F.U.Ramsay and the story was by Kumar Ramsay. This social film was directed by one of the most talented, highly educated,Sahitya Academy winner,writer dramatist/producer and director- VISHRAM BEDEKAR.

Born as Vishwanath Chintamani Bedekar, on 13-8-1906 at Amravati, Maharashtra,he took the name Vishram once he started writing. After graduation,he did his Post-graduation in English Literature from Nagpur university. He went to Poona in 1930 to do a Teaching job. here he met his student cum future wife Balutai Khare…who was one of the First girls riding on Bicycle to college,in those days. They got married in 1938. She became Malat Bedekar,a famous Marathi writer later on. His first novel ” Ranangan” came out in 1939, while he was in film business. He started by directing a Balwant Pictures film-Krishnarjun Yudha-1934, a bilingual in Marathi and Hindi.. He directed many landmark films in Marathi. Prabhat films invited him to direct Lakharani-1945. This was the first film in which Guru Dutt played a role and also did its Choreography. It was here that Guru Dutt met Dev Anand,who had joined Prabhat as an apprentice.

Vishram Bedekar divided his life and time between writing and films. He was a trained Cinematographer and Director from London in those days. he wrote several Dramas in marathi. After directing 28 films an Marathi and Hindi,he left films after doing Bharat ke shaeed-1972. In 1985 he wrote his autobiography in Marathi- एक झाड आणि दोन पक्षी-. He got Sahitya Academy Award for this book. he is the only Film director with such laurels. Vishram Bedekar died in Pune on 30-10-1998, at the age of 92 years.

Let us now enjoy a song by composer Ganesh, sung by Asha Bhonsle from the film ” Ek nanhi munni ladki thi “-1970. This song is picturised as a telephone song on Mumtaz. Asad Bhopali is the lyricist of this song.


Song-Kahaan gaya mera sanam (Ek Nanhi Munni Ladki Thhi)(1970) Singer-Asha Bhonsle, Lyrics-Asad Bhopali, MD-Ganesh
Unknown male voice

Lyrics

hello
sun and sand
ji wo hain
wo kaun
ji wo hain
ji nahin

ho o
kahaan gaya mera sanam
kahaan gaya mera sanam
o o
o o
dil ko tanhaai tadpa rahi hai
raat guzri chali ja rahi hai
ae ae ae
kahaan gaya mera sanam
kahaan gaya mera sanam

hello
yes shaalimaar
zara unhen bulaaiye
kinko
unhinko
jinke bina neend nahin aati
neend nahin aati
nonsense

ho o
mujhe to mere sanam ke bina
neend zara na aayegi
akeli hi jaa tadapte huye
aaj sahar ho jaayegi
pyaar ka mausam
aur ye aalam
sochti hoon
karoon main kya
aa aa
ae ae
kahaan gaya mera sanam
kahaan gaya mera sanam
o o
o o
dil ko tanhaai tadpa rahi hai
raat guzri chali ja rahi hai
ae ae ae
kahaan gaya mera sanam
kahaan gaya mera sanam

hello
hotel natraj
dekhiye
wo aaye hain kya
wo kaun
yahaan bhi nahin
ho o
mahakti huyi nasheeli hawa
jhoom ke jab jab aati hai
umangon bhare jawaan dil mein
ik aag si bhadka jaati hai
dard hai doona
pehloo hai soona
sochti hoon
karoon main kya aa
ae ae
kahaan gaya mera sanam
kahaan gaya mera sanam
ho o
ho o
dil ko tanhaai tadpa rahi hai
raat guzri chali ja rahi hai
ae ae ae
kahaan gaya mera sanam
kahaan gaya mera sanam

hello
yes madam
itni raat guzar gayi
unka koi pata nahin
wrong number

ho o
kidhar kho gaya kahaan so gaya
kaun ye ab batlaayega
khabar to miley
pata to chaley
chaand mera kab aayega
aaj to saari raat hai bhaari
sochti hoon karoon main kya aa
ae ae
kahaan gaya mera sanam
kahaan gaya mera sanam
o o
o o
dil ko tanhaai tadpa rahi hai
raat gujri chali ja rahi hai
ae ae ae
kahaan gaya mera sanam
kahaan gaya mera sanam


This article is written by Bharat Upadhyay, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

========================
Raaga Maala in Hindi Films – 17
========================
Not to be confused with the same name 1992 film, Shola Aur Shabnam is a 1961 film written and directed by Ramesh Saigal. It stars Dharmendra, Tarla Mehta, Abhi Bhattacharya, Vijayalakshmi and M. Rajan in pivotal roles. It was one of the very early films of Dharmendra.

The film is about a young man torn between love for his long lost childhood sweetheart, and devotion towards a friend who has helped set him up in his career. The film features music by Khayyam. The original soundtrack contains some of the most famous songs, like “Jane Kya Dhoondti Rahti”, “ Phir Wohi Saawan Aaya”, “Jeet Hi Lenge Baaji”, “Pahele To Aankh Milana”, “Ladi Re Ladi’ etc.

The present composition was presented in the form of a ballet on the stage. Music was composed by, Khaiyyam using four ragas. The singers are Manna Dey, Geeta Dutt and Kaumudi Munshi. This composition shows the departure of Krishna from Gokul to Mathura, leaving behind Radha, Gopikas and all his childhood friends forever. There is a hidden pathos filled atmosphere in this song. This, a unique creation of music director Khaiyyam, who is capable of drawing the whole episode before our eyes, whenever we listen to it. The lyrics of this song were penned by Pt. Ram Murti Chaturvedi.


Song-Mathura Shyam Chale(Shola Aur Shabnam)(1961) Singers- Manna Dey, Geeta Dutt, Kaumudi Munshi, Lyrics- Pt. Ram Murti Chaturvedi, MD- Khaiyyam

Lyrics

mathura shyam chale aaaaa
mathura shyam chale aaaaaaaa
mathura shyam chale hooooo
mathura shyam chale hooooo
sawan ghan sa umand pada brij
sawan ghan sa umand pada brij
mathura shyam chale hooooo
mathura shyam chale hooooo
rath se lipati, haaaaa
path se lipati, haaaaa
baawariya vrajanaari aaaaaa
boli radha, prem agadha,
na jaao giridhari, na jaao giridhari
mathura shyam chale hoooo
mathura shyam chale

kaise jaaoge kanhaai, kaise jaaoge
kaise jaaoge kanhaai, kaise jaaoge
jaane naahi dungi, pag dharungi, naa darungi
jaane naahi dungi, pag dharungi, naa darungi
saanware main teri raah mein marungii,
naa tarungi, naa tarungi ho
kaise jaaoge kanhaai, kaise jaaoge
kaise jaaoge kanhaai, kaise jaaoge

tan ke kaare rahe tum kanha
man ke kaare bano nahi shyam
tan ke kaare rahe tum kanha
man ke kaare bano nahi shyam
tum bin hoga jeewan soona
narak banega gokul dhaam
tum bin hoga jeewan soona
narak banega gokul dhaam
jaane naahi dungi, pag dharungi, naa darungi
saanware main teri raah mein marungii,
naa tarungi, naa tarungi ho
kaise jaaoge kanhaai, kaise jaaoge
kaise jaaoge kanhaai, kaise jaaoge
mathura shyam chale hooooo
mathura shyam chale hooooo
sawan ghan sa umand pada brij
sawan ghan sa umand pada brij
mathura shyam chale hooooo
mathura shyam chale

bansi to mein kaun gun, jaa pe rijhe naath
mukh se gaaye rahet hai har dam raakhe saath

( janam baans ghar bhayo hamaaro, kaat hamen koi laayo
tukade tukade kar ke mohe ang agan ghulsaayo
aath chhed more tan kinho nithur pran mero har lino
tan nahi mero man nahi mero aur sakhi nahi jeevan mero )
wohi soor main baajun radhe jo bhagwan bajaaye
wohi boli bolun radhe jo bhagwan bulaaye
radhe
krishna
radhe
krishna
radhe
krishna
radhe
krishna
radhe .. krisna, radhe .. krisna radhe .. krisna, radhe .. krisna
radhe .. krisna, radhe .. krisna radhe .. krisna, radhe .. krisna
radhe .. krisna, radhe .. krisna radhe .. krisna, radhe .. krisna
radhe .. krisna, radhe .. krisna radhe .. krisna, radhe .. krisna
radhe .. krisna
radhe .. krisna


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

An important date today – 21st October. It is the birth date of two very dear performers who have held the center stage for sustained periods, enthralling many generations of filmgoers and music lovers – Shammi Kapoor and Helen. In their own spaces, both these artists ruled the silver screen through the decades of 1960s.

Shammi Kapoor’s transformation from a generic performer to the flamboyant young lover happened in the later part of 1950s, with films like ‘Tumsa Nahin Dekha’ (1957) and ‘Dil Deke Dekho’ (1959). And he continued to remain on the top for the next decade. After the mid 1970s, he transitioned into character roles and continued to regale the audiences with his style and histrionics. The curtain on this illustrious career came down a little over three years ago, on 14th August, 2011.

For Helen, the launching pad was really the iconic “Mera Naam Chin Chin Choo” in ‘Howrah Bridge’ (1958). And then on for two decades, she ruled as the princess of dance, going from strength to strength with each performance. For over two decades, her dance numbers were a fixture in the film production in Bombay. No matter the formula, her dances would definitely be part of the script.

Wishing Helen ji all the best in life – good health and happiness, on this day today.

A number of songs that include both the artists, are already showcased here on the blog. And locating new numbers which show both on the screen together, is becoming a tough task. I have been able to locate this dance number from the 1974 film ‘Chhote Sarkar’. Shammi Kapoor is present in the scene, but he is not singing. He is the artist who is sitting in one corner, sketching out the figure of the dancing belle.

‘Chhote Sarkar’ is produced by Pinky Films, Bombay and is directed by K Shankar. Cast of actors includes Shammi Kapoor, Sadhna, Shashikala, Sulochana, Sunder, Helen, Shammi, Asit Sen, Jagdish Raj, Rashid Khan, Uma Dutt and Rajan Kapoor etc. The songs of this film are penned by Rajendra Krishan and the music is by Shankar Jaikishan.

No matter the quality of the film and picturization, the performance that Helen presents is with full heart and energy. Simply cannot find a fault with that. Simply see and enjoy.


Song-Main kesar kasturi (Chhote Sarkaar)(1974) Singer-Krishna Kalle, Lyrics-Rajinder Krishan, MD-Shankar Jaikishan

Lyrics

main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi

kahaan kahaan se aa jaate hain
raat ke raahi rang jamaane
beete din ki bhool ke thokar
raat ki taaza thokar khaane
kuchh jaane
kuchh pehchaane
aur kuchh in mein anjaane
kuchh jaane
kuchh pehchaane
aur kuchh in mein anjaane
main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi

aankh mein jhhoothi rangeeni hai
jeevan sabka pheeka pheeka
har maathe per lagaa huaa hai
gham ke chandan ka ik teeka
apna apna dard chhupaaye
chalte phirte ye saaye
apna apna dard chhupaaye
chalte phirte ye saaye
main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi

kadam kadam par jinke peechhe
maayusi ke lagey hain pehre
haath mein leker wo paimaane
dekh rahe hain khwaab sunehre
paagal mann ko yoon behlaayen
kadam kadam par dhokha khaayen
paagal mann ko yoon behlaayen
kadam kadam par dhokha khaayen
main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi
meri soorat ke deewaano
meri rangat par na jaao
meri khushboo ko pehchaano
main kesar kasturi

———————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————-

मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी

कहाँ कहाँ से आ जाते हैं
रात के राही रंग जमाने
बीते दिन की भूल के ठोकर
रात की ताज़ा ठोकर खाने
कुछ जाने
कुछ पहचाने
और कुछ इन में अंजाने
कुछ जाने
कुछ पहचाने
और कुछ इन में अंजाने
मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी

आँख में झूठी रंगीनी है
जीवन सबका फीका फीका
हर माथे पर लगा हुआ है
ग़म के चन्दन का इक टीका
अपना अपना दर्द छुपाए
चलते फिरते ये साये
अपना अपना दर्द छुपाए
चलते फिरते ये साये
मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी

कदम कदम पर जिनके पीछे
मायूसी के लगे हैं पहरे
हाथ में ले कर वो पैमाने
देख रहे हैं ख्वाब सुनहरे
पागल मन को यूं बहलाएं
कदम कदम पर धोखा खाएं
पागल मन को यूं बहलाएं
कदम कदम पर धोखा खाएं
मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी
मेरी सूरत के दीवानों
मेरी रंगत पर ना जाओ
मेरी खुशबू को पहचानो
मैं केसर कस्तूरी


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Do Phool” (1958) was directed by A R Kardar for Silver Wings Productions. The movie had Baby Naaz,Romi, Vijaya Chowdhary, Bipin Gupta, Ullhas, Jeevan, Pratima Devi, Rajan Haksar, Neelam, Ameer Banoo, Mumtaz Begum, Bannerji, Nasreen, Tiloo, Amir Ali, Agha, David Abraham etc in it.

Eight songs from this movie have been discussed in the past. Here is the ninth and final song from the movie.

This song is sung by Asha Bhonsle and chorus. It is picturised on Master Romi and Baby Naaz.

Hasrat Jaipuri is the lyricist. Music is composed by Vasant Desai.

Lyrics of this song were sent to me by Prakashchandra.

With this song, “Do Phool” (1958) joins the list of movies that have all their songs covered in the blog.


Song-Haaye ghabraaye re bin tere mera dil(Do Phool)(1958) Singer-Asha Bhonsle, Lyrics-Hasrat Jaipuri, MD-Vasant Desai
Chorus

Lyrics(Provided by Prakashchandra)

oo..ooo…oooo
oo..ooo…oooo
oo..ooo…oooo
oo..ooo…oooo
oo..ooo…oooo
oo..ooo…oooo

ooo ooo oooo oooooo…ooooo…oooo
aa jaa…aaa
aa jaa rey

haayye ghabraaye rey
bin tere mera mann
ab toh aa jaa aa jaa rey (oooooo)
main akelaa phiroon
laagi tori lagan (oooooo)
ab toh aa jaa aa jaa rey (oooooo)
aaaa…aaaaaaaa…..aaaaa
aaaa…..aaaaaaaa…aaaaa
aaa…..aaaaaaaaa…..aaaa
aaa…..aaaaaaaaa…..aaaa

ab roh rehti hai har dum do
ankhiyaan hamari
khoyee khoyee rey ae
kaari badri bhi thham thham ke
gham pe hamaare royee royee rey ae
laakh barsaat ho (oooooo)
phir bhi jaltaa hai mann (oooooo)
ab toh aa jaa aa jaa rey (oooooo)
haayye ghabraaye rey
bin tere mera mann
ab toh aa jaa aa jaa rey (oooooo)

aaa…aaaa…aaaaa aaa….aaaaa…aaaaa
aaa…..aaaaaa….aaaaa
aaa…aaaa…aaaaa aaa….aaaaa…aaaaa
aaa…..aaaaaa….aaaaa

main toh baadal ke sang sang
nadiyaa kinaare doloon doloon rey ae
teri gudiyaa se ro ro ke
gham ki kahaani boloon boloon rey
bujh na jaayein kahin (ooooo)
mere paagal nayan (oooooo)
ab toh aa jaa aa jaa rey (oooooo)
haayye ghabraaye rey
bin tere mera mann
ab toh aa jaa aajaa rey (oooooo)

aaa…aaaaaa….aaaaa
aaaa…aaaa….aaaaa…..aaa
aaa…aaaaaa….aaaaa
aaaa…aaaa….aaaaa…..aaa

main toh anjaan panchchi hoon
raahein na jaanoon
kaise aaoon rey ae
mere dil ki jo tadpan hai
woh main hi jaanoon
kyaa bataaoon rey
bass ke ujdaa meri (oooooo)
zindagi ka chaman (oooooo)
ab toh aa jaa aajaa rey (oooooo)
haayye ghabraaye rey
bin tere mera mann
ab toh aa jaa aajaa rey (oooooo)


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

= = = = = = = = = = = = = = = = = =

The Many Colors of Love #22 – Defiant Love
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -

And so wrote the scribe

ishq baghaawat kar baithe to
duniya ka rukh mod de
aag lagaa de mehlon mein
aur takht e shaahi tod de
seena taane maut se khele
kuchh na karen fariyaad

The lines bring to mind the compelling images from the powerful scenes of the iconic film ‘Mughal e Azam’ (1960). A prince who declares war on his own father, the emperor of India, for the sake of the woman he loved. Defeated in battle, he is brought in chains to the royal court, and is subsequently condemned to death by the emperor, for his audacity and his seditious actions. On the day of the punishment, the prince is being taken to the place where the execution is to happen. And a commoner, a sculptor who had earlier introduced the prince to the stunning beauty that would be his sweetheart, joins the crowds, and sings these line praising the glory, the courage and bravery, of the people in love. And the memory also brings on the minds screen, the earlier scenes from this story, telling of the defiance that was expressed by the prince’s beloved, in the royal court in the presence of the emperor and the empress themselves. The scene that is immortalized in the song – “Pyaar Kiya To Darna Kya”.

What is about this love that compels the protagonists towards relentless and daring impudence that is adamant to take on the whole world. What is the power that drives this possessiveness and this dedicated intent that eventually expresses itself as a rebellion. A rebellion that is never ever taken very kindly by the kinsmen and the society, Rather, in most cases, the rebellion has drastic and tragic consequences, as has been documented in the tales of love told the world over.

Maybe, there is another way. Maybe at times there seems to be a mute submission and acceptance in the face of the family or societal strength that seems impregnable. There are tales too, of the unfulfilled love that grieves in loneliness and cries in the night. Yes, that destiny too is visited upon the lovers at times, albeit the consequences are still as distressing and tragic as the rebel scenario. And yet, this defiant and recalcitrant expression that takes on the minds of the lovers, is a powerful theme – one that is the more fascinating of the two.

Stories of such intense conduct simply go on to underscore the power that this emotion of love exercises upon the minds of its protagonists. The protected environment of the family, within which an individual grows and learns, is a given at the time of birth. The individual has not exercised any rights or choices to be with the particular family one is born in. It simply is. It is the most important and the most significant given, at the start of one’s life.

As the individual grows, and starts to spread its wings of awareness beyond the family, one comes in touch with other people that will become friends and acquaintances. And then, one of these associations develops into a special one – a relationship that has not existed in life before, a relationship that is not like anything else experienced before, a relationship that is more gratifying than anything else in life. A relationship of love between a man and a woman. An association that appears to complement and complete one’s imperfect self into a perfect whole. An association that demarcates a completely new state of affairs in life, that did not exist before. An association for which the individual feels a sense of paramount ownership and decision making. As association that brings in a sense of fulfillment that surpasses anything else in life that has existed thus far.

And the individual begins this experiential journey of love, not just with the other person, but also with this sense of fulfillment, this sense of being complete and this sense of ownership and achievement.

But then the world steps in. It tries to explain, tries to dissuade, tries to browbeat, threatens, tells of the consequences – all of which are reasons that do not appeal at all to the two people in love. It sometimes results in a grievous and mute withdrawal, giving life to the words – “Do Dil Toote, Do Dil Haare, Duniya Waalo, Sadqe Tumhaare”. And at other times it takes form of a revolt that will compel the confined Bobby and Raj to run away in the darkness of the night (‘Bobby’, 1973). Or in the case of Shehzada Salim, embark on a militant expedition against his own father and emperor of India.

The expressions of this revolt have been capture so beautifully in the two songs from the film ‘Mughal e Azam’, mentioned above. But the power of expression and the audacity that is contained in this song, is completely unmatched, ending up being more powerful a song than the two songs of ‘Mughal e Azam’ combined. In some ways, this song is the reason behind my working on this series of colors of love. Couple of years back when I heard this song for the first time, it simply blew my mind. The words, the expression of courage, the sheer negligence of consequences, the militant rhythm, and the constrained rendition – it all took my mind by a storm.

The militant rhythm – if Anil Da had anymore increased the pace of this tune, it would have become a marching song of the soldiers. And the constrained rendition – I have thought about it, wondering why there is not a corresponding ferocity in the rendition, to match the words that are being sung. The song from ‘Mughal e Azam’ in the voice of Rafi Sb, has been crafted as an intense and raging composition that has the capability for an adrenaline rush, brining your blood to boil. But in this song, Anil Da chose to keep the rendition by Lata ji a few notches below that ferocity. And the effect – it is simply superb. Think of a threat that is delivered viciously and loudly. And then think of the thread that is delivered firmly, but without the fireworks. The latter tells you that the level of confidence and conviction in the assertion is so great that it does not even care to create fear. The emotions and the surging feelings of the receiver of this threat are unimportant – and the nonchalant and dismissive expression, is something to be more afraid of.

That effect Anil Da has been able to create in this song. And the words – goodness they carry the power of the extreme scenarios. I still have to find a more powerfully written and rendered song in this genre. The first line itself is a supercilious expression of the highest authority making an announcement.

keh do ke mohabbat se na takraaye zamaana

“Let it be known
That none may dare
To contest with love”

A proclamation as if coming from the highest office in the land – “keh do. . .”, “let it be known”. I do not even care who listens to this proclamation, I do not care what thoughts and ammunition is being gathered in your mind, I do not care if you are offended by it. A sweeping declaration that takes into its ambit the entire world, so to say – this is love, and you are warned not to dare to come in opposition.

aakaash se takraayegi fariyaad kisi ki
hil jaayega sansaar zameen kaanp uthegi
suraj ko milega na sitaaron ki thikaana

The commiserations of love will strike against the very fabric of the sky itself. The earth will tremble and the entire world will shudder. The sun and the stars in the sky will cower in self defense, and will find no place to hide.

Goodness, wow – the power being expressed is ascribed with capabilities to send such shudders through the universe that the stars and the suns will pray for their safety and existence. And that is just the result of a ‘fariyaad’, a commiseration that will rise to skies and envelop this creation. The protagonist is dismissive about whether the universe remains or not. It is love defied that has the power to dismantle and pack away this universe even. And the underlying refrain – I do not care.

aahon mein wo sholay hain ki phuk jaayen hawaayen
jal jaayen jhulas jaayen sulag jaayen ghataayen
udd jaaye dhuaan ban ke zamaane ka zamaana

The burning sighs carry embers that will raze even the winds to ashes. And the clouds in the skies will be scorched and singed out of existence. Let this whole creation be annihilated and evaporate in a whiff of smoke.

Wow and goodness – the protagonist realizes that there is nothing left if there is nothing left, if the creation is destroyed. And yet, the expression is there to say, you try to defy love, you will be destroyed, this entire creation will be destroyed. There is this conviction inherent here that love is greater than the creation itself (wow, what startling connection to the philosophies). And the underlying refrain – I do not care.

hum sar pe kafan baandh ke aayen hain muqaabil
haathon pe liye jaan to thokar mein liye dil
ae maut kisi aur ko marne se daraana

You wanted a confrontation, and here I am, wearing the coffin cloth, ready even to end myself. Do not sweet talk me with promises of life, for I am carrying it in my hand, ready to discard it at a moment’s notice. Do not entice me now with the entreaties of the heart. For the defiance of love, I will fight to the end – I have no use for a heart that would listen and agree with you. O the silent reaper of death, go elsewhere and terrify others with the calamity you carry in your hands. Me – I am not anymore afraid of even you.

As I said before, a more powerful set of verses that describe this defiance I have not yet come across. For that, this song is the tops in my list for this genre.

A word now about the connection to the film ‘Mughal e Azam’. In my write up for the song “Allah Bhi Hai Mallah Bhi Hai”, I had written about the original plans for Mughal e Azam. Originally, this film was planned in the mid 1940s. The ensemble of actors who were to play the main roles were Nargis, Chandramohan, Sapru and others. Music direction was assigned to Anil Biswas and Kaif Bhopali was to be the lyricist. The plans came under a cloud. The main financier for K Asif migrated to Pakistan after the partition happened. Chandramohan passed away in 1949, and the project was shelved for some time. In the early 1950s, it was revived again. Dilip Kumar was identified to play the role of Salim, and Prithviraj Kapoor was also brought into the cast of actors. But by this time, Nargis and Dilip Kumar had parting of ways. Asif Sb stuck to his decision to include Dilip Kumar, and decided to drop Nargis. After much mulling and search, finally Madhubala was picked for the role of Anarkali.

Meanwhile, when the earlier team was assembled and the outline of the script was in progress, Kaif Irfani and Anil Biswas went ahead to create some songs. However, with the scale of changes that happened later in mid 1950s, Anil Da was replaced by Naushad Sb as the music director. I am only speculating, as I have not seen this in print anywhere yet, that one of the reasons of Anil Da’s downhill career after mid 1950s could have been the selection of Naushad by Asif Sb above him, for ‘Mughal e Azam’.

The song or songs earlier created for ‘Mughal e Azam’, were later used in the film ‘Maan’. Of course, the film was nowhere near ‘Mughal e Azam’ in its scale, grandeur and execution. And so these gems of Anil Da’s and Kaif Bhopali’s efforts were relegated to a B grade film. I wonder what would have been, if these songs were part of the final ‘Mughal e Azam’.

The comments in Geet Kosh identify only the song “Allah Bhi Hai Mallah Bhi Hai”, as the song originally prepared for ‘Mughal e Azam’. When I came across this song and I heard it, I find very definite strains of similarity to both the songs from ‘Mughal e Azam’ – “Pyaar Kiya To Darna Kya” and “Zindabaad Zindabaad, Ae Mohabbat Zindabaad”. With little tweaking, this song is kind of the two songs of ‘Mughal e Azam’, rolled into one. Minus the ferocity of “Zindabaad Zindabaad”, I find this song to be the more powerful song that presents the defiance of love. And my intuition tells me that this song is also one of the original songs created for ‘Mughal e Azam’ by Anil Da and Kaif Bhopali.

The film ‘Maan’ is from the banner of Filmkar Limited, it is directed by Safdar ‘Aah’. The main cast of actors includes Ajit, Chitra, Jagirdaar, Durga Khote, Kumar, Achla Sachdev, Yashodhara Katju, Kamlesh Kumari, Chandabai etc. There are nine songs in this film, three of which are already showcased here. This is the fourth song from the movie finding its place on this blog. There are two other lyricists who have contributed the lyrics, the director Safdar ‘Aah’ himself and Raja Mehdi Ali Khan.

A super creation in my lists, a song that has succeeded in the power of expression it is supposed to deliver. Listen and enjoy.


Song-Keh do ke muhabbat se na takraaye zamaana (Maan) (1954)Singer- Lata, Lyrics-Kaif Bhopali, Md-Anil Biswas

Lyrics

ye pahaad rond daale. . e e e.
ye zameen seenk daale
na dabey na dab sakenge
kabhi pya. .ar karne wa. .ale. . e e e

keh do. . oo oo oo
keh do ke mohabbat se na takraaye zamaana
keh do ke mohabbat se na takraaye zamaana
aasaan nahin pyaar ke deepak ko bujhaana
keh do
keh do ke mohabbat se na takraaye zamaana
keh do. . oo oo oo

aakaash se takraayegi fariyaad kisi ki
aakaash se takraayegi fariyaad kisi ki
hil jaayega sansaa. . aar
hil jaayega sansaar
zameen kaanp uthegi
suraj ko milega na sitaaron ki thikaana
keh do
keh do ke mohabbat se na takraaye zamaana
keh do. . oo oo oo

aahon mein wo sholay hain ki phuk jaayen hawaayen
aahon mein wo sholay hain ki phuk jaayen hawaayen
jal jaayen jhulas jaayen sulag jaayen ghataayen
udd jaaye dhuaan ban ke zamaane ka zamaana
keh do
keh do ke mohabbat se na takraaye zamaana
keh do. . oo oo oo

hum sar pe kafan baandh ke aayen hain muqaabil
haathon pe liye jaan
to thokar mein liye dil
haathon pe liye jaan
to thokar mein liye dil
ae maut kisi aur ko marne se daraana
keh do
keh do ke mohabbat se na takraaye zamaana
keh do. . oo oo oo

————————————-
Hindi script lyrics (Provided by Sudhir)
————————————–
ये पहाड़ रौंद डाले॰ ॰ ए ए ए
ये ज़मीन सींक डाले
ना दबे ना दब सकेंगे
कभी प्या॰ ॰र करने वा॰ ॰ले॰ ॰ ए ए ए

कह दो॰ ॰ ओ ओ ओ
कह दो के मोहब्बत से ना टकराए ज़माना
कह दो के मोहब्बत से ना टकराए ज़माना
आसान नहीं प्यार के दीपक को बुझाना
कह दो
कह दो के मोहब्बत से ना टकराए ज़माना
कह दो॰ ॰ ओ ओ ओ

आकाश से टकराएगी फरियाद किसी की
आकाश से टकराएगी फरियाद किसी की
हिल जाएगा संसा॰ ॰आर
हिल जाएगा संसार
ज़मीन काँप उठेगी
सूरज को मिलेगा ना सितारों को ठिकाना
कह दो
कह दो के मोहब्बत से ना टकराए ज़माना
कह दो॰ ॰ ओ ओ ओ

आहों में वो शोले हैं के फुक जाएँ हवाएँ
जल जाएँ सुलग जाएँ झुलस जाएँ घटाएँ
जल जाएँ सुलग जाएँ झुलस जाएँ घटाएँ
उड़ जाये धुआँ बन के जमाने का ज़माना
कह दो
कह दो के मोहब्बत से ना टकराए ज़माना
कह दो॰ ॰ ओ ओ ओ

हम सर पे कफन बांध के आयें हैं मुक़ाबिल
हाथों पे लिए जान
तो ठोकर में लिए दिल
हाथों पे लिए जान
तो ठोकर में लिए दिल
अए मौत किसी और को मरने से डराना
कह दो
कह दो के मोहब्बत से ना टकराए ज़माना
कह दो॰ ॰ ओ ओ ओ


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

The association of Pankaj Babu and RC Boral starts from their coming together as artists and producers at Calcutta Radio. No specific dates are available, but the expected period is the second half of the 1920s. This period also coincides with the prime of the silent films in India. Calcutta had become a main production center. Being recognized as music directors at Radio Calcutta, it was natural for RC Boral and Pankaj Mullick to be called upon for creating the orchestral music for silent films. In the days of soundless films, the music and sound effects were presented live in the theatre, using a live orchestra. What we recognize as background music today, was very much a ‘foreground’ entity in those years. The mood and the action on screen, was duly accompanied by live music that was played by the orchestra sitting just below and front of the screen. Probably no recordings of such musical works were made, else that in itself would have been a very valuable treasure for lovers of film music. wo films from 1931 are identified as the ones for which this pair had prepared the orchestral ‘foreground’ music. Produced by International Filmcraft, the title of the films are ‘Chesher Maye’ (‘चेशेर मेय’) and ‘Chorkanta’.

In 1931, when New Theatres started its production of sound movies, BN Sircar, the owner of the production house brought in this pair as the lead music directors in his company. The first film, in Bangla, was ‘Denaa Paona’. And the rest, as they say, is simply history.

In the first half of 1940s, a significant number of the artists, performers, and technical persons associated with the film industry, moved from Calcutta to Bombay. The volume of film production and quality suffered. In spite of that New Theatres continued to keep its shooting studios working. RC Boral and Pankaj Mullick continued to stay with the company and continued to create music for its films.

‘Chhota Bhai’ is a 1949 production from New Theatres, directed by Kartik Chatterji. The main cast of actors includes Molina Devi, Rajlakshmi, Shakur, Pal Mahendra, Maya Bose, Asit Sen, AH Shor, Khursheed, Chhabi Rai, Tulsi Chakravarty, Manorama, Natwar, Asha, etc. There are six songs in this film. The music is composed by Pankaj Mullick. The lyrics writing is shared between Rajendra Krishan, Prakash and Ramesh Pandey. This song is from the pen of Rajendra Krishan. For Rajendra Krishan, these were his initial years in the industry, having contributed lyrics to 5 films in 1947 and 1948. His career saw a significant rise in 1949 and 1950. In these two years he wrote lyrics for almost 25 films, some of which became very popular.

This film makes a debut on this blog today. I present a song in the voice of singer Manju and a chorus of voices. There is a male voice that also sings a line in every antaraa (stanza), but that voice is not identified. Girdharilal Vishwakma ji has helped identify this voice as belonging to Shakoor’s.

A song of philosophical contemplation, making some honest and realistic observations about life. Simple lyrics from Rajendra Krishan have been tuned into a simple group song scenario. Listen and enjoy.


Song-Duniya mein har kisi ki kismat juda juda hai (Chhota Bhai)(1949) Singer-Manju, Shakoor, Lyrics-Rajinder Krishan, MD-Pankaj Mullick
Chorus

Lyrics

duniya mein har. . . kisi ki
kismet judaa judaa hai
ek motiyon se khele
ek khaaq mein milaa hai
ek wo hai jo maze se
phoolon pe so rahaa hai
aur doosra bechaara
kaanton pe ro rahaa hai
aji tum hi kaho ye kaisa
tum hi kaho ye kaisa
insaaf ho rahaa hai
haan
insaaf ho rahaa hai
duniya mein har kisi ki
kismet judaa judaa hai
haan
kismet judaa judaa hai
duniya mein har kisi ki
paisa hai paas jiske
duniya hai us ke bas mein
duniyaa. . . usi ko mane
jo khaaye jhhoothi kasmen
aji tum him kaho samajh kar
tum hi kaho samajh kar
achhi hain kya ye rasmen
haan
achhi hain kya ye rasmen
duniya mein har kisi ki
kismet judaa judaa hai
haan
kismet judaa judaa hai
duniya mein har kisi ki
haaan. . .
sab ek jageh pe baithe
har koi ek saa ho. . .
oonchaa naa koi neechaa
chhota ho na badaa ho
ban jaaye saari duniya
ban jaaye saari duniya
ek ghar to kya mazaa hai
haan
ek ghar to kya mazaa hai
duniya mein har kisi ki
kismet judaa judaa hai
haan
kismet judaa judaa hai
duniya mein har kisi ki


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today (19 october 2014) is the 58th birth anniversary of Sunny Deol (DoB 19 october 1956). He is an actor from the post golden era and he worked in movies that I regard as “new” movies. To realise that a post golden era actor (and the son of a golden era actor) like him has turned 58 now means that time has flown faster than I realise. :) In fact this is the era when children of post golden era of Hindi movies are active !
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Yesterday was another day with no posts in the blog. I began a long and gruelling return journey from early hours of yesterday and arrived back this morning, some 28 hours later. I was able to connect on the internet during this journey but I spent this time catching up with the pending housekeeping works of the blog instead of trying to discuss more songs which would have resulting in postponing the housekeeping works even further.
Read more on this topic…

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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where "new" songs are added every day, and that has been the case for more than six years. This blog has over 10300 songs post by now.

Total number of songs discussed

10371

Number of movies (All songs covered)

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